diff --git "a/genre.csv" "b/genre.csv" new file mode 100644--- /dev/null +++ "b/genre.csv" @@ -0,0 +1,6902 @@ +instructions,Scene Text,Genre +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. WOODS, FRANCE 1917 - DAWN 1 1 Softly LAPPING WATER. A creek running over roots, grass swaying in the stream. Ferns softly RUSTLE in the wind. THUMP. A pine cone falls on the ground. Another one. And another one A peaceful, mild spring morning. Peaceful. LOW RUMBLE OF THUNDER in the distance. It's very quiet. Too quiet. INTERCUT WITH:",SENTI +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FOX DEN - DAY 2 2 A narrow shaft of light falls into the fox den, from the entrance of the tunnel. The dirt is damp. And a soft noise. SCRATCHING. SMACKING. SOFT WHIMPERS.The vixen feeds her young, who greedily suckle at her teats. The twigs and berries beside them. Then, we hear it again. A distant RUMBLE OF THUNDER, followed by a noticeable TREMOR. A little dirt trickles from the ceiling. Light falls on the young family, like a painting of the Madonna. The vixen ignores it, wholly absorbed by her litter. She licks their fur and lets them suckle. It's soft and fuzzy and full of love... ... when suddenly: A SHORT, SHARP, SHRILL tone. BOOOOM! The world explodes. Everything goes BLACK. The fox den has ceased to exist.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LATIERRE / TRENCH - DAY 3 3 A trench -- about 8 feet deep. Walls of earth and clay. The bottom is mud and dirt. THUMP. THUMP. THUMP. THUMP. THUMP.Deafening NOISE. A hellish barrage of gunfire. Metal shrapnel perforates the wood posts like butter. Hundreds of shells explode around the GERMAN SOLDIERS, hurling piles of dirt into the air. Ruthless. Destructive. Random. We pan over dozens of bodies: Young SOLDIERS lying in the dirt, hugging the walls of the trench. They hope against hope they will survive the next seconds. That's all it's ever about: Surviving the next seconds. (CONTINUED) BOOM! A DIRECT HIT. The trench explodes in a cloud of dirt, smoke and death. Bodies fly through the air, landing in the reeking water. Over the SCREAMS of the wounded -- amid a crescendo of noise and chaos -- we hear barked orders across the front lines: SERGEANT (O.S.) ATTACK... ATTACK! ANGLE ON the frightened face of a SOLDIER: HEINRICH GERBER -- no older than 18. His hands clutch a rifle, his knuckles stand out white as a ghost, his bayonet is mounted. The SERGEANT appears, drags Gerber to the ladder. SERGEANT (CONT'D) Come on, Heinrich!!! Let's go! BOOM! A shell hits the trench. Soldiers hurry by. SERGEANT (CONT'D) On my orders. Charge!!! A shrill WHISTLE and WAR CRY arises along the front line. A young 16-YEAR-OLD RECRUIT, looks at him, trembling... Heinrich nods at him. HEINRICH GERBER It'll be OK! Before we can catch our breath, HEINRICH climbs up the ladder behind the RECRUIT, out of the German trench, right into the MG barrage whipping at them from the French lines. RAT TAT TAT TAT TAT! The RECRUIT and a dozen other men are hit and hurled back into the trench like dominos. Heinrich stands at the top of the ladder. Trembling, he turns around to see the young RECRUIT bleeding to death in the mud, shot in the head. SOLDIERS (O.S.) Keep going! SERGEANT Go on, Gerber. Go! The next wave of Soldiers throngs up from below, forcing Heinrich up the ladder, onto the the roiling battlefield. The Sergeant drives him onward. SERGEANT (CONT'D) Go, go, go!CONTINUED: 3 3 (CONTINUED)Goldenrod Revision 22.4.2021 2. Heinrich fights his way through the heavy mud which sucks at his boots and slows him down. Past the tentacles of barbed wire, in which disfigured bodies hang. BOOM! A shell hits a few yards off, hurling dirt and mud over us. Heinrich keeps on running. He staggers and runs, bowing low, shitting bricks. He fights against overwhelming nausea as shells blow new craters around us. A No Man's Land of death and madness, pocked with craters like the moon. Heinrich runs, ducking low, his bayonet in his hand, searching for cover where there is none, as his FELLOW SOLDIERS are fall in a hail of bullets. He ducks behind a blasted tree stump, tries to catch his breath. SERGEANT (O.S.) (CONT'D) Gerber... Gerber! The Sergeant's voice reaches us weakly through the BATTLE NOISES... The NCO lies in the mud, hit, reaching his arms out toward us, imploringly. Heinrich crawls back toward him. He reaches his hand out to him and drags him along, but then MG FIRE riddles the ground, first the tree stump and then hits the wounded Sergeant in the cheek. Blood spatters in Heinrich's face. He fights back his panic, while there's a WHISTLE behind him, as the second wave of GERMAN SOLDIERS charges out of the trench. BANG. BANG. BANG. CLICK. Heinrich empties his clip and drops his bayonet. He desperately grabs a trench shovel, summoning all his courage. He charges at the enemy trench, SCREAMING, from where HUNDREDS OF FRENCHMEN charge at us with bayonets out. Heinrich raises his shovel, PANTING. Unleashes a primeval WAR CRY. Like a wild animal. The enemy comes closer and closer. Then Heinrich STRIKES. Right at his enemy's neck. WHACK! SMASH TO BLACK: ALL QUIET ON THE WESTERN FRONTCONTINUED: (2) 3 3Goldenrod Revision 22.4.2021 3.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BEHIND GERMAN LINES / MASS GRAVE - DUSK 4 4 An open-bed truck on the edge of a makeshift cemetery, SOLDIERS are unloading the bodies of German recruits. One of them is Heinrich Gerber, a bloody wound in his chest. They unbutton his uniform jacket and toss his uniform onto the pile. The boots land on another pile. Coffins of a mass grave piled up in BG.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. BEHIND GERMAN LINES / TRAIN TRACKS - DAY 5 5 A freight train along a railroad embankment. The dead men's uniforms in bundles in a boxcar. WOUNDED SOLDIERS are loaded on beside them.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. TEXTILE FACTORY, GERMANY - DAY 6 6 An open-bed truck, piled high with military uniforms, pulls up outside a factory. Bundles of dirty uniforms are tossed on a hand cart.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TEXTILE FACTORY WASH ROOM, GERMANY - DAY 7 7 A load of uniforms is dumped into a huge trough full of hot soapy water. The suds turn red. A strong WOMAN stirs the vat.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TEXTILE FACTORY DRYING ROOM, GERMANY - DAY 8 8 A pile of half-dry, washed uniforms hang from a drying line. Water drips into puddles beneath them. A WASHERWOMAN comes and collects the uniforms.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TEXTILE FACTORY HALL, GERMANY - DAY 9 9 ...which are wheeled down the hall in a hand cart.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TEXTILE FACTORY, GERMANY - DAY 10 10 ...into a room with SEAMSTRESSES at sewing machines. A young SEAMSTRESS (14) takes a pile of clothes and returns to her sewing machine. She examines a uniform jacket: A narrow slit stabbed into the chest. She starts sewing. WHIRRRR. The sewing machine RATTLES. CLOSE ON: The collar name tag reads HEINRICH GERBER.Goldenrod Revision 22.4.2021 4.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. COUNTRY ROAD, GERMANY - DAY 11 11 A bicyclist pedals along the road: PAUL BÄUMER, 18 years old. A skinny young man with a sincere face and a school book bag on his bicycle cargo rack. The textile factory truck roars up from behind, HONKS briefly, swerves and passes the young man. Uniforms piled up on the back of the truck -- laundered and neatly folded. A VETERAN with a cigarette beside them, missing an arm and half his face. Paul Bäumer watches him go, a shadow of doubt on his face seeing the broken man. He gets a grip on himself and keeps pedaling.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. SMALL TOWN / ALLEY - DAY 12 12 Paul rides his bike through town.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SCHOOL - DAY 13 13 Paul pedals down an alley and parks his bike against a wall. With lowered gaze, he takes his school bag and follows the throng of STUDENTS to the auditorium. A few of his FRIENDS call to him among the hullabaloo. KROPP Paul...? Paul! ALBERT KROPP (19), a farmer's son who made it to the college- track Gymnasium prep school. He may be a little thick, but he's full of verve for life. Strong, tough, down to earth, with rough milking hands. He's very traditional. FRANZ MÃœLLER (19) is more oriented toward the future. He likes progress and the finer things in life. He's well-spoken and a Ladies' man, always has a comb in his pocket. Then there's LUDWIG BEHM (18), the runt of the gang. A pale, skinny, somewhat fearful guy. A dreamer with glasses. KROPP (CONT'D) Well? Paul shakes his head in resignation. Kropp and Müller GROAN. KROPP (CONT'D) Now what? Does he know we're all going? PAUL Sure. (CONTINUED)Goldenrod Revision 22.4.2021 5. BEHM Are you staying home? KROPP For Christ's sake, are you supposed to stay here hugging your mommy's apron? MÃœLLER Gimme that. Müller sticks his hand out for the school bag. Paul is shaken by what Kropp said. He's a lot of things, but definitely no mama's boy. MÃœLLER (CONT'D) Give it to me. I'll sign it. BEHM His parents have to sign. MÃœLLER But they didn't, so gimme that. BEHM You can't. They'll notice. KROPP How? Is your daddy their pen pal? Paul seems to hesitate for a moment. He finally opens his book bag. CLACK. He gets out a pen and paper -- his Army volunteer form. He places the form on the book bag and starts to sign... nothing. Out of ink. He turns to his friends, cursing. PAUL Gimme your pen. Kropp doesn't have one. Neither does Müller. Behm eyes him skeptically. BEHM You're gonna be in hot water. He'll give you a thrashing. KROPP Oh, shut up, Ludwig. PAUL You got a better idea? I'm not gonna be the only one to stay behind!CONTINUED: 13 13 (CONTINUED)Goldenrod Revision 22.4.2021 6. Behm SIGHS and hands him a pen. Paul quickly kneels and scribbles a signature on the piece of paper. He stands up again quickly. A weight falls off his shoulders. Kropp puts an arm around him. KROPP Congratulations, Private Bäumer. You're headed to the front. PAUL (mumbles) I'm a dead man. The gang of friends heads for the staircase, where the truck is parked at the cargo ramp. The veteran is unloading the uniforms with two other soldiers.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SCHOOL / STRAIRS - DAY 14 14 A big staircase. The STUDENTS crowd the steps, Paul and his three buddies among them, holding their marching orders to the front lines, a sense of grand adventure on their faces. They can't wait to become soldiers. The teachers stand at the back in the hall, looking proud. The PRINICIPAL (61) stands on the top flight, a short, wiry guy with a big handlebar mustache, giving a fiery speech. PRINCIPAL You stand on the threshold to becoming men. This is a moment you will always remember. It's a great moment, by which you will be judged for the rest of your life, what you have dared to become today... the Iron Youth of Germany! The Principal scans the young men's faces. From the corner of his eye, he sees two pupils shoving each other around. PRINCIPAL (CONT'D) My dear boys! We're fortunate to life in such a great time. Your deeds will form the ground water for a strong new root to grow, carrying the flowers and fruits of a glorious future. (to the two quarreling kids) Stand still and listen, Leinemann! The Kaiser needs soldiers, not children. The two pupils snap to attention. The Principal's authority is beyond doubt. He continues with his speech -- the little interruption fills him with even more verve.CONTINUED: (2) 13 13 (CONTINUED)Goldenrod Revision 22.4.2021 7. PRINCIPAL (CONT'D) I'm sure I will see most of you again soon, your sword returned to its scabbard with honor, an Iron Cross on your pride-filled chest. Paul Bäumer. Albert Kropp. Franz Müller. Ludwig Behm... The friends stand side by side. They all listen to their Principal with bated breath.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SCHOOL / HALLS - DAY 15 15 The Principal's voice echoes down the halls. PRINCIPAL But have no doubt: In the darkest hours before an attack, you may also be haunted by doubt.",SENTI +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SCHOOL / CLASSROOM - DAY 16 16 Through empty classrooms, where open books wait for eager students. PRINCIPAL But this is no time for weakness of character! Any doubt, any hesitation is treason to your homeland.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SCHOOL / CELLAR - DAY 17 17 ...through a bare cellar, where the tired veteran with the smashed face SMOKES his cigarette. PRINCIPAL Absolute obedience is the most important thing of all in modern warfare, which is like a game of chess, which is never about the individual, always about the whole.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SCHOOL / STAIRS - DAY 18 18 BACK TO STAIRS: The Principal wraps up his speech. PRINCIPAL You will prove yourselves worthy of wearing this uniform and break through the enemy front in Flanders. And within a few weeks, you will finally be marching on Paris!CONTINUED: 14 14 (CONTINUED)Goldenrod Revision 22.4.2021 8. The boys can't hide a proud smile. The Principal looks them in the eye. PRINCIPAL (CONT'D) Our future -- the future of Germany -- lies in the hands of its Greatest Generation... My dear boys: That's you! Off to battle you go! For our Kaiser. Our God. And our Fatherland. ROARS OF APPLAUSE from the pupils and teachers -- it was a good speech. The young men toss their caps and leaflets in the air, which sail down the stairwell. Paul and his friends hug in joy.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SCHOOL / AUDITORIUM - DAY 19 19 OFFICERS sit at a row of desks. Long lines of students in underwear, volunteering for war. The piles of uniforms in BG. ARMY RECRUITER (O.S.) Next! The line of pupils advances. Paul has a hard time hiding his excitement, while Franz Müller and Albert Kropp are already proudly carrying off their uniforms. Then the line finally advances. ARMY RECRUITER (O.S.) (CONT'D) Next! Then it's Paul's turn. Excited, he presents his draft notice to an OFFICER, who reads it without looking up. ARMY RECRUITER (CONT'D) (without looking up) Bäumer, Paul. Meadow Vale 53, born 18.11.98. Is that right? PAUL Yessir, Officer Sir! The Officer flips over the form and checks the parents' signature. He takes an ink stamp. WHAP. All good. ARMY RECRUITER Chest size? Paul gapes at him, dumbstruck. The officer shrugs, hands him a uniform off the pile and notes the size in a list. ARMY RECRUITER (CONT'D) Here. Your father can be proud of you.CONTINUED: 18 18 (CONTINUED)Goldenrod Revision 22.4.2021 9. PAUL Yes, he can. ARMY RECRUITER Are you okay? PAUL Mmhm. I just wanna get going. Paul takes his uniform and is just leaving, when he sees the name tag sewn into the collar. He quickly returns to the desk, where the recruiter is already busy with the next RECRUIT. PAUL (CONT'D) Excuse me, Sir, this uniform already belongs to someone. The officer takes the uniform jacket from Paul and tears off the name tag. Then he hands it back. ARMY RECRUITER Didn't fit him right. Happens all the time. PAUL Thank you, Sir. Paul heads off, relieved. The name tag remains behind on the floor: HEINRICH GERBER.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SCHOOL / STOREROOM - DAY 20 20 Paul enters a storeroom off the hall, carrying the new uniform. He puts on his uniform: It fits, even if it's a little big. Ludwig Behm stands beside him, with his bare, scrawny chest. He can't entirely hide his doubts. CHURCH BELLS RING in the distance.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. SMALL TOWN / CHURCH TOWER - DAY 21 21 DING DONG. DING DONG. DING DONG. The church bells ring in the belfry... a grand send-off.,SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SMALL TOWN / CHURCH SQUARE - DAY 22 22 The church square of the small town. It's empty, except for a few PASSERS-BY, mostly WOMEN and CHILDREN with a few OLD MEN. We spot the young RECRUITS in the distance, in a crack between two houses.CONTINUED: 19 19Goldenrod Revision 22.4.2021 10.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SMALL TOWN / STREET - DAY 23 23 They march out of town in lockstep, rifles slung over their shoulders. The CHURCH BELLS drown out their MARCHING SONG. RECRUITS Tomorrow we march To the farmers night quarters. A cup of tea, sugar and coffee, A cup of tea, sugar and coffee, and a glass of wine, and a glass of wine! Franz Müller looks at a few GIRLS, waving among the onlookers by the side of the rod. He grins and dances out of line, full of excitement, adventure and joy. MÃœLLER A cup of tea, sugar and coffee, sugar and coffee... Paul, Müller, Kropp and Behm -- ruddy-cheeked, booming voices. Everyone sings along with their fellows. They all march off to war together... what an adventure.",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. POPLAR-LINED AVENUE, GERMANY - DAY 24 24 A poplar-lined avenue along the road, their tips swaying in the wind. The recruits march down the road. RECRUITS Tomorrow we march To the farmers night quarters. And when I leave, my girl will grieve, And when I leave, my girl will grieve and will cry, and will cry. The young men march into the distance. Their song wafts over the fields. CUT TO:",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. TROOP VAN, WESTERN FRONT - DAY 25 25 Behind the lines of the Western Front, Northern France. An open troop transport truck rumbles down the muddy road to the front. Paul and his friends sit in the back, with their rifles and knapsacks, amid two dozen new recruits. Expectation is written all over the young men's faces. The bright spring sun pierces the clouds. KA-CHACK. LIEUTENANT HOPPE (37) has planted himself before them, a Prussian officer with a dirty mouth, a tough guy with a heart of gold. (CONTINUED)Goldenrod Revision 22.4.2021 11. He pushes his way through the recruits and inspects one rifle after the other. Müller's rifle is spotless. He hands it back wordlessly. Albert Kropp is n",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","ext. The Lieutenant pulls back the bolt -- KA-CHAK... He stares. Dirty. He holds it under Kropp's nose. LIEUTENANT HOPPE What's your name, Private? KROPP Kropp. Albert Kropp, Lieutenant, Sir. LIEUTENANT HOPPE Do you like dirty girls, Kropp? KROPP ...? No, Sir, Lieutenant, Sir. LIEUTENANT HOPPE (indicates the bolt) So why do you sleep with one...? Report for guard duty at 3 a.m.! The Lieutenant tosses the rifle to Kropp, who only barely catches it. Ludwig Behm is n",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","ext. KA-CHAK. LIEUTENANT HOPPE (CONT'D) Gentlemen! You are fighting in a God-forsaken pile of shit, so you better do it with a clean Mauser! Paul digs out a handkerchief and cleans his barrel quickly. The Lieutenant stands before him already. LIEUTENANT HOPPE (CONT'D) Your life as you knew it is over. Your rifle is your girl now. You are married to your rifle. You will pamper your rifle. You will love your rifle. And God damn it, you will keep it spotless as the thighs of the Holy Virgin! You got it? RECRUITS ON TRUCK Yes, Sir! LIEUTENANT HOPPE Welcome to the 78th Infantry Reserve Regiment. You are now on the Western Front. RECRUITS ON TRUCK Welcome to Paris!CONTINUED: 25 25 (CONTINUED)Goldenrod Revision 22.4.2021 12. Albert Kropp clutches his rifle in his arms, grinning. He licks it... The soldiers are brimming with enthusiasm. They laugh and nudge each other. Hoppe lets them and hands his Mauser back to Paul. Clean. KA- CHAK.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FIELD HOSPITAL - DAY 26 26 A temporary field hospital set up behind the front in a bombed-out farm house. SOLDIERS are unloaded from individual trucks, bloody and mutilated: Ambulances, horse carriages, cars. NURSES and MEDICS place the wounded in rows in the mud. The hospital is overcrowded. The only ray of light are a few FEMALE NURSES. An ARMY DOCTOR (50) comes out of the gate with his ASSISTANT to the street, looking exhausted. He flags down the arriving truck and waves it toward -- THE YARD. The truck pulls up. The ARMY DOCTOR marches back toward the Lieutenant in charge. LIEUTENANT HOPPE What's up? My orders are to deliver this company to the front by 6 pm. ARMY DOCTOR Which you will, but on foot. We need this vehicle, Lieutenant! LIEUTENANT HOPPE I'm sorry, but my orders are -- ARMY DOCTOR You can shove your orders where the sun don't shine. I've got forty men here dying in the mud. Get off that Goddamn truck! The Lieutenant stops objecting and turns to his recruits. LIEUTENANT HOPPE Dismount! Double time! Let's go! Your heard the Doctor. ARMY DOCTOR Thank you, Lieutenant. You're saving people's lives. We'll take the wounded back to Laon. Lt. Hoppe jumps off the truck and nods. He goes to the back of the truck, where the men are climbing off. CONTINUED: (2) 25 25 (CONTINUED)Goldenrod Revision 22.4.2021 13. They clutch their hands to their mouth and nose, against the smell of carbolic and gangrene. Behm stares at the injured. Paul drags him off. PAUL Come on, Ludwig. He looks around for reassurance from a NURSE, kneeling among the wounded soldiers. Lt. Hoppe grabs a dismounting recruits's bayonet -- the blade is saw-toothed on the blunt side. LIEUTENANT HOPPE What the hell is this, Soldier? RECRUIT FIELD HOSPITAL A bayonet, Lieutenant, Sir. LIEUTENANT HOPPE Are you shitting me? What are you gonna do with this? RECRUIT FIELD HOSPITAL Stab the enemy, Lieutenant, Sir? The Lieutenant loses his patience and hisses at the man. LIEUTENANT HOPPE This is a saw blade, Soldier. If the enemy catches you with one of these, they will mutilate you. First they will saw your nose off. Then they will gouge your eyes out. And they they will stuff your throat with sawdust, so you slowly suffocate. The recruit stares at him in shock. Hoppe gives the bayonet back to him and indicates his own bayonet -- with a smooth blade. LIEUTENANT HOPPE (CONT'D) Trade it in for one of these as soon as you can. Guarantees a quick end. For both sides. The Lieutenant turns to the whole company again. LIEUTENANT HOPPE (CONT'D) Take a leak, grab your backpacks, we leave in five minutes. Dismissed! The recruits shoulder their backpacks and pair off. Paul takes his eyes off the nurse with an effort. Franz Müller combs his hair.CONTINUED: 26 26Goldenrod Revision 22.4.2021 14.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MUDDY ROAD TO FRONT - DAY 27 27 The sky is overcast. It looks like rain. An ammo supply convoy passes them on the road. The soldiers march toward the front. Clay sticks to their boots, a dead dog lies in their path. Lt. Hoppe eggs them on. LIEUTENANT HOPPE Step lively, Soldier! Don't fall asleep! He marches along beside Müller for a beat. LIEUTENANT HOPPE (CONT'D) You, Müller! The commander in chief expects you to survive at least six weeks. Do you want to be alive in six weeks? MÃœLLER Yes, Sir, Lieutenant, Sir. LIEUTENANT HOPPE Then get a move on! March! Müller staggers on, a little faster. Suddenly: a WHISTLE and HOWL. BOOM! BOOM! Two shells land in the distance, hurling up a gush of mud. Most of the recruits hit the dirt. Hoppe SCREAMS at them. LIEUTENANT HOPPE (CONT'D) Gas! Gas! Gas! The recruits frantically get up and dig out their gas masks. While most of them are still struggling with their satchels, Hoppe already has his mask on and fastened. The Lieutenant marches along his squad, his voice muffled by his gas mask. He's using the forced march for a drill. LIEUTENANT HOPPE (CONT'D) Gentlemen, that was what you call a ""Fat pig"". If the Frogs could aim, they'd be scratching us off the road with a spatula and burying us in a mess kit. But one thing is as sure as hell: ""Fat pigs"" don't carry poison gas. Paul helps Behm, who dropped his mask in the mud, so he's the last to put it on. Hoppe continues his speech stoically. (CONTINUED)Goldenrod Revision 22.4.2021 15. LIEUTENANT HOPPE (CONT'D) Poison gas shells come in groups of three and land with a dull thud. So if you see someone putting on their mask, put on yours. You've got six seconds before you start spitting clots of blood the size of beets back home on the farm. Lt. Hoppe stops before Paul. Very calmly, he watches the young recruit still struggling with his gas mask. LIEUTENANT HOPPE (CONT'D) Eyes front! The recruits snap to and look straight ahead -- except Paul, who frantically wedges his gas mask between his knees, trying to adjust the leather straps. Hoppe's glasses fog up, a first drop of rain falls on them. His ominous breathing behind the mask. In. Out. In. Out. A bit like Darth Vader. Paul finally got it on. He puts the mask on and looks straight ahead. LIEUTENANT HOPPE (CONT'D) Are you deaf, man? PAUL No, Lieutenant, Sir. I was just trying to put my mask on. Hoppe eyes him for a beat. Then: LIEUTENANT HOPPE You're almost certainly gonna be dead by dawn, boy. You better have something to eat. Paul swallows the insult. Hoppe takes his mask off and turns to the squad. LIEUTENANT HOPPE (CONT'D) Attention! Masks off! Two abreast, forward march! (to Paul) Not you. You leave it on until your guard duty tonight. (turns to Kropp) With that shithead there. PAUL Yes Sir, Lieutenant. The recruits stow their masks and march to the front. Paul has a hard time breathing and can hardly keep up. CONTINUED: 27 27 (CONTINUED)Goldenrod Revision 22.4.2021 16. The weight of his knapsack is crushing... Artillery RUMBLES in the distance.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LATIERRE HILL / ACCESS TRENCH - DAY 28 28 Rain beats down. Lt. Hoppe leads the exhausted recruits down an access trench to the front. Shells WHIZZ by. A DRONE drowns everything out. BOOM! The shell explodes. The young recruits duck. Clumps of dirt pelt down on their backs. Hoppe waves them onward. LIEUTENANT HOPPE Go. Go! Bullets ZING over their heads. MG FIRE RATTLES in the distance. WOUNDED MEN come toward them, two SOLDIERS drag an empty soup cauldron back from the front. Paul is in the back along with Müller. He has a hard time keeping up, hardly able to breath under his mask. MÃœLLER Give me your backpack, Paul... You can take mine next time. Paul knocks his hand away and staggers down the trench.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LATIERRE HILL / TRENCH - DAY 29 29 Rain keeps beating down, as SOLDIERS fire an MG. RAT TAT TAT TAT TAT. Beyond, the squad turns onto a wide trench. Water is backed up knee-high on the ground -- the RECRUITS wade through it. They finally reach their unit at the front: Gaunt, ragged, hollow-eyed SOLDIERS, mainly trying to keep dry. Some try to sleep. They all look miserable. LIEUTENANT HOPPE Congratulations, Soldiers. Welcome to your new home. (to all) Helmets off! The veterans GROAN. They know what this means. Groaning, they pick up buckets and start bailing out clay muddy water from the trench. Some of them have tied sandbags to the tops of their boots to keep the water from running in. SERGEANT STEINBERGER appears to greet the Lieutenant.CONTINUED: (2) 27 27 (CONTINUED)Goldenrod Revision 22.4.2021 17. LIEUTENANT HOPPE (CONT'D) I see the men have been enjoying my absence, Steinberger. SGT. STEINBERGER We've been under MG barrage all night. Their nerves are bare. LIEUTENANT HOPPE Dry boots are a good remedy for that. (to recruits) Everyone pitch in, bail out the trench! The young recruits follow the veterans' example and use their helmets and food pails as bailing buckets. You can see the shock in their faces, the gleam in their eyes is gone. Tiredly, they bail water out of the trench. Constant COUGHING. Lt. Hoppe turns on his heel and disappears in his bunker. In passing, he yanks the gas mask off Paul's face and presses it hard against his chest. LIEUTENANT HOPPE (CONT'D) What are you waiting for? He leaves him standing there, disappears inside. Paul WHEEZES and gasps for air. Even if it's raining, the fresh air is good for him. Suddenly, a figure emerges from a shelter and offers him an open canteen. Paul looks up, SNORTING, staring straight at... STANISLAUS KATCZINSKY. KAT is 40 and still a Private, which says a lot about him. Tough, sly, smart, with a dirty face, with blue eyes, drooping shoulders and a good nose for danger and good food, where there usually isn't. He's a shoemaker in real life. In which he has a sixth sense. He's the secret commander of the company. KAT Give a dog a piece of meat, and it will always snap at it. Give a person power... He shrugs, chewing tobacco in his mouth. KAT (CONT'D) Man is a beast... drink. Paul gratefully accepts the canteen. He drinks. Finally, he wipes his mouth off.CONTINUED: 29 29 (CONTINUED)Goldenrod Revision 22.4.2021 18. PAUL Thanks. A silent nod, then Kat screws his canteen shut. BOOM. A fountain of mud shoots up nearby. Kat looks up at the sky, longingly. KAT There's gonna be a blanket tonight. He turns and goes over to his comrades to help them bail. Paul gets up and goes out. Kropp, Müller and Behm are in the middle of it. Behm is plagued by guilt over the gas mask. BEHM I'm sorry. PAUL Forget it. BEHM This isn't what I expected. KROPP Oh, shut up. In a row, the men bail the cold muddy water out of the trench, occasionally GAGGING as they find feces in it. A VETERAN straightens up a support beam and presses it back into the wall of the trench. Another SOLDIER pulls off his boots, revealing his gangrenous feet. Behm starts bailing like crazy to make up for his mistake. Paul tries to calm him down. PAUL Ludwig... Ludwig! It's okay. Behm suddenly pauses, exhausted. His fingers are red and frozen. BEHM My hands... I can't feel my hands. KAT Stick 'em in your drawers. That's what I do. Behm wipes his hands off and sticks them in this underpants. Paul, Müller, Kropp -- they all do the same thing: It gets better after a few seconds. Their expressions are relieved. KAT (CONT'D) Like I said. They resume bailing. Only Behm is still standing there with his hands in his pants. Kropp turns his nose up in disgust.CONTINUED: (2) 29 29 (CONTINUED)Goldenrod Revision 22.4.2021 19. KROPP The water stinks. TJADEN That's the innards. Of the dead. Fermentation agents, you know. Like Bavarian beer. Only that it tastes like death. TJADEN STACKFLEET (20) is an old hand despite his youth. The biggest eater of the company, but skinny, a peat digger by trade. Paul and Kropp stare at him blankly. Tjaden reaches for a clump in the water beside them. He lifts it up: A soldier's rotting CORPSE. A last SIGH of gas escapes from the corpse's lungs, forming a bubble in the water. Tjaden wordlessly drops the body and lets it sink into the maw of the mud. Kat turns to Paul and indicates the folding trench shovel on his belt. KAT Hey. Gimme that. PAUL What? My shovel? KAT Quick. Paul hands him the trench shovel. Kat wades a few steps into the water, then rams it into the ground in a flash. And again. He digs in the mud for a beat, then drags a dead rat out by the tail. He flings it out of the trench unmoved and starts looking for the next cadaver. He finally hands the shovel back to Paul. KAT (CONT'D) You can split someone's chest with one of these, but you really have to hit him hard, between the shoulder and the neck... right here. Kat places the edge of his hand on Paul's neck. Paul GULPS. he looks at the shovel in his hand, unsure of himself. Albert Kropp whispers to them. KROPP Like a butcher.CONTINUED: (3) 29 29Goldenrod Revision 22.4.2021 20.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LATIERRE HILL / TRENCH - NIGHT 30 30 The middle of the night. It's still raining. It's cold, wet, and dirty. A flare illuminates the battlefield, strewn with corpses. Paul and Kropp huddle in the trench, their uniform collars closed tight around their necks, pulling guard duty. Kropp's head sinks to his chest. He has a carving knife and a piece of wood on his lap -- he's fallen asleep over his carving. Paul is polishing his rifle again, then he listens up and looks out at the deep darkness -- a RUSTLE in the dark. He nudges his friend. PAUL Albert... Albert! Albert Kropp wakes up again. PAUL (CONT'D) Soldiers who fall asleep on guard duty are court-martialed and shot. KROPP Leave me alone. Kropp straightens up tiredly and watches Paul cleaning his rifle. KROPP (CONT'D) You think it will shoot better that way? Paul listens up. There it is again: The RUSTLE in the dark. PAUL Did you hear that? KROPP What? PAUL That noise. Listen. KROPP It's nothing. PAUL Psst -- Albert keeps carving his block of wood, delicate work for his rough hands. Paul listens to the dark and raises his rifle, excitedly. (CONTINUED)Goldenrod Revision 22.4.2021 21. PAUL (CONT'D) Our first Frenchman. KROPP Settle down. There it is again. A soft RUSTLE, not even ten yards away. Paul and Kropp exchange looks. They both pale. KROPP (CONT'D) Now I heard it too. PAUL (loud whisper) Who's there? No answer. The RUSTLING suddenly stops, then resumes a few seconds later. Paul aims his rifle into the dark. A shadow flits by in the dark, looking like a man. PAUL (CONT'D) (louder) Halt, who goes there? (in broken French) Montrez-vous! Nothing. The shadow crawls toward them... Paul SHOOTS. The muzzle flash illuminates the night: Two rats, the size of a loaf of bread, skitter a few steps to the side. Their faces are bloody; one of them has human entrails dangling from its mouth. Suddenly -- CLANG! A bullet hits Paul's helmet and knocks it clean off his head. Paul falls off the ladder and lands in a puddle at the bottom of the trench. PAUL (CONT'D) I'm hit! I'm hit! He frantically feels his face and head to see where he's hit. Then he inspects his helmet and discovers two bullet holes. PAUL (CONT'D) They shot me. Twice! KROPP Well, there were two rats, after all. KAT (O.S.) Who shot? Katczinsky comes out of the covered path and approaches up the trench. Paul shows him his bullet-riddled helmet.CONTINUED: 30 30 (CONTINUED)Goldenrod Revision 22.4.2021 22. PAUL They shot me. Two of those bastards shot me. KAT With one shot? Kat looks at the damage: One entry hole, one exit hole. KAT (CONT'D) They saw your muzzle flash. Next time, don't stick your head out. He hands Paul back his helmet. The boy dons it, awkwardly and returns to his original position. KAT (CONT'D) If you don't wanna catch the next bullet with your teeth, I suggest you moved ten meters down the trench. The two recruits stare at him. KAT (CONT'D) Shoot, move, shoot, move. Got it? Kat heads off, shaking his head. Paul and Kropp head along the trench and take their positions again. Paul reloads. Two FLARES are shot into the sky, gliding down on parachutes. Paul and Kropp gape at the spectacle. It would be beautiful if it weren't so deadly. We now have time to scan the battlefield: A landscape pocked by craters, dark black dirt, crisscrossed by barbed wired. Two FRENCHMEN looking for wounded in no man's land are surprised by the bright flare. Kropp raises his rifle and aims. Paul pushes his barrel down. PAUL Those are medics. KROPP So? They're Frenchmen! A sudden throaty ROAR. BOOM! Just a few yards behind the trench, an artillery shell hits, pelting them with dirt. BOOM! BOOM! Two more hits, in quick sequence. Katczinsky hurries up. KAT You two. In here! Quick. Paul and Albert stumble over to the bunker.CONTINUED: (2) 30 30Goldenrod Revision 22.4.2021 23.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LATIERRE HILL / BUNKER - NIGHT 31 31 The SOLDIERS sit in the bunker, huddling tight. It's dark. Earth and wood walls. Paul and Kropp find themselves a spot, near Müller and Behm. Kat and Tjaden are with them. Shells hit outside. BOOM. BOOM. BOOM. It doesn't stop. The recruits are in panic. They shut their eyes, shaking, as the veterans sit there, stoically waiting for the end of the barrage. Behm holds his ears shut, sweating and and gasping for air. BEHM ""You are what you eat..."" My mother always said. Paul smiles. Behm looks at him. BEHM (CONT'D) We'll stick together, Paul. PAUL Yeah. A shell strikes nearby. BOOM. A roof beam breaks and collapses, sending dirt raining down on the soldiers. A desperate recruit pukes in a corner. Ludwig Behm wants to * get up and flee, but Paul is holding him back. * PAUL (CONT'D) * Don't, Ludwig. Everything will be * fine. * BEHM * I can't do this, Paul. I can't. I * wanna go back home. * PAUL * Ssssh. * The barrage gradually recedes to behind the front. A few * clods of dirt rain down from the ceiling. Behm gets a grip on * himself. The soldiers are listening. * TJADEN * Creeping barrage. * PAUL * What? * TJADEN * The artillery barrage moves forward * every few minutes, as the infantry * advances behind it. * (CONTINUED)Goldenrod Revision 22.4.2021 24. KROPP * What does that mean? * KAT * It means they're coming. * He grins into the silence. The men await the impending * attack. Behm chews his lip in fear. Paul and Kropp clutch * their rifles... * But nothing happens. There's no attack. The air is * suffocating, Behm yanks open his uniform collar. The men sit * there, as if sitting in their graves. * BOOM! The walls shake. A SCREAM and FLASH. Smoke. Sulfur. * Dirt. Dust. The bunker creaks under the hit, all the beams * straining, but they hold. * A frantic recruit, 19 years old, climbs over the men and * heads for the exit. Kat and Tjaden try to stop him. * KAT (CONT'D) Where are you going? You are * staying here. * SOLDIER No. Let me out. I wanna get out of * here! * KAT Settle down. Clam down, god damn * it! * The SOLDIER breaks free and runs towards the exit, when a * HUGE EXPLOSION hurls him back, ripping the young soldier * apart. * Blood spatters Tjaden's face. Shrapnel and bits of uniforms * everywhere. Ludwig Behm is hitting his head against the wall * like a billy goat, over and over again. Paul almost has to * puke for a moment, then the next shell hits the top of the bunker. BOOM. BOOM. BOOM. KAT (CONT'D) Out! Out! Out! BOOM! A direct hit. The beams burst over their heads. The soldiers leap up with their rifles and try to flee out of the bunker... It's too late. The earth SHAKES. BLACK.CONTINUED: 31 31 (CONTINUED)Goldenrod Revision 22.4.2021 25. Silence. DEATHLY SILENCE. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LATIERRE HILL / UNDERGROUND - DAWN 32 32 A quiet SCRATCHING and SCRAPING noise. Flat breathing. Suddenly, a first ray of dawn light pierces the dirt: Paul lies buried beneath. He gasps for air, hears the SOLDIERS' muffled voices. SOLDIERS < Here's one. Go on, help me get him out! Pull! > Paul still can hardly hear. His ears RING. A DEAD SOLDIER out of the corner of his eye. Suddenly, Franz Müller appears, helping his fellow soldiers. MÃœLLER < Paul. It's Paul. > (calls) < Albert, we found Paul! > (to his comrades) < Get that beam out of the way! >",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LATIERRE HILL / DESTROYED TRENCH - DAWN 33 33 The soldiers lift a beam aside, finally freeing Paul. They drag him out of the dirt, groaning, then Albert Kropp appears beside them. KROPP < Paul?! Are you hurt...? Is everything okay? > Paul is still hard of hearing. He nods. Their comrades urge them to leave. SOLDIERS < Come on, let's go. > MÃœLLER < See you later, Paul. > The soldiers move on to rescue the next soldier. Paul stares at the pale blue sky for a beat. His lungs fill with air. Then he struggles up. The trench is almost completely destroyed. It's only a few feet high in some places -- riddled with holes, craters and piles of dirt.CONTINUED: (2) 31 31 (CONTINUED)Goldenrod Revision 22.4.2021 26. Kat sits at the opposite wall, scarfing down a slice of bread, his face completely dirty. A few MEDICS hurry up and carry off a WOUNDED MAN. The two men exchange looks. A beat. Finally, Kat hands him the piece of bread. Paul eats, wordlessly taking a bite. He chews and takes another bite. FOOTSTEPS approach and stop before him. SGT. STEINBERGER (O.S.) < Are you injured? > PAUL < N-- no. > SGT. STEINBERGER < Then collect these, please. > The Sergeant tiredly holds out a bag to him. Paul takes it, looks inside: A handful of dog tags of dead soldiers. He gives Kat a quizzical look, who shrugs. KAT < Helps to keep moving. > He takes his shovel, gets up and keeps going. Paul limps along the destroyed trench, piled with dead. He bends down to them and breaks off their dog tags. He places them in the bag. KRRK. Paul suddenly pauses: He stepped on something. He slowly bends over and picks up a bloody, broken pair of glasses. Behm's glasses. Paul frantically runs along the trench until he finds a lifeless body and turns it over: 18-year-old Ludwig Behm lies dead in the dirt at his feet. His eye is bloody. He's missing a leg. Paul fights back the tears and leans over his dead friend. He tries to button up his uniform collar with trembling hand -- for the cold -- but he can't. His fingers are cold. Then he has to sob. Violently. SGT. STEINBERGER (O.S.) < Come on, keep going. Or else this will take till day after tomorrow.> The Sergeant marches on. Paul wipes his tears off, gets a grip on himself. He wordlessly collects the dog tags, gets up and keeps doing his job. CONTINUED: 33 33Goldenrod Revision 22.4.2021 27.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FIELDS - DAY 34 34 The wheat is tall and golden in a field, the wind whips the stalls gently. Calm, peaceful, majestic.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. FIELDS BEHIND THE FRONT - DAWN 35 35 It's Fall by now. The fields are bare. Fog hangs low over the ground. Leaves are still blowing across the roads here and there. 18 MONTHS LATER. NOVEMBER 1918. INT/,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. TRUCK / ROAD BY FARM - DAY 36 36 An ammo truck heads for the front. Spent cartridges jiggle on the cargo bed. Paul dangles his legs off the back of the truck. Paul has aged. His gaze has hardened. Kat leans against the cab. Finally, he knocks on the window. The DRIVER brakes, the two buddies jump off the back. Kat offers the driver two cigarettes as payment. KAT Thanks. The truck slows down. Kat and Paul march across a field.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ROAD / FARM - DAY 37 37 A farm wall appears off to one side of the road. Kat and Paul march toward it. KAT I did the math, Paul If we keep up this pace, we'll have conquered all of France in 180 years. Paul grins. PAUL What? Are you gonna go get 'em? KAT M-hm. PAUL Don't get caught. KAT No way. He shrugs.Goldenrod Revision 22.4.2021 28.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FARMYARD - DAY 38 38 Kat stops at the farmyard wall, listening to the wind. KAT Listen. Soft CLUCKING NOISES in the distance. Kat glances at his friend. KAT (CONT'D) What do you think? Is this worth dying for? PAUL Anything's worth it when you're hungry. Paul grins. He squats down and extends his clasped hands to Paul. Kat sticks his foot in his cradle and deftly climbs over the wall. Paul stays behind, alone, looks down at the valley, pensively. A DOG barks somewhere. Paul listen up. A GOOSE HONKS like an alarm, a door slams on the farm yard, and suddenly... BANG! He hears a man swear in FRENCH. Paul peers through a crack in the gate, sees the dog run by. A BOY (10) stumbles along after it. Paul creeps around the yard as Kat staggers out of the stable door onto the fields. KAT Quick! Run! FARMER < Voleur! > BLAM! Another bullet misses him. The Farmer CURSES in French behind him. Paul runs along with him, PANTING. KAT Throw. Throw! Kat tosses the goose to him like a rugby player. Laughing, the two buddies flee over the field.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SHED / STAGING CAMP BEHIND THE FRONT LINES - DAY 39 39 A shed on the edge of a staging camp, where soldiers can recuperate. Through a dirty window, we see Paul, Kropp, Müller and Tjaden heads straight for the shed. (CONTINUED)Goldenrod Revision 22.4.2021 29. CLACK. The men stumble in, famished. Kat already has plucked the goose and is frying it in the pan. It sizzles on the stove. The men greedily inhale the smell. TJADEN Oh, my God. You're the best, Kat. KAT Shut the door or everybody will smell it. Tjaden shuts the door. They all take out the plates of their mess kits. Kat carves big fat slices for the gang with his trench knife. KAT (CONT'D) Password? TJADEN I forgot. I'm drawing a blank. KAT What's the password? KAT (CONT'D) Wide eyes, long fingers. TJADEN Mouth open, goose in. They LAUGH. MÃœLLER I'll take a wing. TJADEN Gimme the rest. KAT No goose for Franz. KROPP Sleep well in the MG barrage. Kat passes out meat on their plates. Paul is stuffing the goose down in his pillow case. Tjaden grins. TJADEN I'll never forget this, guys. The men wordlessly sit down on crates and start eating. Teeth gnash. Grease drools. They dunk grey biscuits in the gravy. Tjaden has a wing in his mouth like a harmonica, chewing and MOANING in happiness. KAT Taste good?CONTINUED: 39 39 (CONTINUED)Goldenrod Revision 22.4.2021 30. ALL Mmmh. Good. You too? KAT Life is short. Frank digs a piece of shotgun lead out of his mouth and spits it into his mess kit. Tjaden drinks grease straight from the pot, smacking. TJADEN Oh boy, oh boy... Jeeves, you may serve the caviar and coffee now! MÃœLLER And draw my foot bath, please! Artillery fire. A low THUD rattles the shed, aerial bombs hit. Muffled SHOUTS. A few SCREAMS. It must've hit a barracks. Airplanes BUZZ in the distance. MG fire: RAT TAT TAT TAT TAT. Tjadsen suddenly looks up. TJADEN Kat... KAT Hm? TJADEN ...The goose is gone and the fox is on the town-o... The men LAUGH and join in. In here, the fire flickers on the stove, illuminating their faces. The men sit in a circle in their worn uniforms, eating happily. Five friends by the stove, with food to eat – what could be better? OMITTED 40-42 40-42",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. STAGING CAMP - DAY 42A 42A The staging camp on a wide meadow. The sun is low in the sky. A covered truck rolls past. A BUGLE plays in the distance.,SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. STAGING AREA CAMP / STABLE - DAY 43 43 Shells stick in cratered ground. Nature reclaims a crashed airplane. A few trucks park by the side of the road, by artillery and flak batteries. MG FIRE in BG.CONTINUED: (2) 39 39 (CONTINUED)Goldenrod Revision 22.4.2021 31. The men sit beneath a shelter off to one side of the staging camp, peeling a huge pile of potatoes. It has rained, water drips from the roof. Only Kat sits on the ground, sunbathing his face. Franz has hung his coat on a nail and brushes the dried mud off it. KAT So, this schoolteacher asks the kids what medals their dads got in the war. So Little Fritz says: ""My dad got the Iron Cross."" Then little Karl says: ""My dad got the Medal of Honor."" Then little Otto says: ""My dad didn't get a medal, but he was trapped in the hotel?"" ""Trapped in the hotel?"" the teacher says. ""Never heard of it."" The next day, little Otto comes back to school and says: ""Sorry, M'am. My dad wasn't trapped in the hotel; he had the clap in the hospital."" PAUL Look. The men stop laughing: By the edge of the woods, three GIRLS pass by with an ox cart, spades and picks on their shoulders, coming home after a long day's work. Albert Kropp gets up and waves. KROPP Hey. Salut! PAUL Venez-ici. Pain, baguettes. Pour vous. KROPP Liver wurst. Amour. Beaucoup d'amour! Their French is rudimentary. The girls are not persuaded by the gang's awkward charms and just keep going. Meanwhile, Franz plucks up his courage, puts on his coat and marches over to them... He just wades over to them. Kropp calls after them. KROPP (CONT'D) Hey, Franz. Where are you going? Take me with you. MÃœLLER Come on.CONTINUED: 43 43 (CONTINUED)Goldenrod Revision 22.4.2021 32. SERGEANT STEINBERGER If you take another step, I'll take two! Steinberger calls from behind him, standing beside the cook by the field stove. Kropp hesitates. He doesn't go. Shrugs. KROPP They probably don't want company, anyway. Paul and Kropp watch their buddy approach the girls and talk to them. Kropp tries to listen in, while Paul sits down. KROPP (CONT'D) What's he saying? He can't hear him. He's too far away. Franz does a little jig for the girls. Kropp LAUGHS. KROPP (CONT'D) Look, he's just making a fool of himself. (mocks him) ""Oh là là, vous-êtes très belles."" (calls) Franz! Save the skinny dark-haired one for me! But Franz doesn't react. The girls LAUGH and talk to him. Finally he takes one of the girls' burlap bags and takes off with them. Kropp's grin freezes on his his face. KROPP (CONT'D) Hey, where's he going...? (calls) Franz?! No answer. Steinberger loses his patience. SERGEANT STEINBERGER Kropp! Those potatoes won't peel themselves. The company needs to eat. Kropp stares after his buddy, longingly. Then he heads back to the shelter, where they are peeling potatoes. He shakes his head. KROPP If the war were over now... you know what I'd do now? KAT There's no peace. It's not over yet.CONTINUED: (2) 43 43 (CONTINUED)Goldenrod Revision 22.4.2021 33. KROPP Sure, but if -- Damn, then there'd be girls again, too, right? PAUL That too. KROPP I wouldn't wear pants for a week, I swear. What about you, Paul? PAUL (shrugs) Beats me. Can't think of anything. KAT I should kick your ass for even starting talking like that. Kat has spotted a beetle in the mature and lets it crawl over his hand. Kropp takes his stick out and starts whittling. Tjaden butts in. TJADEN I'd stay with the Prussians. KROPP You're crazy. TJADEN Ever dug peat? Try it. KROPP Can't be worse than trench digging in the Champagne. TJADEN Takes longer, though. And you can't shirk... In the peacetime army, your mess is no problem, either. Your food arrives every morning, or you raise a stink. You got your bunk, fresh laundry every week, make NCO, get all kinds of nice stuff. In the evening, you go to a bar... He stares in reverie. TJADEN (CONT'D) When your twelve years are over, you get your retirement. Kat uses his knife to poke a few air holes in a box of matches. He pads the box with leaves and puts the beetle in it. Tjaden rambles off the cuff.CONTINUED: (3) 43 43 (CONTINUED)Goldenrod Revision 22.4.2021 34. TJADEN (CONT'D) Just imagine being a Ranger. A cognac here, a pint there. Everyone wants to be friends with a Ranger. KAT There's a catch to your plan, though, Tjaden. TJADEN Which one? KAT You'll never make non-com. Tjaden eyes him, stricken. Reality comes crashing back. TJADEN You always get hung up on such nonsense. It doesn't help, does it? He turns away, grumbling. OMITTED 44 44",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FIELD POST OFFICE / STAGING AREA CAMP - DAY 45 45 The driver unloads several bags of mail from the back of the truck and carries them into the camp post office. SOLDIERS throng a table, on which a bag of mail is emptied out. Kat is stuck in the throng and fights her way to the fore. Tjaden digs through it on the other side of the table. TJADEN Hey, Kat! He holds out a letter to Kat.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MEADOW / STAGING AREA CAMP - DAY 46 46 Behind the camp, Kat drags a latrine box across the meadow, till he reaches another latrine box, where Paul is sitting comfortably, writing in his diary. Kat wordlessly drops his drawers and sits down on the latrine. He hands Paul his letter. KAT Here. He digs out a cigarette, as Paul opens the envelope and reads it aloud. It seems like a kind of ritual.CONTINUED: (4) 43 43 (CONTINUED)Goldenrod Revision 22.4.2021 35. PAUL (reads) Honeybuns! You asked for a food package. Four helpings of wurst and pork fat are on the way, a few cakes, sauerkraut and bockwurst, one dose of Hing- Hingfong essence with sugar cubes. Oh, and a jar of plum jam. Don't eat it all at once, I don't wanna send another package anytime soon. Better-- Better not share with your buddies. (to Kat) God damn, what a scrawl. KAT Hm. Kat puffs his cigar, grinning. Yellow barrage blimps on the horizon and white puffs of flak. A DOGFIGHT in the sky over them, plus the distant ROAR of battle. Like a thunderstorm. PAUL (reads) I have to ask you one more thing, honeybuns: How much have you saved up yet? Can you maybe send some home? They say it's gonna be over soon, you want some money left over. Now you gonna think, listen to the old lady, hitting me up for money, but you know me, I can never get enough, give her an inch and I'll take a mile. So don't give up on the last lap. Carl Lemmer is in hospital in the East, something with his stomach, and he was hardly there for three weeks. Can't you take sick leave with your back? You already did your part, dintcha? (to Kat) If she could only see you now, sitting in the sun with your cigar. KAT Hm. Kat relishes the sun. Paul laughs and keeps reading. PAUL On Sunday I'm going... to our little one's grave. (hesitates) I'll read to him again, he always like that so much. CONTINUED: 46 46 (MORE) (CONTINUED)Goldenrod Revision 22.4.2021 36. Next-- next year we'll go together and celebrate his tenth birthday. Well, that's all I have to say, kisses from your wifey. Goodbye! One of the airplanes over them is HIT and CRASHES out of the sky in a plume of smoke like a comet. Paul GULPS and folds up the letter, sheepishly meets his buddy's gaze. PAUL (CONT'D) I didn't know. KAT What's gonna happen now, Paul? Are we gonna go home some day? And go back to our old life, where they all just wanna know if you were in close quarters combat. We'll be like travelers in a landscape from a bygone era... I wonder if I'd rather sit around the campfire with you and Tjaden and Kropp and Müller eating baked jacket potatoes. Kat shrugs and takes a deep drag off his smoking cigar.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. STAGING AREA CAMP BEHIND THE FRONT LINES - NIGHT 47 47 Night has fallen. The barracks are still and dark. A single soldier returns to camp... Müller.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BARRACKS / STAGING AREA CAMP - NIGHT 48 48 In the barracks, the men lie in their bunks, asleep. Paul opens his eyes, as Franz quietly gets undressed by his cot. He whispers. PAUL Franz...? MÃœLLER Yeah? PAUL We gotta get up at six. Look for a few kids. MÃœLLER What happened? PAUL Got lost. Franz nods. Paul can't hide his curiosity.CONTINUED: (2) 46 46 PAUL (CONT'D) (CONTINUED)Goldenrod Revision 22.4.2021 37. PAUL (CONT'D) How was it? MÃœLLER Mmh. Nice. PAUL Yeah? MÃœLLER (nods) Here, smell. Franz hands him a scarf he has tied around his neck. Paul takes it and sniffs. Mmh. Heavenly. PAUL What's her name? MÃœLLER Eloise. PAUL (sniffs again) ""Eloise."" MÃœLLER Mmh. Her skin is white as milk. And her breasts... Franz stands beside the bed, wordlessly, and gives in to the beautiful image. Same with Paul... what a dream. Albert sits up in the next bunk. KROPP Hey. I wanna turn, too. Paul reluctantly passes the scarf to Albert, who takes it and sniffs, shutting his eyes in relish. Tjaden leans over. TJADEN Kropp... Kropp! No hogging. Kropp hands the scarf to Tjaden, who inhales the smell of the girl intently. He whispers to his buddies. TJADEN (CONT'D) A girl like that never has dirty fingernails. Maybe some sand off the beach. KROPP Yeah. I bet she bathes twice a day. Franz has had enough. MÃœLLER Gimme that.CONTINUED: 48 48 (CONTINUED)Goldenrod Revision 22.4.2021 38. With that, he yanks the scarf away from them. He will wear it all the time from now on. INT/",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DIPLOMAT'S LIMOUSINE / SCHOOL - DAY 49 49 A shot-up school by the side of the road. A wall of new, unvarnished coffins long one side, at least a hundred. A squad of tired SOLDIERS buries them in a hole. A convoy of three limousines ROARS by with their brights flashing. Little flags flap on the fenders, the sides are decorated with the Imperial eagle. Diplomats. Two SOLDIERS on the runner boards of the leading vehicle: One of them blows a long HORN to ask for a cease fire. The other waves a big white sheet as a flag. A pudgy man with spectacles and mustache sits in the second car: MATTHIAS ERZBERGER, 43, Secretary of State and head of the Armistice Negotiation Delegation. Erzberger is a Centrist politician and a Catholic pacifist. He sweats a lot. Up front in the passenger seat sits GENERAL FRIEDRICHS, 50, military hard-liner and combat vet. A scar across his cheek. The roads are in terrible shape, riddled with potholes, mud and craters. GENERAL FRIEDRICHS The Frenchmen have advanced their train to Tergnier. From there, they will take the train at night. ERZBERGER Thank you for the escort. GENERAL FRIEDRICHS No problem. With a little advance warning we could've fixed the potholes, too. Erzberger stares at the coffins. Friedrichs doesn't even notice them. GENERAL FRIEDRICHS (CONT'D) The High Command will join us in Compiègne? ERZBERGER (shakes his head) The High Command is not part of the delegation. Friedrichs gapes. GENERAL FRIEDRICHS ... You think that's a good idea?CONTINUED: (2) 48 48 (CONTINUED)Goldenrod Revision 22.4.2021 39. ERZBERGER What I think is of no matter. The Reichs Chancellor himself formed the Delegation. I'm just doing his bidding. GENERAL FRIEDRICHS With all due respect, Mr. Erzberger, shouldn't the General Command support you in the negotiations? ERZBERGER No. The general consensus is that the Allies have had enough of our military... German uniforms aren't so popular there. Friedrichs eyes the diplomat in the rear-view mirror. Erzberger goes on. ERZBERGER (CONT'D) Even if it's hard for you to accept, General, I'm afraid you will have to accept orders from a civilian. Believe me, it wasn't my idea. Friedrichs swallows his anger, then looks forward again.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. WOODS / ROAD - DAY 50 50 A HORN HONKS, heralding the convoy's arrival in the early- morning woods. A squad of soldiers watches the car go by: Kat, Tjaden, Paul, Kropp, Müller and three others. Tjaden snaps to and salutes as a joke. TJADEN Look, it's the Kaiser himself. KAT Sock counter. They cross the street and disappear in the woods. KROPP The Kaiser is top dog, right? MÃœLLER Mmh. KROPP And everyone has to salute him? Really everyone?CONTINUED: 49 49 (CONTINUED)Goldenrod Revision 22.4.2021 40. TJADEN Yeah, sure. Kropp smiles. MÃœLLER What? KROPP I was just picturing Hindenburg clicking his heels and snapping to attention.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. WOODS - DAY 51 51 DESOLATE WOODS off to one side of the road -- blasted trees, pock-marked ground. Terrible craters here and there. The soldiers have spread out. Paul walks alongside Kat. PAUL That's a hell of a blast. KAT Mine thrower. He points his barrel up -- a dead body dangles in the branches, naked, only his underwear on one leg, and a helmet on his head. Both his arms are missing, like a doll. Scraps of uniform stick in the mud. KAT (CONT'D) He got blasted out of his uniform. PAUL Is he one of the guys we're looking for? Kat shakes his head. KAT He's been hanging there for a while. Our kids have only been gone since yesterday. PAUL No joke, Kat. TJADEN Don't get soft. The men keep going toward the edge of the woods. MÃœLLER How many are we looking for?CONTINUED: 50 50 (CONTINUED)Goldenrod Revision 22.4.2021 41. KAT Sixty men.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. TRAIN YARD BEHIND FRONT LINES - DAY 52 52 It's noon. The squad walks along the railroad embankment in a row, finally coming to a stop: The train tracks are bent up before them. Beyond, a deserted train station has been completely destroyed by bombardment. The windows are shot out, the walls knocked down, a few overturned boxcars by the tracks. The men sit down around a flatbed wagon. Tjaden gets their rations out of his knapsack and eyes the sandwiches grumpily. TJADEN Turnip sandwiches for breakfast, turnip sandwiches for lunch, turnip sandwiches all the time, I can't stand it anymore. Albert's canteen is empty. He heads over to a train shed, chewing, where he fills his canteen at a pump. Suddenly he looks up: The faded poster of a front-line theater from last year. He goes toward it with interest... Meanwhile, Kat looks around, suspiciously. Tjaden calls after them. TJADEN (CONT'D) Tell me when you find them. I'm not taking another step. Kat keeps going, warily. Something's wrong here. Empty shells strewn on the ground, which the fog creeps over. Eerie silence. Paul and Franz join him. KAT Gas. They were gassed. Kat kicks a canister on the ground. They proceed toward the destroyed train station.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TRAIN YARD / ENGINE HALL - DAY 53 53 WHOOSH. Kat pushes open a gate to a train station hall. Light falls into the dark. His eyes have to adapt... The men switch on their flashlights. Wordlessly, Kat nods to his mates, the men split up and spread out. Paul is alone now...CONTINUED: 51 51 (CONTINUED)Goldenrod Revision 22.4.2021 42. A long hall full of rust and shards. A pile of shells, old engines, huge puddles on the floor... Paul clutches his gun. Kat tiptoes though the next hall, when he suddenly listens up: Behind, Paul has opened a door, slips outside.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TRAIN YARD / BETWEEN TWO HALLS - DAY 54 54 Paul goes up a dark alley between two storehouses. A sudden NOISE. Paul holds his breath, cocks his rifle. Rain water drips from the roofs... There it is again. He feels his way forward, step by step, then he startles...: GAUNT BIRDS peck at a dead dog on a chain. The birds scatter. Paul breathes a sigh of relief.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. TRAIN YARD BEHIND FRONT LINES - DAY 55 55 The rest of the squad sits in the sun, eating their sandwiches. Albert still stands at the faded posters from last year. All of a sudden, he sees a GIRL in a bright summer dress and a red lacquer belt, wearing white stockings and white shoes with a dainty buckle and heels. She holds her straw hat with one hand. The blue ocean behind her, a gentleman beside her. The girl is like a miracle to Kropp. So much beauty and so much happiness: That's what peace is like. He draws his knife with a grin and cuts away the rival. Then he folds up the picture and puts it in his pocket.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TRAIN YARD / WAREHOUSE - DAY 56 56 A coat on the ground. Old blankets. A few pots of beans in the dirt. Soldiers once housed here, but it looks like they departed in haste. Paul sneaks along the halls reaching a rusted door. For a moment, he listens to the silence, then he plucks up his courage and opens the bolt. He pushes the door open with his barrel, as it SQUEAKS on its hinges. He gingerly crosses the threshold...CONTINUED: 53 53Goldenrod Revision 22.4.2021 43.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TRAIN YARD / STOREROOM - DAY 57 57 It's dark and quiet in the storeroom. It's quiet as a grave. All we hear is a few drops from the ceiling and the BUZZ of a swarm of flies. Paul stares... His breath in the damp air, fears rises in his eyes. A sticky pile in FG, flies BUZZ around it.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TRAIN YARD / ENGINE HALL - DAY 58 58 Franz in a hallway of the building when we hear SHOUTS in the distance. PAUL (O.S.) Kat... Kat!? Franz turns on his heel, then Kat joins him from a side wing. They head up the hall together...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TRAIN YARD / STOREROOM - DAY 59 59 A moment later, they reach Paul in the storeroom -- Franz Müller makes a face. MÃœLLER Fuck. SIXTY RECRUITS on the floor before them, all DEAD. Blue faces, black lips, frozen in place, their gas masks in their lifeless hands, like they were struck dead. They're all dead. KAT Fucking kids. MÃœLLER They took their masks off too soon. Kat heads over to the dead: Pale faces with cramped hands. None older than 18, their uniforms much too big for them. Wordlessly, Kat opens a satchel on his belt and gets out a handful of chlorinated lime. He goes along the row of bodies and sprinkles them with lime... Skinny, white bodies in the dark, shining like funeral shrouds. Kat tosses lime on a BOY (17), who suddenly wakes up and starts to COUGH. He stares at him, wide-eyed and trembling on the floor, too scared to move. Kat quickly kneels down to him. (CONTINUED)Goldenrod Revision 22.4.2021 44. KAT Hey, hey, hey. It's okay. Can you hear me? The recruit nods, a crust of blood in his ears. KAT (CONT'D) Can you speak? What's your name? My name is Kat. THE BOY E... e... He can't get any more out. Paul approaches and hands him his canteen, but he's too weak. He CHOKES and COUGHS. Müller indicates his boots. MÃœLLER Look at those boots. Those are nice boots. Right, Kat? KAT Come on, let's get him out of here. Paul and Kat help the kid get up. They help him limp out of the room, while Müller ogles his boots: They're made of soft yellow leather, with nice buckles on the shaft.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. TRAIN YARD BEHIND FRONT LINES - DAY 60 60 Outside, in the fresh air, the kid keels over again. He shyly sticks a hand out for a canteen. Kat holds it up to his mouth. KAT Not so fast. That's better. The kid catches his breath again. KAT (CONT'D) Can you walk? We'll take you to the infirmary. The kid nods. He bravely tries to get on his feet, but he can do it alone. Paul and Kat have to support him. They stagger across the courtyard with him a few feet, then he vomits a gush of blood and collapses in exhaustion again. He lies on the ground, pale as a sheet. He whispers. Kat crouches down to him. KAT (CONT'D) Easy, easy. It'll pass --CONTINUED: 59 59 (CONTINUED)Goldenrod Revision 22.4.2021 45. THE BOY St--stay... stay here. KAT Sssh. THE BOY Stay here. KAT Don't worry. I won't leave you. Kat takes the boy's hands, who can hardly breathe. His face is wet with soft tears, which he tries to suppress. He's very brave. One last gasp, then he's dead. Kat looks at him for one more moment, then he lets go of his hands and gets up. Paul can hardly breathe. The soldiers silently stare at the dead kid. Tjaden nods. TJADEN Germany will be depopulated soon. Müller joins him on the ground, taking the kid's boots off. He wordlessly holds up the soles to his own, then puts them on. They fit perfectly.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. EQUISAC MANOR - NIGHT 61 61 Night. A diplomatic limousine pulls up to a mansion. The DRIVER jumps out and opens the door, snapping to. A BOY waits with a dog. General Friedrichs takes the dog, wordlessly.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. EQUISAC MANOR - NIGHT 62 62 General Friedrichs quickly strides through courtyard, past a group of smoking OFFICERS, who salute him.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. EGUISAC MANOR / HALL - NIGHT 63 63 The General leads the dog down the hall. SOLDIERS snap to and salute.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. EGUISAC MANOR / STUDY - NIGHT 64 64 A big study: The Division HQ. The dog sits down by the fireplace as Friedrichs storms in, helping himself to a cigarette from a silver box. He greedily lights it. CONTINUED: 60 60 (CONTINUED)Goldenrod Revision 22.4.2021 46. MAJOR VON BRIXDORF (47) salutes patiently. MAJOR VON BRIXDORF General, Sir. No answer. Friedrichs goes to the window, turning his back on him. Friedrichs takes a deep drag. Then, finally... GENERAL FRIEDRICHS What's new, Major? MAJOR VON BRIXDORF The Frenchmen are putting on pressure, Sir. Our scouts intercepted orders this morning to advance several divisions to Latierre. Apparently, an Armored Regiment is still stuck in Fernancourt... We have to expect an attack. The only sound is the TICKING of a grandfather clock at the head of the room. Friedrichs nods... as he expected. He takes a tired drag off his cigarette. GENERAL FRIEDRICHS Social Democracy is the doom of mankind. MAJOR VON BRIXDORF ...? General, Sir...? GENERAL FRIEDRICHS I just put a delegation in a train to go to Compiègne and negotiate an armistice. These men are traitors to our country, Major. But my orders are to wage war. And before anyone tells me otherwise, I will continue to fight for every meter. Friedrichs extinguishes his cigarette, then he looks at the major. GENERAL FRIEDRICHS (CONT'D) The Frenchman want to force us to our knees, so we have to accept their demands... We have to counterattack, with all our might. We have to stay strong. The next generation of recruits is due in a few months. I will never surrender. Von Brixdorf nods. That's an order.CONTINUED: 64 64Goldenrod Revision 22.4.2021 47.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. DIPLOMATIC TRAIN - NIGHT 65 65 The lights of a train peel out of the dark.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DIPLOMATIC TRAIN / ERZBERGER'S COMPARTMENT - NIGHT 66 66 CLACK-CLACK. CLACK-CLACK. CLACK-CLACK. The monotonous rattle of the train on the tracks. Erzberger can't sleep and sits up in the middle of the night. He pulls his sheets back and picks up pen and paper, making a few notes. The photo of a young man in a frame on his night stand: His son.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DIPLOMATIC TRAIN / HALL - NIGHT 67 67 WHOOSH. Erzberger comes out of his compartment in his pajama. He rubs his face, tired, then staggers down the hall to the toilet.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DIPLOMATIC TRAIN / TOILET - NIGHT 68 68 Erzberger opens the toilet lid. He quietly whispers to himself, rehearsing a bit. ERZBERGER ... in the interest of -- I have to insist... I demand, that-- A sudden JERK in the train. Erzberger staggers and misses the toilet. He CURSES softly. ERZBERGER (CONT'D) Damn. He washes his hands and looks for a towel, can't find one, then he looks out into the dark. The window is painted over, through a narrow slit you can see -- A CLEARING IN A BARE FOREST. A second train stands a few hundred meters off on parallel tracks. Wood boards through the mud between the two trains. FRENCH SOLDIERS stand guard, as a grey man gets out of the train. Skinny. Stern. Proud. His uniform fits perfectly. He's FERDINAND JEAN MARIE FOCH (67), French Marshal and Supreme Allied Commander. He lights his pipe. Erzberger -- with wet hands, dressed in his pajama -- starts to SWEAT. He wipes his hands on his pajama pants. Goldenrod Revision 22.4.2021 48.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DIPLOMATIC TRAIN / HALL - NIGHT 69 69 CLACK. Erzberger opens the toilet door and ties the belt of his robe to cover his wet pants. Suddenly, a young man stands before him: Cavalry CAPTAIN VON HELLDORF (27), the delegation's interpreter. He quickly emerges from his compartment and pulls his robe shut. VON HELLDORF What? ERZBERGER We're here. Erzberger can't hide how much it weighs on him.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. STAGING CAMP - NIGHT 70 70 The quiet camp in the dark. A few petroleum lamps burn. Lieutenant Hoppe marches over to the Barracks.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BARRACKS / STAGING AREA CAMP - NIGHT 71 71 The barracks lies in the dark, as the light suddenly comes on again. Lt. Hoppe staggers down the hall, loudly hitting the bunk beds with a cane. LIEUTENANT HOPPE Soldiers! Pack your knapsacks, roll up your bedding, wash your mess kits. Our Regiment will advance to the front line. Anyone who can stand is coming. The SOLDIERS sit up in bed. Hoppe quickly loses his temper. He starts to SCREAM. LIEUTENANT HOPPE (CONT'D) Get out, God damn it! You think the French will wait for you to comb your pubes? Anyone who's not on the truck in fifteen minutes, I will chase on foot with the truck myself! The place comes alive. The soldiers leap out of their beds. Paul stuffs his things into his knapsack. Müller slips his boots on. Kat buttons up his shirt. KAT Here we go. MÃœLLER Where to? (CONTINUED)Goldenrod Revision 22.4.2021 49. KAT To battle. The men nod and buckle on their daggers and spades.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. TROOP TRUCK / ROAD BEHIND THE FRONT - NIGHT 72 72 A convoy of hard-top trucks barrels through the night. The road is pot-holed and worn. The trucks have their lights off and hit all the bumps. The men stand crowded on the back of the lead vehicle. There's no room for anyone to sit. Paul, Kat, Müller and Tjaden sway monotonously between the others. Kropp carves a stick, giving it its finishing touches. Suddenly, a reedy NOTE sounds: He plays the flute he carved. It gradually turns into a TUNE... short, but eerily beautiful. KROPP For my sister. Paul nods. The trucks turn off their brights, one after the other. They cruise through the dark. OMITTED 73 73",SONG. +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LATIERRE HILL / ENTRY TO ACCESS TRENCH - FIRST LIGHT 74 74 An indefinite blue-black light on the horizon, illuminated by muzzle flashes of distant cannons. The air is muggy with gunsmoke and fog. Flares shoot up here and there. It's silent otherwise. The soldiers jump into the access trench one after the other, wearing backpacks. Their heads and rifles stick out like out of a pond, then they disappear underground.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. LATIERRE HILL / ENTRY TO ACCESS TRENCH - FIRST LIGHT 75 75 The soldiers goose-step along the trench. Paul stubbornly stares at the back of the guy in front of him. Müller is wearing his scarf and is proud of his boots. Kropp quietly plays his FLUTE.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DIPLOMATIC TRAIN - DUSK 76 76 Early morning: It's dawning outside.CONTINUED: 71 71 (CONTINUED)Goldenrod Revision 22.4.2021 50. The rest of the distinguished delegation sit with Erzberger and Major General von Winterfeldt in a generous compartment, which was turned into a meeting room: MAJOR GENERAL DETLEF VON WINTERFELDT (51), the Reich Chancellor's military attaché, dressed in uniform from head to toe. Navy Captain ERNST VON VANSELOW (42), ALFRED COUNT VON OBERNDORFF (47) -- members of the Foreign Ministry, CAPTAIN GEYER (36) and the translator: Von Helldorf. The train is comfortable, almost luxurious. ATTENDANTS in white uniforms. A generous breakfast on the table: Fruit and croissants. Cheese and eggs... everything you could want. Erzberger writes in his notebook, trying to concentrate, while Oberndorff noisily scarfs down his breakfast. Winterfeldt nervously jiggles his foot under the table, impatiently pulls his watch out of his vest pocket. A BUTLER arrives with a plate. BUTLER Omelette au jambon? VON HELLDORF Oui. Von Helldorf raises his hand. The Butler brings it. Erzberger writes in his notebook, when his ink pen suddenly leaks. Cursing, he tries to wipe the ink off with a napkin. A sudden KNOCK at the door. A FRENCH INTERPRETER enters. A brief nod in greeting; he speaks with an accent. INTERPRETER Monsieur le Maréchal will see you now. Erzberger looks around, awestruck. He gulps. ERZBERGER Gentlemen, as Representative of the German Reichs Government, I wish us the Lord's aid and guidance. The men get up from the table. Von Helldorf downs a few bites of his omelette. Erzberger pulls out a handkerchief and wipes the sweat off his gleaming brow.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. COMPIÈGNE WOODS - DUSK 77 77 Two trains side by side on the tracks, only separated by a narrow woods. It's fall. The trees are bare. The leaves rot on the ground.CONTINUED: 76 76 (CONTINUED)Goldenrod Revision 22.4.2021 51. French guardsmen with guns slung over their shoulders and escort the German Delegation to the train of the Allied Powers. They have their collars up. Erzberger suddenly slips and gets his shoe stuck in the mud. He swears. ERZBERGER Damn. It's a bad omen. Panting, he tries to wipe off his shoe on the boards... his breath in the cold air.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MARSHAL FOCH'S TRAIN - DUSK 78 78 CLACK. The door opens. The delegates climb up the steps to the compartment: A remodeled dining car serves as the meeting room. The walls are wood paneled. Expensive furniture. Marshal Foch sits at a long oak table with the rest of the Allied delegates: MAJOR GENERAL MAXIME WEYGAND (51), Frenchman, the Marshal's close adviser. ADMIRAL GEORGE HOPE (49), Deputy First Sea Lord of the British Navy. ADMIRAL ROSSLYN WEMYSS (54), First Sea Lord and thus Hope's commander. Off to one side sits a YOUNG OFFICER who serves as scribe. The interpreter introduces the German delegation. INTERPRETER Monsieur le maréchal... La délégation allemande. The proud men rise for a moment. He snaps into a salute, then they all sit down again. A draft treaty on the table before them. Erzberger nods in greeting and sits down with the German delegation. He looks at his notes with sweat on his brow. ERZBERGER I stand before you in the hope you will take our presence as an opportunity to suspend hostilities. In the name of humanity, I urge you to agree to an immediate ceasefire for the duration of our negotiations, to save our nations unnecessary losses. The bloodshed must end today... Matthias Erzberger, head of the German Armistice Commission. He gulps, while the Interpreter ends the translation. Foch and his men eye him deadpan. No one offers him a chair. No one says a word.CONTINUED: 77 77 (CONTINUED)Goldenrod Revision 22.4.2021 52. Foch eyes Weygand coolly. FOCH Que désirent ces messieurs? Von Helldorf clears his throat. VON HELLDORF Marshal Foch asks what brings the gentlemen here. ERZBERGER Monsieur le maréchal. We look forward to your suggestions for reaching a final armistice on land, sea and air. The interpreter translates. Foch answers. FOCH Suggestions? Dites aux messieurs que je n n'ai aucune suggestion pour eux.VON HELLDORF Suggestions? I don't have any suggestions for you. ERZBERGER What does he mean? Erzberger looks around, confused, but his fellow delegates don't know, either. Von Helldorf gives it a shot. VON HELLDORF Perhaps he disapproves of the formulation. ERZBERGER Sure, fine. Then... VON HELLDORF (to Foch) Monsieur, le maréchal. Si vous permettez, on aimerais connaître les conditions-- FOCH Vous souhaitez l'armistice? Alors, dites-le! Foch interrupts him abruptly. Both sides stare at each other. Winterfeldt finally breaks the silence. MAJOR GENERAL WINTERFELDT He wants you to ask him formally. ERZBERGER Monsieur, I – I would like to request a cease fire.CONTINUED: 78 78 (CONTINUED)Goldenrod Revision 22.4.2021 53. VON HELLDORF Nous demandons un armistice. Erzberger swallows his pride, sounding pretty meek. He nervously plays with his napkin, still with ink on his fingers. Foch eyes the man across from him disparagingly, twiddling his moustache. He finally slides a treaty across the table to them. FOCH On vous donne 72 heures pour accepter nos conditions. Mais que ne vous y trompez pas... Ce n'est pas une négociation. La guerre est la guerre, on continue jusqu'à ce que vous signiez.VON HELLDORF (CONT'D) We will give you 72 hours, to accept our conditions. But please don't get me wrong... This is not a negotiation. War is war, and it will go on until you sign. ERZBERGER 72 hours? Monsieur le maréchal, don't let 72 hours go by. People are dying out there! FOCH Alors, signiez. Erzberger has worked himself into a rage, but Foch holds out the ink open to him... The German doesn't accept it. Finally, the Marshal gets up from his chair and wordlessly leaves the car. Erzberger looks at von Helldorf, who takes the treaty.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LATIERRE / TRENCH - DUSK 79 79 It's foggy at the front and still almost dark. A dead horse is rotting on the battlefield. A soldier with no hands lies beside it, caught in a wire obstacle. The silent SOLDIERS are spread out in the trench. Sergeant Steinberger stands at periscope binoculars, observing the enemy lines. A young RECRUIT has to VOMIT. It's terribly quiet. Paul has taken his position beside his friends. Kat sticks a package of chewing tobacco in his mouth. Kropp takes out the half-poster from the theater. He smoothes it out, kisses the girl, and pins it to the wall with a stick. He whispers. KROPP I'll be right back. He looks at Paul. KROPP (CONT'D) Jealous, huh?CONTINUED: (2) 78 78 (CONTINUED)Goldenrod Revision 22.4.2021 54. Paul smiles. You can't hear much except for his breath. INT/",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LATIERRE / TRENCH - DUSK 80 80 Lt. Hoppe holds a field phone in a shelter, receiving orders and nodding. LIEUTENANT HOPPE Yes, Sir. He hangs up wordlessly, goes out to the trench.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LATIERRE / TRENCH - DUSK 81 81 A thick fog bank lies over No Man's Land as Sgt. Steinberger approaches Hoppe. Finally, a quiet order. LIEUTENANT HOPPE Soldiers, march. SERGEANT STEINBERGER Soldiers, march. The Sergeant passes on the command to his men. The order echoes down the trench. Paul clutches his rifle. A last breath, and the men climb out..",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LATIERRE HILL / NO MAN'S LAND - DUSK 82 82 Paul and his fellow soldiers robotically race over the battlefield toward the enemy lines, their bayonets before them. GASP. Dirt. Fog. Mud. They jump over barbed wire. Finally, the enemy lines emerge from the fog. The first MGs rattle. Behind Paul, FELLOW SOLDIERS fall in the mud like flies. RAT TAT TAT TAT TAT. Bullets SAIL by Paul and hit his fellows. LIEUTENANT HOPPE waves them onward, SCREAMING, when he is hit by an explosion. He staggers, his momentum carries him on a few steps until he finally falls to his knees. Paul reaches for his Commanding Officer in the dense artillery smoke. He gasps: Shrapnel has torn half his face off. He lets go of him, aghast. He overcomes his panic and gives in to anger. He staggers on blindly, toward the enemy trenches, keeps on going. Into hell on earth. Like a feral beast.CONTINUED: 79 79Goldenrod Revision 22.4.2021 55.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. LATIERRE / FRENCH TRENCH - DUSK 83 83 RAT TAT TAT TAT TAT. A French MG GUNNER fires deadly salvos.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LATIERRE / NO MAN'S LAND - DUSK 84 84 All hell breaks loose around us, coloring the fog red. Paul staggers and falls, getting back up, forced to take cover behind an earth berm. He wipes the dirt from his face. Then he crawls up the wall and pulls a hand grenade out of his satchel. Trembling, he pulls the pin and tosses it in the enemy trench, where young eyes flash under enemy helmets. CALLS and SHOUTS. THE MG falls silent. Then: BOOM! The hand grenade explodes, tearing the French SOLDIERS apart. Anger. Sweat. Blood. Death. Paul struggles up and charges over the berm, FIRING into the enemy trench, SCREAMING, and charging into it.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LATIERRE / FRENCH TRENCH - DUSK 85 85 A few DEAD SOLDIERS killed by the hand grenade before them. A FRENCHMAN tries to flee. Paul SHOOTS him at close quarters. Another one of them is barely alive. Paul stabs him with his bayonet, where it gets stuck between the ribs. He rams his feet in his ribs to pull it out. A FRENCHMAN attacks him from behind, Paul drops his bayonet. He gets his trench shovel out with his other hand and HITS the man with the sharp edge of his shovel. The Frenchman defends himself with his arms, but it's no use. The sound of BREAKING BONES. WHAM! WHAM! WHAM! GASPING, the Frenchman falls into the black mud, his hand on his shattered collar bone, blood oozing out between his fingers. Paul Bäumer stands over him. They exchange looks: Innocent eyes, filled with the horror of this waking nightmare. The Frenchman can hardly breathe and clutches Paul's collar, desperately. Blood GURGLES in his throat. His body drains. He whispers. FRENCH SOLDIERS Pourquoi tu veux me tuer? Je veux pas te tuer... Pourquoi? He stares up at the German, who stands there, transfixed, his shovel raised for the next blow, staring like a wild beast. (CONTINUED)Goldenrod Revision 22.4.2021 56. Müller appears out of nowhere. He draws his gun and SHOOTS the man in the head, matter of factly. MÃœLLER Let's keep going, Paul! Paul takes his eyes off the man and runs after his comrade. CUT TO: FURTHER ALONG THE TRENCH Kat and Tjaden maker their way along the trench until they reach a bunker. A FRENCHMAN tries to escape, but Kat HITS him in the face with his rifle butt. Kat quickly secures the entrance of the bunker, then Tjaden tosses a hand grenade into the bunker. The earth trembles. A BLAST, smoke and groans. A French OFFICER staggers out, ears bleeding. Kat stabs him with his bayonet, as Paul and Franz join him from BG. Franz staggers on without stopping to catch his breath. CUT TO: FURTHER ALONG THE TRENCH The FRENCH are overrun. Paul staggers after Kat and Tjaden, breathlessly. He falls on a soft body, struggles back up. CUT TO: SIDE TRENCH Kat and Tjaden exchange GUNFIRE with two Frenchmen, until they lie dead on the ground. Another one turns on his heel and takes cover in a shelter. Kat hurries after them, pulls out a grenade, but Tjaden holds him back and runs past him. A mad look, a deep breath, then Tjaden charges into the shelter with a madman's glee, SCREAMING and FIRING blindly. Kat charges after him.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LATIERRE / FRENCH SHELTER / KITCHEN - DUSK 86 86 It's the kitchen. Three FRENCHMEN have taken cover here. Tjaden shoots all three, a Kat kneels at the door, covering him.CONTINUED: 85 85 (CONTINUED)Goldenrod Revision 22.4.2021 57. Bullets whip the dirt, cans EXPLODE on the shelves. Finally, all the Frenchmen are hit and lie on the floor, bleeding. Tjaden heads to the shelves, plundering their supplies. He draws his knife and opens a can of corned beef, spreads it on a baguette. FRENCHMEN run by the door. While Paul keeps guard, Kat finds a bottle of Cognac and opens it. Kat, Paul and Tjaden drink and scarf the food down, hungrily. They look at the ground with dirty eyes, chewing. They still their hunger. It tastes good. They suddenly freeze: A swarm of RATS flees through the kitchen and disappears underground... The men exchange looks, with a sinking feeling. Then, softly, very softly, we hear a RUMBLE in the distance. The ground trembles. Cooking pots rattle on the ceiling. Water drips down the tent canvas... Tjaden takes another quick bite. The three men run out.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LATIERRE HILL / FRENCH TRENCH - DAY 87 87 Outside, the German soldiers are lined up in the trench, aiming their rifles out at the French side. Paul chambers his rifle, dropping his ammo belt into the muddy water. He picks it up with trembling hand and takes his place beside Kropp and Müller... The men stare into space, transfixed. A loud ROAR comes at them: Suddenly, steel monsters appear out of the fog: Three FRENCH SAINT-CHAMOND TANKS roll at them from behind the front. A 75mm canon barrel in front, four Hotchkiss MGs on the sides. The monsters crawl toward the trench unstoppably. All hell breaks loose. RAT TAT TAT TAT TAT. The German MGs open fire, but the bullets just bounce off the steel plating. The steel monsters stop, their cannons swivel. Kat drags Paul down to the ground before the tank cannons shoot back, blasting everything in their path to shreds. THUMP. THUMP. THUMP. Bodies are flung in the air out of the mud. The MG EXPLODES. The German soldiers start to flee. In a panic, they clamber out of the trench, running back to their own lines through No- Man's Land. Paul crawls back to Franz and Albert, helps them up out of the mud.CONTINUED: 86 86 (CONTINUED)Goldenrod Revision 22.4.2021 58. SERGEANT STEINBERGER Hold your ground! Close ranks! THUMP. Sgt. Steinberger gets shot. Paul and Kropp fire away, but the attack is just too strong. The first tank has almost reached then. Kat SHOUTS through the barrage. KAT Hand grenades! Aim for the tracks when they're over us! Paul huddles at the bottom of the trench with Kropp and Müller. The ground shakes. One position further on, a belching tank ruthlessly crushes two SOLDIERS, crawling in the mud at the bottom of the trench. Their bodies sink into the mud. RAT TAT TAT TAT TAT. The Hotchkiss mows the fleeing soldiers in the trench down with a salvo. Then, a tank crosses the trench right over their heads. VRRRRR. The ENGINE NOISE is unbearable. Another cannon blasts. BOOM! Dirt rains down on our soldiers. A few walls collapse. Kropp SCREAMS, but no one hears him. COMBAT NOISES drown everything out. The men shrink together in their pale skin, until the monster rolls by. It crawls on unstoppably, at a walking pace through No Man's Land, across to the German lines. Kat BARKS. KAT (CONT'D) After it. PAUL Let's go... Franz! But Müller is carried off by a group of INFANTRY SOLDIERS. He calls out, but can't be heard any more. Paul and Kropp grab their grenades and follow the soldiers, around Kat over the berm onto the battlefield.",FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LATIERRE HILL / NO MAN'S LAND - DAY 88 88 WHOMP. The tank behind our guys fires a shell which hits right behind them. Paul struggles up and runs after the lead steel beast, firing its MG at the men. Then he pulls the pins of the hand grenades to place them on the track. They hit the dirt and take cover.CONTINUED: 87 87 (CONTINUED)Goldenrod Revision 22.4.2021 59. BOOM! The grenades blast the tank treads. A GRINDING and SQUEALING noise as the tread comes off, stopping the tank in its tracks. Kropp jumps up and throws a hand grenade through the visor. THUMP. A muffled explosion inside the tank, then a door opens and two burning GRENADIERS stagger out. Paul and Kat SHOOT them with their rifles. One position further on, the tank burns brightly as Kropp SHOOTS in the visor like crazy. Then he stops and looks up. KROPP Paul. They turn around. In the middle of No Man's Land, 20 meters from the trench, the worst nightmare of modern warfare appears: FLAME THROWERS! They appear out of the fog, advancing in a row. The French INFANTRYMEN have the deadly canisters on their backs. A second SOLDIER holds the hoses, spurting fire. Long, deadly flames shoot out of the long nozzles, incinerating anything in their way. The smell of petroleum wafts over with the gun smoke. We can hear the Germans' DYING SCREAMS, being burned alive. The psychological effect can instantly be felt. Fear and terror seize the soldiers. Even the most hardened men turn and run. Behind them, hundreds of FRENCHMEN advance in a dark mass. Our guys quickly duck, before they come under fire. KAT Open fire! Open fire! Paul feverishly reloads, but then one of the bullets jams... suddenly he looks and finds himself in the middle of the barrage the approaching INFRANTRYMEN fire at them. Kat is in charge. KAT (CONT'D) Retreat! Retreat! BAM! BAM! BAM! Bullets whizz by, forcing the men to flee. Paul runs a few meters behind Kat when a shell hits beside him. BOOM! Paul is hurled through the air with a hail of dirt and hits the ground, hard. He digs his way out and gasps for breath, the shock wave still ringing in his ears. He looks around, dazed...CONTINUED: 88 88 (CONTINUED)Goldenrod Revision 22.4.2021 60. A fews steps on, Kat is getting up out of the mud. The French soldiers cross the trenches and approach inexorably. A group of GERMAN SOLDIERS wants to surrender. They climb out of a crater with their hands up, but are shot by the FRENCH. Albert kneels right by them, tries to escape from a flame thrower. WHOOSH! Too late. The flames consume him. The smell of petroleum wafts over with the gun smoke. We can hear the Germans' DYING SCREAMS, being burned alive. Paul GASPS. PAUL Albert... Paul wants to help, but Kat grabs him by the collar and drags him off with him. KAT Retreat. Let's go! Go on! PAUL Albert? Albert!? But it's too late. The men stagger across the battle field, breathlessly, past another tank, stuck in the mud, helpless. MG salvos shred the ground, spewing fountains of dirt. RAT TAT TAT TAT TAT. Kat drops two live hand grenades, to cover their retreat. Finally they're back where we began this morning: In the shot- up German trenches. Paul hurtles after his buddies, completely out of breath...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LATIERRE HILL / TRENCH - DAY 89 89 Into the trench, where they all throng the cooling water of an MG. Thirstily, they stick their heads in the bucket and guzzle half of it. Kat looks at the MG GUNNER. KAT Aim for the tanks on their backs. RAT TAT TAT TAT TAT. The MG opens up beside them again. The gunner mows down FRENCHMEN, a lit cigarette in the corner of his mouth. The Frenchmen fall in a row. One of them falls on a wire obstacle.CONTINUED: (2) 88 88 (CONTINUED)Goldenrod Revision 22.4.2021 61. BOOM! A flame thrower tank goes up in flames. The FRENCHMAN is riddled by MG fire. He falls. The GUY holding his nozzle loses his grip. Fire shoots in all directions, they both burn brightly. CLANG CLANG CLANG. French bullets bounce off the MG shield and ricochet all over. Paul and Kat duck. Their lips are dry. Sweat bites their eyes. They take a moment to catch their breath. PAUL Where's Franz? I lost Franz. No answer. Who the hell knows?. Suddenly: THUMP. The MG GUNNER collapses, dead, shot in the head. A SERGEANT appears behind them and BARKS ORDERS. SERGEANT Katczinsky, pitch in! Disable the MG and retreat. We'll regroup in Eguisac. Two kilometers northeast of here. PAUL I'm missing my comrade, Sarge. SERGEANT I'm missing my mommy, God damn it. No more time to catch their breath. Kat rolls the MG GUNNER away, a cigarette still burning between his lips. Then he takes the MG. KAT Come on! SERGEANT (to Paul) Grab the ammo and the tripod! Paul lifts the equipment on his back, awkwardly. He peers over the rampart out at the battlefield -- INFANTRYMEN and FLAME THROWERS in the fog all over. CLANG CLANG CLANG. A few ricochets ZING around his head. Paul ducks, but then runs after Kat. The trench is already full of frightened soldiers, fleeing the front. Paul lags behind...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. LATIERRE / NO MAN'S LAND - DAY 90 90 The German troops retreat all along the front. Tanks burn. FLAME THROWERS belch flame. French INFANTRYMEN advance.CONTINUED: 89 89Goldenrod Revision 22.4.2021 62.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. DIPLOMATIC TRAIN - DAY 91 91 The diplomatic train stands deserted in the woods. A FRENCH GUARDSMAN is smoking in the fog.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DIPLOMATIC TRAIN - DAY 92 92 The German Armistice negotiating team is back on their train. They sit around the conference table, grumpily. Major General von Winterfeldt pages through the Allied treaty draft, them slams it shut angrily. MAJOR GENERAL WINTERFELDT This isn't a negotiation, it's a dictate. COUNT VON OBERNDORFF Maybe we should go back to Spa to consult with the High Command? MAJOR GENERAL WINTERFELDT What good will that do? There's no alternative but to fight to the end. Even if we wind up losing, we won't be worse off than with this capitulation. ERZBERGER Except for a few hundred thousand more dead. Erzberger stands at the window, staring out at his dirty shoes. With a scoff, the Major General takes the contract and waves it like a stinking rag. MAJOR GENERAL WINTERFELDT This is a complete capitulation. Alsace-Lorraine. The occupation of the Rhineland. Cannons. Locomotives. Wagons. Negotiating over this is political foolishness! ERZBERGER 250,000 Americans are landing in Europe every month. Cambrai, Marne, Cantigny -- all lost. The only thing separating us from Armistice is false pride... We will now undo the mess you and your fellow Generals have left us. But if you don't want to stay... be my guest. We will stay here. And then, if you wanna blames someone afterward, well, here I am. (CONTINUED)Goldenrod Revision 22.4.2021 63. Erzberger stares at his opponent, with a calm but sharp tone. Count von Oberndorff gets involved, expressing his doubts. COUNT VON OBERNDORFF It's winter. Without trains and provisions, the Bolsheviks will overrun us. The men will starve on their way home, instead of dying with honor on the battlefield. ERZBERGER Honor? My son fell in this war. Where's his honor? Erzberger eyes the others coolly. Then he turns to Von Helldorf. ERZBERGER (CONT'D) Von Helldorf. Get us a few copies of the Allied demands and telegraph headquarters to inform the government. Von Helldorf salutes and exits the car. Erzberger looks around at everyone. ERZBERGER (CONT'D) We have 72 hours, gentlemen. Every minute we waste talking here, another soldier dies. Let's pray for God's mercy, but for God's sake end the war. Erzberger wipes the sweat off his brow.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. EGUISAC MANOR - DAY 93 93 General Friedrichs steps out on the balcony of HQ, looks out at the battle in the distance. A shadow of a doubt on his face, as he resists the looming defeat.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LATIERRE HILL / HINTERLAND - DAY 94 94 Tree trunks blasted by the artillery barrage. Their blackened, splintered tree trunks dot the plain. In between, a wasteland of craters and holes. Heavy fire covers the land. Dead bodies all over. The whole company is retreating. Panting, Paul carries the heavy tripod on his shoulder. A SHELL EXPLODES barely five meters away from him, killing a private.CONTINUED: 92 92 (CONTINUED)Goldenrod Revision 22.4.2021 64. THUMP THUMP THUMP. The bullets ZING past, riddling tree trunks. Soldiers fall all over. A plane ROARS overhead, also opening FIRE. With his last strength, Paul jumps into a crater for cover.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LATIERRE HILL / CRATER - DAY 95 95 An oily mess at the bottom of the crater, a yellow puddle of blood in it. Paul leaps in it. It's noon. The hot sun burns down. Out of breath, Paul wipes the blood off his face. His hands tremble uncontrollably. He rises up a bit to look out, but quickly ducks down again: GUNS BLAZE, SHELLS EXPLODE. SOLDIERS race by at a trot -- FRENCHMEN with their Commandos. Paul slides down in the puddle, diving in up to his chest. He draws his dagger, in terror. He lies curled up in the stinking puddle, eyes the dead man. Muffled BOOTSTEPS over him, which turn on their heel now. METAL JANGLES. FRENCH ORDERS. Someone shouts ""RETRAITE! RETRAITE!"" THUNDER. MGS RATTLE. German batteries FIRE, repelling the attack. FRENCHMEN leap over his hole in the ground, when suddenly... CLACK. A ROUND being chambered. Paul looks up to the top of the crater: A FRENCHMAN stands over him, pointing his rifle at him. He shuts his eyes and hugs the ground, digs his way in, waiting for death. And then: BOOM! An explosion hits the Frenchman and hurls him down by Paul. A bullet hits the water by Paul, while the Frenchmen lands on a gravel bank. Paul immediately goes on the attack. He pulls out his dagger, wades through the puddle, while the Frenchman crawls toward his rifle, frantically trying to reload, but Paul quickly stabs him in the chest, blindly stabbing as the blood spurts in his face. He only feels the body convulse, then go soft and collapse. Paul lies on his back in the mud, exhausted, coming to again. His hand is sticky and wet. The injured FRENCHMAN lies beside him, gasping in his battle between life and death. Trembling, Paul takes a handful of dirt and stuffs his mouth with it. CONTINUED: 94 94 (CONTINUED)Goldenrod Revision 22.4.2021 65. Then he crawls off to the furthest corner, his eyes staring at the man, ready to stab him again if he moves again. Finally, Paul dares to move again. He puts his helmet on the Frenchman's bayonet and holds it aloft, gingerly, but then... CLANG! A bullet knocks it right out of his hand. Paul doesn't stand a chance. The bullets ZING low over the ground. He's pinned down. Paul tries to ignore the Frenchman's RATTLE. He hisses. PAUL Shut up. He holds his ears shut, groaning, until he spots his hand: Blood. All over. He almost has to throw up. He rubs his body with dirt until it covers all the blood. Suddenly, the shape across from him moves. The man tries to lift his head. With his final effort, he spits out the mud, then he collapses again. Paul looks at him for the first time: A small mustache over his full lips, his slack hand on his chest. Paul gingerly crawls up to him, lying beside him. The man opens his eyes wide in fear. His body is quiet, no more gasping, but his eyes are SCREAMING. Paul gently strokes his forehead, but the man recoils from his touch. PAUL (CONT'D) No, no... No, no, no. The man's mouth gapes open. He tries to talk. Paul digs the dirt out of his mouth. He looks around: His canteen is gone. So he spoons the yellow water out of the mud puddle with his handkerchief... The Frenchman drinks it. Finally, Paul opens his collar. His shirt is stuck shut. Paul digs for his knife in the mud, to cut it open... The man sees the knife. He desperately tries to defend himself, but he's too weak. There's the fear, the scream in his eyes. Paul holds his eyes shut. PAUL (CONT'D) No, no. Comrade... Camarade, camarade, camarade. Paul whispers in his ear. Finally, he places a few bandages on his bleeding wounds...CONTINUED: 95 95 (CONTINUED)Goldenrod Revision 22.4.2021 66. The man finally dies. A last twitch, he stops WHEEZING, the front starts to quiet down. Paul GULPS. He whispers. PAUL (CONT'D) Camarade. Camarade. I'm sorry. I'm sorry. No answer. He gingerly adjusts the dead man's body, bedding his head more comfortably in the mud. Then he shuts the man's eyes. The man's uniform is half open. Paul takes out a wallet, from which a few letters fall in the mud. A picture of a mother with a little girl: Simple country folks, standing before am ivy-colored wall. Paul takes the letters and tries to read them, but can't understand the French. He opens his pay book, in back of the wallet. The soldier's name on the cover. He reads: Gérard Duval, Typograph. Paul gulps. With wet lips, he whispers in the Frenchman's ear, almost like he's praying, giving confession. A few words reach him. PAUL (CONT'D) Maison, ta femme... Je promets. Promise. Paul wipes the mud off the man's face. He notes down the dead man's address on the bloody envelope. Then he sticks the wallet back in the man's coat. Tired with exhaustion and hunger, he lowers his head on his arms, suddenly listening up: Nothing. No more gunfire. A pale sky over him, a flock of birds crosses it. The battle has moved on. Night starts to fall. Paul trembles with excitement, his will to live comes back.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LATIERRE HILL / HINTERLAND - DUSK 96 96 Paul peers over the edge of the crater, carefully: Fog shrouds the charred tree stumps. It's otherwise quiet and deserted. Paul crawls out of the crater and stumbles on, past corpses and a deserted bunker, in the middle of nowhere. CONTINUED: (2) 95 95 (CONTINUED)Goldenrod Revision 22.4.2021 67. Behind him, a piece of paper flutters down into the dirt... the envelope with the printer's address on it.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. EGUISAC MANOR / DINING ROOM – NIGHT 97 97 While daylight fades outside, General Friedrichs and Major von Brixdorf sit at a richly set table. He chews at a scrumptious pigeon drumstick while an AIDE pours them red wine. Friedrichs drinks and nods to himself. He eyes the label approvingly. GENERAL FRIEDRICHS When were you born, Major? MAJOR VON BRIXDORF Eighteen seventy-one. June. GENERAL FRIEDRICHS A summer child. Same here. MAJOR VON BRIXDORF Yes. Friedrichs takes another bite of his drumstick. The hearty sauce tastes good. GENERAL FRIEDRICHS What does your father do? MAJOR VON BRIXDORF My family owns a workshop in Holstein. GENERAL FRIEDRICHS What kind of workshop? MAJOR VON BRIXDORF Riding saddles, Sir. GENERAL FRIEDRICHS Well. They'll alway need saddles. That's a safe bet. MAJOR VON BRIXDORF Lucky for me. General Friedrichs tears off a piece of pigeon meat. He nods and chucks it under the table, where his dog scarfs it up greedily. GENERAL FRIEDRICHS So you're looking forward to going home, Major? When we're not needed here anymore?CONTINUED: 96 96 (CONTINUED)Goldenrod Revision 22.4.2021 68. MAJOR VON BRIXDORF Yes, Sir. Another job is waiting for me after war. I will take over the business. GENERAL FRIEDRICHS Hm. MAJOR VON BRIXDORF What about you? Friedrichs hesitates. A beat. He listens to the SHOUTS of returning soldiers. GENERAL FRIEDRICHS My father served in this Regiment. He fought in three wars under Bismarck. And won all three. In 1871, he marched on Paris and came home a hero. He shakes his head and discovers a stain on his uniform pants. GENERAL FRIEDRICHS (CONT'D) We were born too late, Major. A half-century of peace. Who needs soldiers without war? He pensively dips his napkin in a glass of water and rubs the stain on his pants. Von Brixdorf gulps and looks at the General, who can only barely hide his thirst for glory. MAJOR VON BRIXDORF Were you and your father close? General Friedrichs shrugs. GENERAL FRIEDRICHS Men are born alone. We live alone and die alone. He looks at Von Brixdorf, sullenly.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. EGUISAC MANOR / STUDY - DUSK 98 98 In the General's study, his boy piles firewood in the hearth, lights a fire and empties the trash, then he adjusts the chair behind the desk. The last section on the western front where order still reigns.CONTINUED: 97 97Goldenrod Revision 22.4.2021 69.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. EGUISAC - DUSK 99 99 Finally, we reach Eguisac. A deserted, destroyed village with bombed-out roofs. A flare shoots skyward behind a shot-up church tower. SOLDIERS warm themselves at the campfires which burn all over.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. EQUISAC / VILLAGE SQUARE - NIGHT 100 100 On the village square, a few SOLDIERS drag up mattresses from the houses. Two of them lie in a four-poster bed in the middle of the burning street. Beside them, a SOLDIER is shooting up morphine. A CROWD chases a pig across the square. Soldiers PLUNDER the town and urinate on the street, SINGING and SHOOTING in the air. A drunk PRIEST (32) is blessing a loose group of men kneeling before him on the ground. PRIEST Lamb of God, you take away the sins of the earth: have mercy on us. Lamb of God, you take away the sins of the earth: give us your peace. SOLDIERS Lord, I am not worthy that you should enter under my roof, but only say the word and my soul shall be healed. The Priest goes around between the soldiers, hands them his bottle of wine. He blesses them. PRIEST Born in war, died in war. A PHONOGRAPH plays on the other side of the street. A SOLDIER sits at the head of the bed in a velvet fauteuil armchair, listening to the music and smoking a cigar like Che Guevara himself. A man beside him sits in a cast-iron tub full of bloody water. If this were Apocalypse Now, this would be Col. Kurtz's camp, only without the leadership. Paul staggers up the street, exhausted. A few SOLDIERS sidle past, rifles slung over their shoulders Russian-style, with the butts up. One of them runs into Paul's arms. SOLDIER LEMROTT Knock on the monastery's door and you will only find thieves and hoodlums. PAUL ...? (CONTINUED)Goldenrod Revision 22.4.2021 70. SOLDIER LEMROTT It's over. It's all over. The pig fuckers are surrendering. They're finally negotiating...! No answer. SOLDIER LEMROTT (CONT'D) We're going home soon, Soldier! He marches by with his comrades. Paul calls after them. PAUL Where's the infirmary? SOLDIER LEMROTT Who the hell cares? I survived! Paul stays behind, dazed.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. EGUISAC INFIRMARY - NIGHT 101 101 An old village church, converted to an infirmary. A bucket of water is poured out on the floor. A NURSE scrubs the blood off. A MEDIC brings chloroform to the OR, where a young RECRUIT lies on the operating table, his arm broken to pieces. The man struggles like crazy, while the ARMY SURGEON approaches with a bone saw. OR RECRUIT No! No! Stop it! ARMY SURGEON Hold still! Will you chloroform him, already? The MEDICS press a cloth soaked in chloroform on the man's face, as the surgeon starts sawing his bone. Paul enters, goes along the rows of WOUNDED on the floor, looking for his buddies. No luck. The SCREAMS behind him fall silent. The doctor stops sawing. The Medics carry the corpse off.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. EGUISAC INFIRMARY / HALL - NIGHT 102 102 Paul heads down the crowded hall of the infirmary, when a voice comes from the yard. TJADEN (O.S.) Bäumer. Bäumer! Paul exits.CONTINUED: 100 100Goldenrod Revision 22.4.2021 71.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. EGUISAC INFIRMARY / YARD - NIGHT 103 103 Tjaden is lying on a wood bier in the yard, a bloody bandage on his leg. He's sweating and feverish, pale and weak with loss of blood. Paul joins him quickly. PAUL Tjaden. What happened? Where did you get hit? TJADEN Over the knee, I think. I can't feel anything. Paul takes off his helmet and lifts the bandage: A gaping, ugly wound. Tjaden's knee is totally shattered and gangrenous. TJADEN (CONT'D) How far up is the bullet? I can't lift my head. PAUL (lies) At least ten centimeters... You're heading home, Tjaden. TJADEN You think so? PAUL I'm sure of it. Tjaden nods. He clenches his teeth. TJADEN Paul. I heard there will be peace soon. This will all be over soon. PAUL That would be something. TJADEN Goddamn it, how am I gonna make Ranger now? PAUL You still can. Tjaden shakes his head. TJADEN I'm not gonna let them amputate, Paul. I'm not gonna be a cripple. (CONTINUED)Goldenrod Revision 22.4.2021 72. PAUL You won't have to. You'll see -- They've patched up much worse cases here. Tjaden gulps and shuts his eyes. He has to get a grip on himself. TJADEN Paul... With great effort, he sticks his hands in his pocket. Then he gets a scarf out... Müller's scarf. A smattering of blood on the corner. Tjaden sticks it in his hand, whispering. TJADEN (CONT'D) This is for you. Paul stares at it, incredulous. PAUL Is he dead? Tjaden nods. TJADEN (shakes his head) You have to be brave now, Paul. You're still alive. You have to be grateful for that... for us. For all those who didn't make it. PAUL Stop it, Tjaden. Don't say that. Not you! Paul gets angry. He has tears in his eyes. Tjaden clenches his teeth and takes Paul's hand with the scarf in it. TJADEN Listen, Paul. I heard they're serving beans in back of the yard. Can you bring me some? PAUL (nods) Sure. TJADEN Come right back, huh? And don't forget your mess kit. Paul stares at him -- why should he forget his mess kit? With that, he leaves. Tjaden lets go of his hand, Müller's scarf glides from his fingers.CONTINUED: 103 103Goldenrod Revision 22.4.2021 73.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. EGUISAC INFIRMARY - NIGHT 104 104 Paul comes out on the street. He looks at the scarf for a beat, then he ties it around his neck... He will wear it all the time from now on.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. EGUISAC SOUP KITCHEN - NIGHT 105 105 The fires flicker outside. The ARMY COOK (32) at the head of the room, defending his mess kitchen. A horde of SOLDIERS crowds around him with their mess kits. Kat is in the front row. ARMY COOK Not so fast! Not until everyone's here. SOLDIER FROM CHURCH We are. ARMY COOK Yeah, sure. Where are the others? KAT Dead or infirmary. They're not your business any more. Paul listens up. Was that his buddy? Paul quickly grabs a mess kit off a pile and approaches the rebellious horde, while the cook is blown away for a beat. Kat is in the very front. KAT (CONT'D) Go on, Cookie, serve it up. We can smell it's done. ARMY COOK I -- I can't'. SOLDIER FROM CHURCH Why not, bacon grease? ARMY COOK I cooked for a hundred and fifty. I can't serve eighty men food for a hundred and fifty. KAT I think you need to be relieved of duty. You got provisions for 2nd Company. That's us. We're the 2nd Company. So dish it out! SOLDIER FROM CHURCH As if they were your provisions.PRIVATE FROM CHURCH Go on, hurry up. We finally wanna eat. (CONTINUED)Goldenrod Revision 22.4.2021 74. KAT Don't lose count! PAUL Kat... Kat! KAT Paul? The soldiers shout overlapping and throng the cook. Suddenly a SOLDIER hits an ORGAN keyboard -- the shattered organ pipes GROAN in atonal cacophony. Paul pushes his way amid the throng, reaching Kat by the field kitchen. He SCREAMS over the chaos. PAUL Kat, you're alive! You're alive! KAT Paul! The two buddies hug, happily. Paul SCREAMS over the mayhem. PAUL Tjaden got hit. He's in the church. KAT He'll get double rations from us. Kat sticks his mess kit out to the cook.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. EGUISAC INFIRMARY - NIGHT 106 106 Kat and Paul gingerly balance their mess kits full of beans and bacon on the way back to the infirmary. PAUL Fucking hell, I thought you were dead. KAT We all have to die. PAUL But not on the home stretch. They reach the church. KAT If you die before me, I'm gonna kill you. He LAUGHS.CONTINUED: 105 105Goldenrod Revision 22.4.2021 75.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. EGUISAC INFIRMARY / YARD - NIGHT 107 107 Tjaden lies in the yard, half-unconscious. Kat shakes his shoulder. KAT Tjaden. Tjaden... wake up. TJADEN Hm. KAT We brought you beans. TJADEN You got the silverware? Kat takes out the silverware. Tjaden sits up as best he can and smells the steaming grub. TJADEN (CONT'D) Smells good. Fatty. PAUL Need help? TJADEN (shakes his head) I can do it. You got silverware? The men sit up and eat. Embarrassed, Paul avoids the gaze of an injured, FAMISHED SOLDIER, who stares at him, lying on the ground. Tjaden can hardly swallow a bite, but Kat and Paul relish it so much, they huddle over their mess kits, eating silently. Suddenly, Tjaden RAMS THE FORK into his throat. It's a little dull, but he rams it deeper. He keeps stabbing till he hits the jugular. Kat and Paul TACKLE him. PAUL No! Stop. STOP IT! They try to grab the fork from him with all their strength, finally get hold of it. Kat looks around for help. KAT (calls) Help, he's bleeding to death! Kat presses his hand on Tjaden's gushing wound, but no one hears them, no one comes to help. Blood streams out of Tjaden's mouth. Paul whispers. (CONTINUED)Goldenrod Revision 22.4.2021 76. PAUL Why did you do that? Why? TJADEN It's over, boys. It's over. KAT We need help! PAUL Tjaden. Tjaden. Paul and Kat try to help Tjaden, who GURGLES and GASPS. The FAMISHED SOLDIER scrapes up the dish of beans from the dirty floor, greedily scarfing it down on his stretcher. Then Tjaden stops breathing. His blood stops gushing, Kat and Paul are left alone by their dead buddy.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. EQUISAC / FIELD - NIGHT 108 108 Reedy grass wafts in the wind as a flare sails into the sky. INT/,SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. EGUISAC / VILLAGE SQUARE RESTAURANT - NIGHT 109 109 The flare sails over Eguisac, casting its shadows over the destroyed village. In a destroyed restaurant, Paul and Kat sit on mattresses on the floor. The light of the flames outside dances on their exhausted faces. They're drinking rum. Kat watches his beetle, dreamily holding out a twig to it. Paul has his mouth and nose buried in Franz's scarf. Suddenly, he has an idea. He searches his pockets for the envelope with Duval's address. KAT What? PAUL I lost something. Paul searches for a beat, then gives up in despair. PAUL (CONT'D) Kat...? Do you speak French? KAT How? I never saw a Frenchman before I came here. PAUL I wish I spoke French... My mother wanted me to learn French. CONTINUED: 107 107 (MORE) (CONTINUED)Goldenrod Revision 22.4.2021 77. And piano. But she didn't want me to go to war. ""It's not for you"", she said. ""You'll be dead in two days."" Paul sinks back down on the mattress. PAUL (CONT'D) I wanted to prove I could do it. KAT And how does that help us now? Paul just shrugs. Not at all. PAUL ""In two weeks, we'll be in Paris."" Two years of hand grenades, you can't just discard all that like a pair of socks. The stench will always be with us. Ludwig is dead. Franz is dead. Albert-- KAT What do we care? We're alive. There's nothing we can do for them now. Who knows what's in store for us. Kat hands the bottle to him. KAT (CONT'D) It's like a fever dream. No one wants it, but suddenly it's there. We didn't want it, they didn't want it, either. Yet suddenly, the whole world is at war... God looks on while we kill ourselves. A brief glance at his buddy, then he lets his beetle fly off... He looks after it for a beat. Then he spits his chew out. KAT (CONT'D) What do I know? I'm just a pair of boots with a rifle. Orders are orders and schnapps is schnapps. Lie down and rest. We got lucky. PAUL Yeah. Paul lies down and shuts his eyes. Fire flickers on the other side of the bombed-out front wall. PAUL (CONT'D) Kat?CONTINUED: 109 109 PAUL (CONT'D) (CONTINUED)Goldenrod Revision 22.4.2021 78. KAT M-hm. PAUL What did your son die of? KAT Smallpox... PAUL I'm afraid of what's n",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",ext. KAT Don't be. They fall silent.,SENTI +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DIPLOMATIC TRAIN / ERZBERGER'S COMPARTMENT - NIGHT 110 110 Erzberger sits in a compartment and cleans the crusted mud off his shoe. The mud falls on a newspaper, showing the Kaiser on the front page. The headline reads: ""Le Kaiser a abdiqué."" The Kaiser has stepped down. Erzberger looks at the photo. Then, there's a KNOCK at the door. ERZBERGER Come in. The door opens. Von Helldorf on the threshold, holding a telegram. Erzberger looks at him. The weight on his shoulders bows him. ERZBERGER (CONT'D) Von Helldorf. What does it say? VON HELLDORF (re: telegram) Hindenburg... ERZBERGER ...? VON HELLDORF ... ERZBERGER Go on, read it. Von Helldorf rips open the telegram and reads it, then he gives Erzberger a look of relief. VON HELLDORF Hindenburg urges us to sign.CONTINUED: (2) 109 109 (CONTINUED)Goldenrod Revision 22.4.2021 79. Erzberger SIGHS in relief. VON HELLDORF (CONT'D) What - what will become of our country now? ERZBERGER We're on a suicide mission. This is a mess, Von Helldorf. The world is waiting for us to do the right thing. Erzberger puts his shoe back on. Let's go.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MARSHAL FOCH'S TRAIN - NIGHT 111 111 In train: Coffee and a basket of bread rolls on a side board. Foch bites into a croissant, which tastes awful. He waves to his BUTLER, who hurries over. FOCH Essayez. Foch offers him the croissant. The butler gapes, but has no choice: He has to tear off a piece and try it. Foch watches him chew. FOCH (CONT'D) Ils sont d'aujourd'hui? FOCH'S BUTLER Je suis desolé, monsieur. Je crois pas. FOCH Mmh. Foch wordlessly takes the basket of stale croissants from him, goes over to the table. Then, a KNOCK at the door: Erzberger enters with his entourage. He nods to everyone. ERZBERGER Messieurs... Monsieur le maréchal. A cool welcome on both sides. Erzberger takes a seat and CLEARS HIS THROAT. Foch eyes him coldly. The Interpreter and Von Helldorf both interpret simultaneously. FOCH Dites-moi. ERZBERGER The Kaiser has stepped down. Soldiers are refusing to obey orders, deserters are marauding in the countryside. CONTINUED: 110 110 (MORE) (CONTINUED)Goldenrod Revision 22.4.2021 80. The German economy is on the verge of collapse, a revolution has broken out... My country is on its knees, M. le maréchal. The German government pledges to do its utmost to fulfill your demands... But the German people may fall into starvation and anarchy, through no fault of their own. Have mercy on your opponent, lest he come to despise this peace. FOCH Vous parlez de culpabilité?VON HELLDORF You speak of 'No fault'? The Supreme Allied commander stares at him. FOCH Vous voulez signer ou non?VON HELLDORF (CONT'D) Are you going to sign? He wordlessly slides the treaty across the table. Erzberger has no choice: He sits down, takes the ink pen and dips it in the ink well... He seems to hesitate for a beat, when he sees the Allies have already signed. Then he adds his signature and passes it on to his colleagues. Graf Oberndorff signs. Captain Vanselow. Von Winterfeldt is last, tears in his eyes. He obviously doesn't want to have to do this. The Allies watch in satisfaction. Major General Weygand checks his watch. Foch leans back in his chair. FOCH Très bien. Fini la guerre. MAJOR GENERAL WEYGAND Let the record show the Armistice was concluded between at twelve after five a.m. by both sides. The Armistice will begin in six hours... In the eleventh hour of the eleventh day of the eleventh month. Foch silently slides the basket of croissants across to them. Erzberger hesitates. ERZBERGER We may have saved thousands of lives, but millions of Germans will never forgive us. Finally, he takes a croissant and takes a bite. Foch watches him chew in satisfaction.CONTINUED: 111 111 ERZBERGER (CONT'D)Goldenrod Revision 22.4.2021 81.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. EGUISAC MANOR - NIGHT 112 112 The manor on the edge of the village. News of the Armistice spreads like wildfire. Celebrating SOLDIERS pass by on a truck, SHOOTING in the air. People are SINGING from somewhere. Everyone is looking forward to peace.",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. EGUISAC MANOR / STUDY - NIGHT 113 113 General Friedrichs stands at the window, looking out at the celebrating soldiers. The sight is like a knife in his heart. Tiredly, he reaches in the pocket of his vest and takes out his pocket watch: It's the middle of the night. MAJOR VON BRIXDORF (O.S.) What will you do now? Major von Brixdorf stands behind Friedrichs with a message in his hand -- news of the Armistice has reached the German high command as well. The General silently goes to his map table. His dog lies by the warming fireplace. GENERAL FRIEDRICHS Have a look. What do you see? MAJOR VON BRIXDORF The plains of Latierre, Sir. Eguisac... GENERAL FRIEDRICHS You know what I see? I see our once glorious Army running away. He looks at the map. GENERAL FRIEDRICHS (CONT'D) In Latierre, the Frogs are farting in our foxholes. And over there is a train full of horse fuckers who want to betray our country. Friedrichs eyes his Major. GENERAL FRIEDRICHS (CONT'D) But we're German soldiers. And if there's one thing German soldiers are good at, it's fighting to the last man. Brixdorf eyes him in confusion. He's not sure what the General is trying to tell him. (CONTINUED)Goldenrod Revision 22.4.2021 82. GENERAL FRIEDRICHS (CONT'D) Withdraw the recruits from all their positions and have them assemble in the yard. I will address them at dawn. We're gonna save the day. Friedrichs nods and reaches a decision. INT/",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. EGUISAC / RESTAURANT ON VILLAGE SQUARE - DAWN 114 114 Early morning. Birds drink from the fountain on the village square. The embers of the fire fade. Drunk SOLDIERS sleep it off in the colonnade. A RADIO plays softly in a room amid the destruction, with the same message over and over. RADIO Firstly: Hostilities will cease at eleven a.m. today, November 11th, in all theaters. Secondly: Troops will not cross the lines held at that hour. These lines will be marked and recorded. The Army on the West Front will immediately begin to withdraw from occupied territory. Thirdly: Communication with the enemy remains prohibited-- Kat sits silently in the demolished restaurant, looking out at the fog. He looks tired, hasn't slept. Paul wakes up behind him. PAUL Kat... What time is it? Why aren't you sleeping? KAT Shh... Listen. Paul listens and hears: The birds SING. The leaves RUSTLE. A serene quiet in the village. KAT (CONT'D) It's so quiet I almost think I'm dead. He smiles. KAT (CONT'D) They signed it. The war's over. PAUL ...?CONTINUED: 113 113 (CONTINUED)Goldenrod Revision 22.4.2021 83. KAT We lost. It's finally over. Paul gapes at him. Kat gets up and pats the dirt off his pants. Then he marches off. KAT (CONT'D) I'm hungry. Are you hungry? PAUL Where are you going? KAT Come on, before the son of a bitch wakes up. I hear a KP volunteer! With that, he's gone. Paul hurries after him.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. VALLEY / FARM YARD - DAY 115 115 Kat and Paul cross a meadow in the valley. You can see their breath it the cold morning air. KAT What will you do for Christmas, Paul? PAUL I dunno. KAT I'm gonna fry a goose. With red cabbage and kraut. Then I'll light all the candles and kiss my wife. God, Paul, she's so beautiful. PAUL (laughs) Yeah? What does she look like? KAT Dark, curly hair. She's plump and strong. PAUL Christmas. It seems so far away. KAT It isn't, though! It's very close! We wanna have kids again, Paul! What's Christmas without kids? Maybe we'll have a White Christmas! Kat pulls up his pants. Paul ventures an idea.CONTINUED: 114 114 (CONTINUED)Goldenrod Revision 22.4.2021 84. PAUL Once we get home, Kat, we'll do something big together. The two of us together. Kat LAUGHS. PAUL (CONT'D) What? KAT I'm a shoemaker, Paul. I make shoes. You know how to read. And write. You graduated from high school. PAUL What good did it do me? KAT And what are we gonna do together? Nail shoe soles on? Are you trying to piss me off? I can't even read a letter from my wife... You go to college, Paul, or I'm gonna shoot you on the spot. Damn, my pants are loose. They both head off, laughing. PAUL You just gotta eat more. KAT Hm. We'll be home soon. Then we can eat whatever we want.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FARM YARD - DAY 116 116 Fog over the valley, as Paul and Kat sneak over to the farm yard. At the gate, Kat gives his buddy a look, asking him to help him over the wall. KAT Come on. Go. PAUL (shakes his head) It's my turn. If that farmer catches you again, he'll shoot to kill. Kat cradles his hands and hoists his buddy over the wall. KAT Watch out for the damn dog.CONTINUED: 115 115 (CONTINUED)Goldenrod Revision 22.4.2021 85. PAUL Yep. Paul jumps over the wall.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FARM YARD - DAY 117 117 No one in sight. Paul warily sneaks over to the barn. The door is barred with a wood beam. He listens: Steps, a flapping? Paul gingerly removes the beam and enters.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BARN - DAY 118 118 It's dark in the barn. Paul's eyes have to adjust to the dark. A pile of manure in the corner. A few ducks between the hay and a hand cart, and a meager nest of eggs. Paul kneels down on the ground, grinning, pockets a few eggs, when he suddenly hears a noise... the door CREAKS. He turns around: The LITTLE BOY stands in the door behind him, staring silently at him. Paul gingerly raises his finger to his lips. Psst. He whispers and shows him an egg. PAUL Regarde. C'est très beau. Tu veux? The boy stares at him for a moment, then he runs off. Paul swears. PAUL (CONT'D) Damn. He quickly runs to the back door, but it's nailed shut this time.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. OUTSIDE FARM YARD - DAY 119 119 Meanwhile, Kat stands at the wall, shivering, sticks a plug of chew in his mouth. A flock of birds flies overhead, when he suddenly listens up: The BARN DOOR slams on the farm yard, quick steps on the cobblestones. Paul calls from the other side of the wall. PAUL (O.S.) Kat, get out of there!CONTINUED: 116 116 (CONTINUED)Goldenrod Revision 22.4.2021 86. Kat peers through the gate into the yard, which Paul comes racing across. He starts to run himself, to meet his buddy behind the farm house.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FARM YARD 120 120 Paul hurries out of the barn toward the stable, when the angry farmer emerges with his son, aiming his rifle. A DOG BARKS somewhere. Paul runs off.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. STABLE - DAY 121 121 The door to the stable suddenly flies open, and Paul rushes in. BLAM! The blast just barely misses him. The wood door frame SHATTERS by Paul's head. Paul runs to the exit of the stable, as the farmer SHOOTS at him again. BLAM! Misses again. The door shatters, Paul rushes out.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FARM YARD - DAY 122 122 Paul staggers out of the stable door onto the field, where Kat already awaits him. He shouts. PAUL Run... run! Kat runs. The farmer reloads, aims and FIRES again. BLAM! Paul pulls his butt in. A BRANCH is HIT by gunfire next to him. The Farmer curses in French. FARMER Connard! Sales boches! But Paul and Kat are out of range now. In the stable door, the farmer's son appears and looks after them.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. VALLEY / FARM YARD - DAY HIT 123 123 Paul and Kat run off through the valley, when Paul suddenly lags behind. PAUL Damn. Look at this. KAT What? A broken egg drips from a hole in his pocket-- the bullet riddled his uniform and just barely missed Paul. He LAUGHS.CONTINUED: 119 119 (CONTINUED)Goldenrod Revision 22.4.2021 87. PAUL That was lucky. KAT Damn waste of good eggs. Give me my mess kit. Kat holds his hands under the dripping mess, while Paul takes the mess kit off his belt. Laughing, they dump what's left of the egg in it. KAT (CONT'D) Come on, get it all in the dish. We'll eat it right here. PAUL We have to fry 'em. KAT Nonsense. Tastes fine raw. Paul digs the left-over eggs from his pocket and cracks them into the mess kit. Kat stirs them with his knife. Grinning, the two men slurp the raw eggs off the tin, licking it clean. KAT (CONT'D) Like I say. What could be better? Kat takes a deep breath of the morning air and looks down in the valley, then he hikes his pants up. KAT (CONT'D) Don't get me wrong, but... I'll be right back. He marches off, past a stone crucifix with a Madonna in it. Pauls sits down on the field.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. VALLEY / EDGE OF WODDS - DAY 123A 123A A few feet inside the woods, Kat unbuttons his pants, silently pissing against a tree and listening to the wind and the silence. A sudden NOISE... CLACK. Kat slowly turns around: The farm boy stands before him-- the innocence of youth in his gaze, a rifle in his hands. War spares no one. The boy cocks the rifle. Kat looks at him... his expression goes soft for a moment. The boy is the same age as his son-- if he were still alive.CONTINUED: 123 123Goldenrod Revision 22.4.2021 88.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. VALLEY / FARM YARD - DAY 123B 123B Paul sits on the meadow by the woods, staring at the broken egg shells in his hands. Suddenly... BANG! A gunshot behind him makes Paul jump to his feet. PAUL Kat...? He runs into the woods.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. VALLEY / EDGE OF WODDS - DAY 123C 123C Paul hunts for his buddy in the woods. Finally he finds him amid the trees, leaning on a stump. PAUL Kat... Kat? What happened? Kat turns around and limps back. KAT Nothing. Let's get out of here... Or we'll miss the end of the war.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. VALLEY WITH MANOR - DAY 123D 123D He stubbornly limps out onto the meadow, but suddenly his legs buckle. Kat huddles on the ground, hanging his head. Paul looks at him, worried. PAUL Who fired that shot, Kat? KAT It's a mess. The little snot from the farm. He SIGHS. Finally, he pulls his shirt from his pants, feels his stomach wound. Paul helps him. PAUL It's alright. I'll have a look. Paul raises his uniform coat to look: Kat was hit in the liver. Not bigger than a fingernail, but dark blood oozes out. KAT How big is it? (CONTINUED)Goldenrod Revision 22.4.2021 89. PAUL Little finger. I'll get the bullet out. KAT (shakes his head.) Let the medic do it. It's stuck too deep. Come on, give me a cigarette. Paul offers him a cigarette and lights it for him. Kat looks at the blood on his hands for a moment-- dark blood on cold fingers. The he looks up bravely. KAT (CONT'D) They stuck me in a class with seven- year-olds. I was already shaving. Find a word that rhymes with ""monkey""... Nothing rhymes with monkey. Kat shakes his head. KAT (CONT'D) Fucking hell. Now of all times. PAUL Come on, we have to get back to camp. I'll help you. KAT Sure. Let's go. Kat struggles up. PAUL Are you okay, Kat? KAT Gotta be. PAUL It's not far. We can make it. Gasping, Paul takes him on his back and carries him off. PAUL (CONT'D) Kat? KAT Yes. PAUL Flunky. Flunky rhymes with monkey. KAT ...? Go hang yourself. Paul grins, and marches off down the valley with his buddy.CONTINUED: 123D 123DGoldenrod Revision 22.4.2021 90.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. EDGE OF WOODS BEI EGUISAC - DAY 124 124 Paul runs along the edge of the woods, sweating, carrying his injured buddy on his back. He breathes heavily, his face swollen with the effort of carrying Kat, the blood from Kat's wound drips from his hand. PAUL Kat, when we get back, you can fix my boots for me. My feet are bloody. Paul listens up and gapes: A row of trucks with reinforcements is arriving from the rear. Paul quickly puts down his buddy and tries to stop a truck. PAUL (CONT'D) Hey! Stop... Stop! The SOLDIERS just wave and cheer. Paul remains behind with Kat, who lies unconscious in the mud now. He takes a deep breath and gets a grip on himself, before hoisting his buddy on his shoulder again. PAUL (CONT'D) Kat, look. We're almost there... KAT (weakly) Mmh. PAUL I'll shoot myself in the foot so we can stick together. He carries Kat down the road, panting.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. EGUISAC / VILLAGE SQUARE - DAY 125 125 Bustle on the main square. RECRUITS jump off the trucks, chattering excitedly. Paul makes his way through the crowd, carrying Kat.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. EGUISAC INFIRMARY - DAY 126 126 Paul hurries through the infirmary, finally reaches the OR. It's deserted except for a grunt mopping the floor. PAUL Medic... Medic! No answer. He spots a vacant stretcher. He goes to his knees and lowers Kat gingerly. A MEDIC hurries up. (CONTINUED)Goldenrod Revision 22.4.2021 91. Paul smiles. His hands and legs are quivering with exhaustion, but he made it -- Kat is saved. He slowly catches his breath again. He gets up and takes out his canteen. He raises it to his lips, dying of thirst, but can't drink, he's trembling so much. MEDIC Well, that was a waste of effort. Paul eyes him, not understand. The medic points to Kat. MEDIC (CONT'D) He's dead. PAUL ...? It was just a flesh wound. MEDIC Sure. Black blood. Right in the liver. His organs are poisoned. Paul turns around to Kat. He breaks a sweat again and runs down his eyelids. He wipes the sweat away. Kat lies there, immobile. PAUL Unconscious. MEDIC (shakes his head) Uh-uh. Dead. I'm the expert. PAUL That can't be. I was just talking to him. He's just unconscious! Paul pulls his buddy's shirt upand examines the wound on his back... the blood has stopped oozing. He reaches for Kat's hands, his shoulders, his head... and suddenly he stops. Kat isn't moving. The medic WHISTLES through his teeth. MEDIC You see. Tough luck, right at the end. Paul GULPS. Stanislaus Katczinsky is dead... The church doors open behind him: A platoon of celebrating SOLDIERS charges in. They BELT OUT A SONG: The recruits' marching song from the beginning. SOLDIERS Tomorrow we march To the farmers night quarters. CONTINUED: 126 126 (MORE) (CONTINUED)Goldenrod Revision 22.4.2021 92. A cup of tea, sugar and coffee, A cup of tea, sugar and coffee, and a glass of wine, and a glass of wine! Paul sits beside Kat on the ground and holds his hands. Finally, he takes out a matchbox, slides it open: It's empty. The beetle is gone. The Soldiers keep singing. SOLDIERS (CONT'D) Darling I love you, but I can't marry you, just wait a year, then it'll come true; just wait a year, then it'll come true; and we'll be a pair. And we'll be a pair. Paul sits beside Kat, silently. All his friends are dead. He's dead inside. Everything's dead. INT/",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. EGUISAC / RESTAURANT ON VILLAGE SQUARE - DAY 127 127 Paul sits alone in the destroyed restaurant on the square, fiddling with Kat's dog tag. Celebrating SOLDIERS go by, guzzling Schnapps and drinking to each other. One of them calls to him. CELEBRATING SOLDIER Come on, Soldier! The General is gonna send us home. Paul can hardly hear them. It's like always and yet everything's different. He's all alone now. He slowly straightens up. Nothing means anything anymore.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. EGUISAC - DAY 128 128 Squads of young RECRUITS get out of the trucks: Reinforcements are arriving. They're all children. None of them is older than 17. One of the kids drops his helmet on the cobblestones. His name is WALTER. He's sixteen and awkward as a foal that can't run yet. A LIEUTENANT and several MPs on horseback drive them onward. LIEUTNANT Come on, keep going.CONTINUED: (2) 126 126 SOLDIERS (CONT'D) (CONTINUED)Goldenrod Revision 22.4.2021 93. Beside the kid, Paul takes one step before the other. He can barely feel his feet.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. EGUISAC INFIRMARY - DAY 129 129 DOCTORS. MEDICS. PATIENTS... They all stream out of the infirmary. An MP drives them on. MP Let's get a move on. The general isn't gonna wait for you. The mood is upbeat. A doctor lights a cigarette and trots after them.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. EGUISAC MANOR / ANTEROOM & STUDY - DAY 130 130 A group of OFFICERS is packing up the reception room. It's loud and frantic. Friedrichs sits in the office next door, smoking. He watches from his desk. It's churning inside him. Finally, he averts his gave and puts out his smoke in his ashtray. The dog watches him from the fireplace.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. EGUISAC MANOR - DAY 131 131 Hundreds of German SOLDIERS have assembled outside the manor, several DOCTORS and WOUNDED among them. Their joy at the armistice is clearly visible on their faces. Paul runs along other soldiers, driven on by MPs on horseback. He shuts his eyes and looks skyward, where the sun breaks through the clouds. Von Brixdorf gives orders, mounted MPs beside him. MAJOR VON BRIXDORF Attention! MP Snap to, Soldier. You're still on duty. The soldiers sloppily stand at attention. Paul takes his position amid them. Finally, General Friedrichs appears up on the balcony, his STAFF OFFICERS below him. He proudly looks down at his men. GENERAL FRIEDRICHS Comrades. We stand here as brothers in arms amid a world of enemies.CONTINUED: 128 128 (MORE) (CONTINUED)Goldenrod Revision 22.4.2021 94. Arch villains have undermined the German people with an incomprehensible Armistice. Like Siegfried was stabbed in the back, they are now trying to sabotage the Army. The soldiers stand at attention, but their discipline is lax. Friedrichs looks down at them. GENERAL FRIEDRICHS (CONT'D) The war is over. We're going home now. To our families. To our wives. To our children. After years of sacrifice and deprivation for your country, you can now see your just reward in reach: A hero's welcome for all you've achieved. The soldiers nod proudly. The General scans the men. GENERAL FRIEDRICHS (CONT'D) But... this Regiment has never lost a battle in its 500 year history. We were victorious in every war Germany ever waged. And now they expect to sit on out hands and watch as they strip us of power and honor...? Young Walter, who just arrived at the front, behind Paul. He listens to the General's speech in confusion, with a mixture of fear and adventure on his face. He shuts his eyes and starts to pray. GENERAL FRIEDRICHS (CONT'D) Comrades. When you return to your families now, do you want to do it as soldiers and heroes? Or as cowards who turned and ran when the chips were down? How do you want your wives and children to remember you? The soldiers start to get uneasy. The general raises his voice. GENERAL FRIEDRICHS (CONT'D) This regiment will not end the war in retreat. This regiment will face any armistice - no matter what it is - with head held high. Let's do our duty. Let us honor the memory of this glorious Army and sacrifice ourselves for our country, for today is about nothing less than our being.CONTINUED: 131 131 GENERAL FRIEDRICHS (CONT'D) (CONTINUED)Goldenrod Revision 22.4.2021 95. A soft MURMUR from the crowd. Paul doesn't show any reaction, he's long dead inside. Friedrichs wraps up his speech. GENERAL FRIEDRICHS (CONT'D) Soldiers. A thoroughbred doesn't give up just before the the finish line and neither will we. We will strike back, with all our might. Latierre belongs in German hands. We will retake the plains by eleven a.m. and end this war with a victory. No one cheers this time. The soldiers stare at their boots, silently. General Fiedrichs adds for emphasis. GENERAL FRIEDRICHS (CONT'D) Go with God, who is with us as he was with our fathers. MAJOR VON BRIXDORF Forward march! Von Brixdorf represses any emotion. The SERGEANTS orders ring out across the square here and there. MEDICS ready stretchers and stash bandages in their knapsacks. A few soldiers stay where they are and drop their weapons. The celebrating soldier among them. He shouts. * CELEBRATING SOLDIER * How many officers will go into battle with us? Will you, General? (to the officers) Or you? Or you? Von Brixdorf silently nods to the MPs, who draw their guns on the MUTINEERS. Friedrichs vanishes in his office. MP Pick up your rifle, Soldier. CELEBRATING SOLDIER * Are you going to join us in the attack? DESERTER No... no. I won't. WHAM! The MPs HIT the deserters and drag them off. Young Walter stays standing, shaking. PAUL Come on. Paul drags him off, with the crowd. His will to live is broken.CONTINUED: (2) 131 131 (CONTINUED)Goldenrod Revision 22.4.2021 96. SHOTS ring out somewhere in the distance... somewhere, a firing squad eliminates the mutineers. Walter turns around. PAUL (CONT'D) Keep going. Don't look back. Paul grabs his arm.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. EGUISAC MANOR / STUDY - DAY 132 132 At his desk in the study, General Friedrichs ignores the GUNSHOTS from the yard. The dog looks up from the fireplace for a moment, then goes back to sleep.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. EGUISAC SOUP KITCHEN - DAY 133 133 The goulash on the floor in the deserted soup kitchen. Flies circle the dried soup. The place is a mess.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. EGUISAC - DAY 134 134 The men stream out of the village, silently trudging through the mud, disappearing in the fog. The OFFICERS and MPs bring up the rear on horseback, rifles shouldered. Ammo being issued from the backs of trucks.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. EDGE OF WOODS OUTSIDE EGUISAC - DAY 135 135 The MPs herd the SOLDIERS out of the fog to the emplacements.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. EGUISAC INFIRMARY - DAY 136 136 Back in Eguisac, the infirmary is deserted. One last NURSE hurries past the WOUNDED MEN.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LATIERRE HILL / EMPLACEMENTS - DAY 137 137 Paul advances amid the rest of the soldiers, until the MP raises his hand on horseback: Halt! MP Company halt! The troops gather at the crest of the hill over the plains, looks down at the thick fog. CLACK. The men wordlessly fix bayonets. CONTINUED: (3) 131 131Goldenrod Revision 22.4.2021 97.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LATIERRE HILL / TRENCH - DAY 138 138 A FRENCH MAJOR, GRENIER (44) is taking a piss on the latrine and talking to a fellow soldier, also on the latrine. MAJOR GRENIER Va chercher Bernard et Dubois quand tu as fini de chier. Ils collectionnent les médailles dehors. SERGEANT Bernard et Dubois sont morts, monsieur. MAJOR GRENIER ...? Quand? SERGEANT La semaine dernière. Lambert et Fournier sont dehors. MAJOR GRENIER Alors, va les chercher. Grinning, Grenier buttons up his fly, heads along the trench, nodding to a SOLDIER here and there until encountering a Corporal: MOREAU (31). MAJOR GRENIER (CONT'D) Moreau. Ça va? MOREAU Ça va bien, Ms. le majeur. MAJOR GRENIER Vingt minutes, eh? They go their way, when something occurs to Grenier. He turns back and calls Moreau back to him. MAJOR GRENIER (CONT'D) Moreau? Venez. J'ai quelque chose à vous montrer MOREAU Quoi? MAJOR GRENIER Surprise. Moreau returns and accompanies him to a shelter. MAJOR GRENIER (CONT'D) Attendez. Grenier disappears inside the shelter, comes back a moment later, carrying a bottle of Cognac. He cradles it reverently. (CONTINUED)Goldenrod Revision 22.4.2021 98. MAJOR GRENIER (CONT'D) Ç'était à Lefevre. Cet imbécile gardait pour la fin. Il n'en aura plus besoin. He opens the bottle and sniffs it, then pours. They drink to each other. MAJOR GRENIER (CONT'D) Merde, ç'est bon. La fin du cauchemar. Grenier nods and heads off, with a last greeting to Moreau. MAJOR GRENIER (CONT'D) Y a plus qu'à survivre, Moreau! He reaches the next SOLDIERS, who hold tin cups out to him. Grenier pours them cognac. MAJOR GRENIER (CONT'D) Beau travail, soldat. He goes on, laughing.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LATIERRE HILL / EMPLACEMENTS - DAY 139 139 Next to Paul, a YOUNG SOLDIER checks his watch, trembling... a little photo of his parents in the lid. Paul stares out at the battlefield. PAUL What time is it? YOUNG SOLDIER Fifteen more minutes. Up front, the MP raises his hand -- Ready to attack. Forward march! He wordlessly gets down off his horse, as the soldiers march on down the hill. The sound of FOOTSTEPS and boots in the mud, canteens JANGLE on belts. It's eerily quiet otherwise... The fog swallows every sound.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LATIERRE HILL / TRENCH - DAY 140 140 In the French positions, the SOLDIERS start to relax. Here and there, there's still a few MGs mounted on the edge of the craters. Sand bags are piled up in the gaps of the trench. The soldiers mingle in groups, exchanging stories and cigarettes, laughing and joking, peace just minutes away. Grenier is rolling a cigarette when he passes a squad playing cards.CONTINUED: 138 138 (CONTINUED)Goldenrod Revision 22.4.2021 99. CARD PLAYER Majeur, soyez pas si avare. Nous avons soif, nous aussi! MAJOR GRENIER C'est le meilleur cognac de votre vie. Grenier fills their cups, emptying the bottle. MAJOR GRENIER (CONT'D) Je vais chercher un autre. He tosses the bottle out on to No Man's Land. TRACKING SHOT out onto the battlefield, where LAMBERT and FOURNIER are picking up dead comrades' dog tags. Grenier shouts into the fog. MAJOR GRENIER (O.S.) (CONT'D) Lambert. Fournier! Vous voulez quelque chose à boire? On a du cognac! Fournier shoos off a few birds pecking at a fallen soldier.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LATIERRE HILL / HINTERLAND - DAY 141 141 The SOLDIERS pick up the pace. They break into a run, between craters and blasted tree trunks, past the deserted bunker over to the French lines. Paul is in the middle of it all, stony faced. With his rifle and battle gear, he looks ready for anything. The steps get louder. WHOOSH. WHOOSH.",FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LATIERRE HILL / TRENCH - DAY 142 142 Major Grenier stands at a boiling cauldron, tries the soup. MAJOR GRENIER Ç'ést le boeuf des americains...? The cook nods. Grenier keeps going, determined, when he suddenly stops and listens up. A distant sound, like boots in lockstep -- is he imagining things? Grenier slowly climbs up a ladder, peers out into No Man's Land... no sign of his soldiers. He calls out. MAJOR GRENIER (CONT'D) Fournier...? Lambert? No answer from the fog.CONTINUED: 140 140 (CONTINUED)Goldenrod Revision 22.4.2021 100. Grenier returns to a GROUP OF SOLDIERS in the trench. MAJOR GRENIER (CONT'D) Avez-vous vu Fournier et Lambert? They shake their heads. He shrugs and keeps going, then he stops again. The SOLDIERS hear it, now, too. The soldiers get up, look around, the sound gets louder: WHOOSH. WHOOSH. Grenier listens into the fog... Suddenly, he realizes: It's an attack. MAJOR GRENIER (CONT'D) Attaque ennemie. Attaque ennemie. Tenez-vous aux armes! Panic breaks out amid the Frenchmen, who rush for their rifles, which they have discarded in their joy. Grenier pulls out his WHISTLE, and we are back at...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LATIERRE HILL / HINTERLAND - DAY 143 143 Several WHISTLES in the fog. Paul races forward with the infantry, back into the bloodshed he escaped from a few hours ago. No more fear on his face, only resignation in the face of death. An ominous YELL gradually goes up... The men scream like berserkers, a mix of despair and defiance -- no more trace of calm and discipline. The first MG salvo hits the mud. RAT TAT TAT TAT TAT.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LATIERRE HILL / TRENCH - DAY 144 144 The Frenchman are caught off guard. One of them is pulling up his suspenders as they frantically feed the MG ammo belts. Major Grenier blows his WHISTLE. MAJOR GRENIER Tirez! Tirez! Then they see the first GERMAN SOLDIERS emerging from the milkwood, barely a hundred yards away. RAT TAT TAT TAT TAT.CONTINUED: 142 142Goldenrod Revision 22.4.2021 101.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LATIERRE HILL / HINTERLAND - DAY 145 145 The MG salvos carve through the ranks. Men fall left and right, but Paul is in a tunnel. It's all about survival now, as he runs on and on, his legs aching... The muddy craters are hard to climb. The soldiers keep slipping in the mud, sliding back and starting over. RAT TAT TAT TAT TAT. Fifty yards. The Lieutenant barks an order. LIEUTENANT Ready grenades! The MEN take cover behind a dirt berm. Paul ducks behind a dead horse, whipped by bullets. A few feet on, a soldier stands up to throw, but get shot and then torn apart by his own grenade exploding. Paul ducks in time. A French grenade lands beside him. He grabs it and tosses it back, taking out an MG nest. BOOM!",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LATIERRE / FRENCH TRENCH - DAY 146 146 Grenier ducks in the trench, while the MG nest and its SOLDIERS are blown sky-high behind him. MAJOR GRENIER Chargez! The flattened trench hardly offers cover to the FRENCH, so they jump out and engage hand to hand.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LATIERRE / HINTERLAND - DAY 147 147 Behind the dead horse, Paul SHOOTS at the attacking FRENCHMEN, but a few steps later, they appear before them. The SOLDIERS are now fighting hand to hand. Steel on steel. Bayonets hit shattered bone. Into the melee, the apocalypse. Men with breathtaking injuries. Next to Paul, a FELLOW SOLDIER falls in a crater with a FRENCHMAN, while the next one gets his face slashed by a bayonet. Paul struggles forward angrily, stabs an enemy, before he is knocked to the ground by a CORPORAL. Paul loses his rifle in the struggle. He reaches for his helmet and hits his enemy in the face with it until he stops moving. (CONTINUED)Goldenrod Revision 22.4.2021 102. Paul can barely catch his breath when a FRENCHMAN SHOOTS several GERMAN SOLDIERS at close range. He quickly crawls over to his rifle, while the MARKSMAN takes aim at him. BANG. A RICOCHET hits the Frenchman in the hip. He falls on his behind, dazed, but before he can take aim again, the Paul hits him with a fatal shot. Paul crawls toward the trench. Suddenly, a VOICE in the chaos, SCREAMING. WALTER (O.S.) No! Paul stands over the trench, looks around in all directions. Young Walter hits the ground beneath him. A Frenchman raises his bayonet and wants to stab him, but Paul shoots him in the back. The next ENEMY appears and wants to attack Walter. Paul is out of ammo and jumps down with a SAVAGE SCREAM --",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LATIERRE HILL / TRENCH - DAY 148 148 WHAM. The man rams Paul's back against the wall. Paul gasps for a moment, breathless, but neither man relents. They tumble across the trench, wrestling, till Paul gets him in a headlock from behind. The man drops his rifle, grabs Paul's arm with both hands to free himself from his grasp. Paul throws his gun away and starts to strangle him... They wrestle. Elbow and knee each other. Tug, choke and punch. A battle of blood and chaos in the mud. The man is strong, tries to hurl Paul over his shoulder, finally manages to trip him up. The two men lose their balance and fall in the mud. The Frenchman lands atop Paul in a puddle at the bottom of the trench. Gasping, he tries to drown him in the mud, presses his fingers in his eyes and mouth. Paul can hardly breathe, almost downing in the puddle. Finally he gets his hand on a rock and HITS the Frenchman on the head. WHAM. Paul takes a moment to catch his breath, then the Frenchman reaches for the pistol in the hand of a dead soldier, half buried in the mud. Paul attacks him with all his might. He SCREAMS and rams his head in the Frenchman's stomach, they both plunge into a bunker head-first.CONTINUED: 147 147Goldenrod Revision 22.4.2021 103.",FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LATIERRE HILL / BUNKER - DAY 149 149 Paul lands hard on the ground and immediately struggles up again. Suddenly, he finds himself face to faces with his enemy for the first time. Both men gasp for breath. They look at each other for a moment, both ashamed of what they're doing. Then a very young FRENCHMAN (16) charges out of the shadows and rams his bayonet in Paul's back. WHAM. And again. Paul stares down at his chest, incredulous, where the blade sticks out. The Frenchman pulls the bayonet out again. Paul sinks to his knees. A distant WHISTLE from outside... A last look at his opponent, then the Frenchmen turn away and disappear. Paul is alone now. He staggers down the stairs with an effort into the trench.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LATIERRE HILL / TRENCH - DAY 150 150 Along the front, Officers pass on the cease fire order. WHISTLES across the battlefield. A FRENCH BUGLER plays a tune. MAJOR VON BRIXDORF Cease fire. Cease fire! It's eleven o'clock.MAJOR GRENIER Cêsse-feu! Cêsse-feu! The gunfire instantly stops. An eerie silence. Paul looks up and listens to the silence. He looks at the sky, where the fog wafts by. It's all so bright and white. Finally, he sinks to the ground, drained of energy. Blood gushes out of his wound. He wears Franz's scarf. Paul looks down at it. He slowly opens the knot, to hold it in his hand. His lungs fill with air for one last time. The life slowly drains from his gaze and he just keels over lifelessly. The remains of a front theater poster from last year hang on a shattered wall... a pretty girl in a white dress.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MANOR / STUDY - DAY 151 151 DONG. DONG. DONG. Back at HQ, the big grandfather clock strikes eleven. General Friedrichs sits at the table, stonily, his elbows on his knees. (CONTINUED)Goldenrod Revision 22.4.2021 104. The clock stops striking. It's quiet here now, too. Only the TICK-TOCK of the pendulum. The ashtray on the table with a burnt-out cigarette. The maps. A Bible... General Friedrichs lets his head hang. It's over.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LATIERRE / TRENCH - DAY 152 152 On the silent battlefield, the dead lie in the mud all along the hilltop. Soldiers crawl from the craters and stagger off, homeward bound. Major Grenier helps a soldier up on his feet and staggers off with him.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LATIERRE / TRENCH - DAY 153 153 Major von Brixdorf marches along the destroyed trench and picks his way past the corpses. He stops stops before a young man, who's sitting in the dirt, exhausted: Walter. He survived. MAJOR VON BRIXDORF Are you alright, Soldier? WALTER ... Yes, Sir. MAJOR VON BRIXDOR Collect the dog tags, please. The tired Major holds a bag of dog tags out to Walter, who takes them. He weighs them in his hand and looks inside... heavy. The tin rattles in the bag. Walter finally gets up and heads down the trench, bending down to the dead, deadpan, taking their dog tags and putting them in the bag. A soldier sits on the ground, leaning on the trench wall. Walter lifts his head and gapes: It's Paul Bäumer. High school student. 19 years old. His expression is composed, almost serene. He could almost be asleep. But he's dead. Walter kneels down to him and takes his dog tag. He seems to hesitate for a moment. Then he takes the scarf from Paul's hand, ties it around his own neck, and keeps going. He makes his way down the trench. He will always wear the scarf from now on.CONTINUED: 151 151 (CONTINUED)Goldenrod Revision 22.4.2021 105. FADE TO BLACK. THE END.CONTINUED: 153 153Goldenrod Revision 22.4.2021 106.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. NIGHT. HOUSING PROJECTS -- MOSCOW 11SMASH CUT MOTION -- flat out -- it’s us -- we’re running -- stumbling -- breathing rushed -- blood in the snow...We are JASON BOURNE and we’re running down an alley...Supered below: MOSCOWBLUE LIGHTS -- from the distance -- strobing through the night -- rushing toward us -- POLICE CARS -- three of them -- SIRENS HOWLING as they bear down -- closer -- faster -- until they whip past the alley... Up against the wall -- BOURNE is hidden in the shadows. BOURNE is badly wounded -- shot through the shoulder -- bruises and broken bones from the final car chase in SUPREMACY...With a GROAN, he lifts himself up, staggers across a park toward a PHARMACY...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. NIGHT. PHARMACY -- MOSCOW44ROWS of MEDICINE and FIRST AID supplies, and in the background, a DOOR being jimmied...It’s BOURNE...The ALARM goes off...MACRO ON -- MEDICINE BOTTLEVICODIN, as BOURNE grabs it...Then PENICILLIN...Then SURGICAL SUPPLIES:Scalpel...Forceps...Sutures...Cotton gauze...Betadine...BOURNE finds a large sink...Rests his gun there...Lays out SURGICAL SUPPLIES...Checks out his back in the mirror...Opens the capsules of penicillin and pours the powder directly into the wound...Begins treating himself...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. NIGHT. PHARMACY -- MOSCOW55A POLICE CAR pulls up to the curb, lights flashing. One POLICEMAN goes to the jimmied DOOR. SECOND POLICEMAN sees blood and footprints. He motions to his partner to follow...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. NIGHT. PHARMACY BATHROOM -- MOSCOW66BOURNE finishing up -- splashes water on his face -- he seems a man on a mission. He looks up -- 1 A MIRROR.His face... FLASHBACK -- JUMBLED STREAKY IMAGES:FB1FB1“415” written on a building. DISEMBODIED VOICE (HIRSCH)Welcome to the program...POV Bourne walks down a corridor (corridor #1).,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. NIGHT PHARMACY -- MOSCOW6AA6AAThe cops approaching.FLASHBACK -- JUMBLED STREAKY IMAGES:FB1AFB1ADaniels leading Bourne down the corridor. DISEMBODIED VOICE (V.O.)You’ll be saving American lives. A black sack is thrown over Bourne’s head, then:(STOCK) A torrent of quick shots of Bourne’s kills: the Professor, Jarda, the blonde guy in Paris, Mr. And Mrs. Neski...And finally. BANG -- Marie hit in the head. The car off the bridge. She sinks away dead...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. NIGHT PHARMACY -- MOSCOW 6A6AThe POLICE enter the back room, guns drawn. POLICEMAN #1Put your hands on your head and turn around slowly!BOURNE snaps out of it, doesn’t move. POLICEMAN #1 (older) approaches him. When BOURNE doesn’t respond to his questions, the POLICEMAN starts forward. BOURNE turns and in one motion grabs his gun from the sink and disables the POLICEMAN. BOURNE freezes POLICEMAN #2 with his gun and a look. BOURNE (in Russian)Give me your gun and radio.POLICEMAN #2’s gun and radio skittle across the floor.2 BOURNE(in Russian)My argument is not with you. BOURNE smashes the radio and takes the gun.BOURNE exits...BLACK SCREEN A TITLE fades in -- THE BOURNE ULTIMATUMSUPER: Six Weeks LaterOMITTED6B6BOMITTED6C6COMITTED6D6DOMITTED6E6EOMITTED6F6FOMITTED6G6GOMITTED6F6FOMITTED6G6G",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DAY. LANGLEY, VA8B8BEstablishing shot -- CIA Headquarters",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CIA -- DAY8C8CA workman installs a nameplate that reads: Ezra Kramer, Director, CIA.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. KRAMER’S OFFICE -- DAY8C8CKramer listens to a recording with Landy and Cronin. There are unhung pictures and a few other items that indicate he has just moved into this job. 3 Two other senior CIA officials sit in on the meeting. Kramer looks at a file on Bourne and Abbott. BOURNE (V.O.)So we got in the way? Is that why Neski died? Is that why you killed Marie?Kramer glances at a photo of Marie in the file.ABBOTT (V.O.)You killed Marie the minute you climbed into her car. The minute you entered her life she was dead!Kramer looks at Abbott’s official photo.BOURNE (V.O.)I told you people to leave me alone! I fell off the grid. I was half way around the world.ABBOTT (V.O.)There’s no place it won’t catch up to you. It’s how every story ends. It’s what you are, Jason. A killer! You always will be.THUMP!CRONINWe think that’s Bourne hitting him on the head and then--He makes a gun with his hand, i.e. Bourne putting his gun to Abbott’s head.ABBOTT (V.O.)Go ahead! Go on! Do it!BOURNE (V.O.)She wouldn’t want me to. That’s the only reason your alive.The tape clicks off.KRAMERWho’s “she?”CRONIN puts a picture of MARIE in front of KRAMER.LANDYHis girlfriend, Marie. She was killed in India three weeks ago.Kramer looks down at another image. Abbott dead after his suicide.4 KRAMERA dirty section chief in league with a corrupt Russian Billionaire commits suicide when confronted by Jason Bourne. You couldn’t make this stuff up. (holds up the photo of Abbot dead)You watched this happen?Landy nods. Kramer shakes his head in disgust at the whole situation. KRAMERBourne’s last confirmed location is Moscow, three days ago? LANDYRight.KRAMERSo what does he do now?LANDYI think he’s looking for something he hasn’t found. KRAMERLike what? What’s he after?LANDYI’m not sure. Maybe he hasn’t gotten his memory back yet. Not all of it. A look from Kramer... KRAMERPam, what I need to know is, what kind of a threat is he to us?LANDYIf he just wanted to hurt us he could have sent this tape to CNN. KRAMERMaybe he still will. Maybe he gave it to you because he wants to throw you in the opposite direction of his real plan. I don’t know. I just know my number one rule is “the only way to stay safe is to assume the worst.” As far as I’m concerned Bourne is a serious threat until proven otherwise. 5 OMITTED8D8DOMITTED8E8EOMITTED8F8FOMITTED8G8GOMITTED14A14A",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. TURIN, ITALY - ESTABLISHING SHOT14AA14AASUPER: TURIN, ITALY",SENTI +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DAY. ITALIAN CAFE BACKROOM -- TURINR15R15ROSS interviews DANIELS, a TAPE RECORDER on the table between them. ROSS shows DANIELS some of the evidence he’s assembled...WANTED POSTERS of JASON BOURNE.ROSS(with poster)...This one’s three years ago -- had half of Interpol after him -- disappeared...Turned up in Naples -- Berlin -- Moscow -- disappeared again...(Daniels says nothing)The girl he was on he run with -- Marie Kreutz -- she turned up dead halfway around the world, from a sniper’s bullet...(beat)What connects the dots? Is it Treadstone?DANIELSTurn off that tape recorder.OMITTED15A15AOMITTED15B15B",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DAY. MARTIN’S APARTMENT -- PARIS2424The charm of old Paris captured in the workings of an elevator operating in a wrought-iron shaft...6 A WORK TABLE, covered with sheet music, music paper, pencils. And, sitting on the upright piano against the wall, a framed PHOTO of MARIE...A KNOCK on a door beautifully, heavily lacquered with centuries of pa",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int...MARTIN KREUTZ, late 20s, opens the door and finds BOURNE. A long look between them -- like two lost brothers who recognize each other -- each has been waiting for this moment for a long time.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. CONTINUOUS. MARTIN’S APARTMENTMartin looks out the window.MARTINWhere is my sister?BOURNEShe’s dead. She was killed. MARTINI knew it was going to end this way. It was always going to end this way...BOURNEI didn’t believe that.MARTIN Why did she die?BOURNEShe was shot. A man came for me.MARTINAnd then you killed him.Bourne nods.MARTINNow what? BOURNESomeone started all this...and I’m going to find them.Bourne looks at him for a beat and leaves.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SUBWAY -- DAYBourne climbs the stairs. Bourne rounds a corner and stops, sees a bodyguard at a door up the street hail a car then go back inside. 7 Bourne walks up to the door, the bodyguard comes out again. Bourne knocks him aside. Grabs the man behind him, ELLATRACHE.BOURNE(in French)Who started Treadstone?The bodyguard comes back, gun out--ELLATRACHE(in French, to bodyguard)It’s OK!(in French, to Bourne)They’re still looking for you. You are taking a big risk coming here.Bourne shoves him against the wall, hard.BOURNE(in French)Just tell me what I want to know!ELLATRACHE(in French)I just provided them weapons. I don’t know who started--BOURNE(in French)You know something. Tell me where to start looking.ELLATRACHE(in French)There’s a journalist in London. Simon Ross. He seems to know a lot about you. He has a source inside the program. Someone there from the beginning. What should I tell them if they contact me?BOURNE (in English) They give me the name I want, or I burn their entire house down to get it.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DAY. HEATHROW AIRPORT -- LONDON1616ROSS hurries to catch a TAXI as he talks on his cell phone. 8 ROSS...This is big -- a skein of lies -- you pull at it and it just keeps coming -- I’ll fill you in when I get home. And it’s not finished, either.(beat)They’re calling it ‘Blackbriar’.Follow this SEQUENCE as...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DAY. CIA SUBSTATION -- LONDON1717A LISTENING STATION in England scoops up MILLIONS of CELL PHONE CALLS...Sifts through BILLIONS of words...One word EMERGES from the CHATTER...BLACKBRIARA TECHNICIAN sends the data to NSA back in the States...Where another COMPUTER gathers up the rest of the phone call...As we listen...TECH#3“Blackbriar” echelon hit.NSA, please confirm receipt.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DAY. CIA HEADQUARTERS -- LANGLEYR18R18And there in the CRI HUB, another TECHNICIAN receives the DATA. Stops SUPERVISOR and reports.TECHNICIAN #1Sir, we intercepted a call from London, keyword “Blackbriar.”SUPERVISOROkay, send it to CRI right now.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DAY. THE SKYLINE -- NEW YORK CITY25D25DNOAH VOSEN, deft and confident, arrives at CRI Headquarters.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DAY. CRI OFFICES -- NEW YORK CITY25E25EAs VOSEN steps out of the elevator and into his office, he is met by his #2, WILLS. WILLSWe tracked the phone. Registered to a London reporter named Simon Ross. He works at the Guardian newspaper.9 They enter a hallway through double doors towards the HUB. VOSENYou tracking him?As they pass through, colleague hands WILLS a file.WILLSYeah, thanks Mike. We have a survey team covering him at work...and a sneak and peek’s on their way to his apartment.VOSENWell, who talked to him? How did he find out about Blackbriar?WILLSWe don’t know, we pulled his background and ran a cross check on any known anomalies, but we’ve come up with nothing. But, I think if we follow Ross, we are going to be able...VOSENRight. Ross is easy. I want the source. They enter the HUB.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DAY. GARE DU NORD -- PARIS2626BOURNE buys a newspaper, enters the station and gets on the EUROSTAR.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DAY. CRI DATA ROOM (was 25E)26A26AVOSEN and WILLIS listen to the phone call.ROSS (VOICEOVER)Have you heard of an Operation Blackbriar? I’m going to try and get my head around this, see you first thing.VOSEN turns.VOSENIs that all?WILLSYeah.10 VOSENI want rendition protocols and I want the asset put on standby, just in case.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DAY -- CRI HUB 26B26BVOSEN steps out from DATA ROOM...addresses the HUB.VOSENPeople, listen up, this is a full priority situationWILLSJimmy, give me Ross’s profile on one.(points at the big screen on the wall)ROSS’S information come up on the center screen.VOSEN Our target is a British national, Simon Ross, a reporter. I want all his phones, his blackberry, his apartment, his car, bank accounts, credit cards, travel patterns...I want to know what he’s going to think before he does. Every dirty little secret he has. And most of all, we want the name and real time location of his source. This is NSA priority level 4, any questions?No response from the HUB.VOSEN (CONT’D)All right, let’s get to it.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. DAY. EUROSTAR -- ENGLAND26C26CThe EUROSTAR winds it’s way to London.,SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DAY. EUROSTAR26D26DBOURNE reads The Guardian. He sees an article written by Simon Ross. Title: ”RENEGADE ASSASSIN LOSE IN EUROPE”. It mentions BOURNE. There is a photo of Marie--FLASHBACK FB2FB211 Marie smiles at him. Marie shot. Marie fades into the depths, dead. Bourne burns Marie’s stuff",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DAY. EUROSTAR26D26DBOURNE comes out of the flashback. He is still carrying the pain of her lossBourne finds Ross’s name on the masthead, then goes to the name just below it in the news department.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. DAY GUARDIAN NEWSPAPER -- LONDON2929Ross crosses a busy London street -- heads to Guardian office building. A CRI TEAM watches from a parked car.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DAY -- CRI HUB35H35HTECH #1 watches the data arrive.TECH#1Copy that. Mr. Vosen, subject is entering his office.VOSEN watches the feed.VOSENWhere’s my picture please?TECH#2Coming online...Online...Now.A surveillance picture flashes onscreen -- ROSS works in his office. HUB chatter about ROSS phone.TECH#3Take an hour to get his phone...VOSENThat’s too long.Off VOSEN.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DAY. GUARDIAN EDITOR OFFICE -- LONDONR34R34ROSS reports to his EDITOR.EDITORSo how do we know he’s not spinning for someone?ROSSThere’s more. He was scared.12 EDITORScared of what?ROSSBlackbriar.A REPORTER sticks her head in.REPORTERSorry, a call for you.ROSSWho is it?REPORTERWon’t give hie name.ROSS leaves to pick up the call.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. CONTINUOUS. GUARDIAN -- NEWSROOM 35Y35YROSS crosses the busy newsroom...REPORTERHe’s on my line...ROSS picks up the phone.Ross (CONT’D)Simon Ross.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DAY. CRI HUB -- NEW YORK CITY35H35HVOSEN watches as ROSS takes phone call.VOSENWhy aren’t we hearing this?WILLSThat’s a hard line, Jimmy, why don’t we have it?JIMMYWe have his line, sir, but he’s not on it.WILLS looks confused.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DAY GUARDIAN -- NEWSROOM35Y35YROSS listens.BOURNE (V.O.)Waterloo Station, south entrance, thirty minutes.13 ROSSWho is this?BOURNE (V.O.)This is Jason Bourne.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. DAY -- EUROSTAR TRAVELING 35Z35ZBourne You want to talk to me. Come alone.BOURNE hangs up.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DAY. GUARDIAN -- NEWSROOM35Y35YROSS looks bewildered -- hangs up the phone -- gathers his stuff -- puts his notebook in his pocket and leaves. SURVEY ONE (V.O.)Are you getting an image?VOSEN35H35HWhere’s he going?WILLSOkay, he is on the move. Target is mobile.The HUB reacts. .WILLSOkay, people, look sharp, give me eyeballs on the street.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. DAY. BUILDING -- ACROSS FROM GUARDIAN3636SURVEY ONE has panned down to the entrance of the GUARDIAN building. Because ROSS is on the move... SURVEY ONESubject is on the move. Go mobile One and Two. WILLSWhere’s that audio on the street? I want to know where he’s going...,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. CONTINUOUS. LONDON STREET36A36AROSS hails a BLACK TAXI. The SILVER VAN pulls out behind him...14,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. DAY. NEW YORK HUB35H35HVOSEN watches as the feed from the SILVER VAN comes through.MOBILE 2(over radio)We have the subject confirmed.VOSENWhere is he heading?MOBILE 2Waterloo Station.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. DAY. WATERLOO STATION -- LONDON 3737BOURNE arrives on the EUROSTAR. Enters the station.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CONTINUOUS. STREET3838As the taxi moves away, the SILVER VAN pulls out behind it.A CYCLE COURIER momentarily blocks its path. Looking in on ROSS sifting through documents in the back seat.HUB (V.O.)Stand by at Waterloo...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. DAY. WATERLOO STATION -- LONDON 3939BOURNE moving toward the rendezvous...INT/,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DAY. BLACK CAB -- YORK ROAD6363ROSS pays the DRIVER, exits. Checks his watch. Looks around. Isn’t sure what his next move is--",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. DAY. CRI HUB 64H64HTECHNICIANS searching for ROSS on the busy street. TECHNICIAN #2Mobile One -- give us eyes on the subject.15,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. DAY. YORK ROAD -- LONDON 6363MOBILE ONE-- two people from the van-- take up a position in an open stairwell three floors up. They focus a camera down on Ross.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. DAY. ENTRANCE -- WATERLOO STATION 63A63ABOURNE buys a cell phone. Activates the SIM card on the new phone. Dumps the pay-as-you-go package in a bin. Rounds a corner. Out of sight.OMITTED63B63B,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CONTINUOUS. CRI HUB -- NEW YORK CITY64H64HScreens come alive with a POV of ROSS. VOSEN studies the monitors. ROSS arrives at Waterloo, pays TAXI. TECHNICIAN #1 Sir, subject just arrived at the south entrance to Waterloo Station.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DAY. WATERLOO -- ENTRANCE6363ROSS moves to the entrance.Behind him, inside the tube station portico, BOURNE arrives. Sees ROSS. Sees the two survey teams. MOBILE ONE up the stair well and MOBILE TWO at street level. Commuters coming up the escalators. BOURNE joins them - moving towards Ross.Closer.Right on him. ROSS oblivious. Looking out onto the street.BOURNE brushes past him and PUTS THE PHONE IN HIS POCKET..ROSS feels the contact. Checking himself -- he’s okay. But now a phone is ringing -- looks around, must be someone else.But the vibration’s coming from his jacket pocket.ROSS takes out the phone -- not his -- puzzled.ROSS hits “answer.”16 ROSSHello?BOURNE (O.S.)Don’t ask questions. Just listen...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CONTINUOUS. NEW YORK HUB64H64HVOSEN watching...VOSENWhat’s he doing? I thought we blocked his cell? Who the hell is he talking to???WILLSJimmy, I need that phone!VOSEN(beat)Activate the asset.WILLSSir, we haven’t yet become operational --VOSENI said activate the asset. I want options. Wills keys in a CODE...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DAY. BMW -- LONDON STREET 6464PAZ, 20s, cool and predatory, drives and waits for instructions...His PHONE buzzes...He reads the code...Accelerates toward Waterloo Station...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. CONTINUOUS. FOOTBRIDGE7070BOURNE reaches the top of the stairwell on the other side of the road. His POV to the left -- a LONDON BUS is approaching.To the right -- a young man in a hooded top -- speaking on his cell -- walking toward a BUS STOP...A plan is forming.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. CONTINUOUS. WHITE VAN7171SURVEY TWO -- camera zooming in on ROSS.17 SURVEY TWOWhat’s the ROE on this one?PANNING TO REVEAL,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. CONTINUOUS. NEW YORK HUB64H64HVOSEN thinking it over as he watches the image of ROSS.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DAY. YORK ROAD -- TUBE -- BUS STOP7575ROSS looking around. Then --BOURNE (O.S.)To your left. Blue hooded top. Walking towards the bus stopROSS has clocked him.The HOODY walks to the bus stop. One hands-free EARBUD swaying down by his side as he moves to a seat.Sitting down. Checking his watch.ROSS shifting nervously from one foot to another.BOURNE (o.s.) (CONT'D)Go to the bus stop, sit next to him. Head down...The LONDON BUS approaching.ROSS begins to move.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DAY. CRI HUB -- NEW YORK64H64HThings are beginning to happen.TECHNICIAN #1Target is on the move.WILLSOkay, who’s the guy in the blue hood?Screen POV. ROSS standing next to the HOODY -- head down. Trying to play it cool -- ROSS in clear view of the cameras. “Speaking” with the HOODY. Camera zooming in.VOSENOkay, there, he’s talking to the guy with the hood. Take them down.Just then --18 A BUS pulling up to the bus stop, blocking both SURVEYS’ views. Rifle mics picking up the bus chatter, instead of ROSS.VOSEN. Annoyed now.VOSEN Watch that bus! The bus! -- don’t lose them! Stay triangular and don’t get blocked.The crackle of the survey teams as they try and reframe.POV SCREEN -- SURVEY ONE seeing the bus clear. The HOODY has gone.POV ANOTHER SCREEN -- SURVEY TWO -- camera finally catching up, picking out the HOODY on the bus as it begins to pull away.VOSEN?Grab Team B. Grab the hoody and stay with Ross...TECH’S giving orders...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. ACROSS FROM YORK ROAD -- DAY 7777SURVEY TWO -- three men racing across the road on foot. Weaving through heavy traffic.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. DAY. FOOTBRIDGE AREA7878BOURNE watching his plan unfold...Only a few seconds to get ROSS out of there...BOURNETake the footbridge. Go to the West Entrance. I’ll meet you at the newsstand.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. DAY. YORK ROAD -- CONTINUOUS 7979ROSS rearing this -- Moving away --The BUS moves up to the traffic light. The AGENTS moving across the street...,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DAY. NEW YORK -- ENCRYPTED AREA -- CONTINUOUS64H64HVOSEN looking at the screens. Pointing...19 VOSENNo, no, look...Ross is not on the bus. Split up the team -- get the guy on the bus and send someone to stay on Ross. EXT DAY. YORK ROAD -- CONTINUOUSR81R81One AGENT peeling off, to keep ROSS in check.The other two AGENTS racing to the bus as it pulls away from the lights. Kicking the doors open, leaping on.GUNS drawn. So quick. Passengers screaming.AGENT ONE(to Hoody)You. On the floor. Down.Pushing the HOODY to the floor. AGENT TWODriver, stop the bus!On the HOODY.The HOOD is pulled back.An innocent YOUNG MAN -- terrified, bewildered.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. DAY. FOOTBRIDGE AREA8383ROSS on the move across the walkway.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DAY. STAIRWELL8484SURVEY ONE moving up the steps, only to meet-BOURNE coming down. Three quick moves and he's down- slumped against a wall- just another drunk to step over in the rush hour.Pulls the feed. Takes the earbud. Then back up and falls into step behind ROSS.Listening in to the chaos he has caused -- an ocean away.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. DAY. NEW YORK HUB64H64HTECHIES scrambling to restore the feed. VOSEN staring.TECHNICIAN #2We’ve lost signal.20 TECHNICIAN #1What happened to Survey One?VOSENI don’t like this. Patch me through to Met surveillance.INT/,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. DAY. CAR -- LONDON STREETS8686PAZ parked up -- gets the call -- pulls out into the traffic.Slicing through to the target area. Waterloo up ahead.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. DAY. WATERLOO8787A SECOND SURVEY TEAM -- out of their vehicles. Furtively they lock and load their side arms. Fanning out towards the station.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DAY. WEST ENTRANCE WATERLOO - NEWSTANDR88R88Bourne stops Ross, surprising him. BOURNEWhy do you know so much about me?ROSSWhat?BOURNEThe article. You talked to someone from Treadstone. Someone there at the beginning. What’s his name?ROSSI can’t tell you that.... Who’s following me? BOURNEWhoever they are it’s trouble.ROSSAre they Blackbriar?BOURNEBlackbriar, what’s Blackbriar? ROSSI don’t know. I heard the name this morning for the first time. Whatever it is, my source said it started with you.21 BOURNEWhat? What are you talking about?ROSSLook, just help me get away from these people...and we can talk more...we can--BOURNE(spotting approaching operatives)We have to move. Bourne moves Ross toward the concourse.BOURNEAnswer your phone.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. DAY. CRI HUB64H64HSCREENS coming alive again. They are through to MET SURVEILLANCE -- the AREA around WATERLOO.TECHNICIAN #1Last sighted heading to the West entrance. VOSENHe’s got to be close. Seal the entrances.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. DAY. WATERLOO 9090The new SURVEY team moves towards different entrances -- Ready to beat out the quarry.,FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. DAY. WEST ENTRANCER88AR88ACAMERAS suddenly alive. Movement across the footbridge. The net's been thrown.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CONTINUOUS. CONCOURSE -- WATERLOO9191Into the station concourse.ROSS moving fast. Fighting through the crowds of faces. Each one a killer in ROSS’ tormented mind.BOURNE on the periphery looking out across the throng, picking out the inconsistencies.22 One AGENT, then another approaching. He dials.BOURNE (O.C.)Three o’clock. Female. Blonde black top.ROSSHas she seen me?BOURNENot yet. Dip left past the photo kiosk.ROSS spinning round. Dipping left. BLACK TOP passing in the background missing him.BOURNE crossing close behind - marshalling the pieces at breakneck speed.BOURNE (CONT'D)Straight ahead. News kiosk. ROSS turning. Weaving through the commuters.BOURNE seeing cameras turn. ROSS heading into their path.BOURNE (CONT'D)Change of plan. Stop. Tie your shoelace.BOURNE seeing ROSS dip out of view as a group of TOURISTS block the CCTV’s line of sight.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. DAY. CRI HUB64H64HThat same scene -- scores of TOURISTS -- from VOSEN’s point of view. The TECHS try to get another angle...,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. DAY. CONCOURSE -- WATERLOO9494ROSS looking through the sea of legs as he finishes tying his laces. Cameras sweeping past. ROSSAre we clear?BOURNEClear. News kiosk. Straight ahead.ROSS on the move. Sweating. Paranoid.Seeing a BIN MAN coming toward him -- reaching into his trolley.23 ROSSStraight toward me. Bin man?BOURNENegative.ROSSHe’s got a gun.BOURNENegative. Keep straight ahead.But ROSS swerves out of his path as the BIN MAN pulls out -- a bunch of keys. CCTV CAMERAS turn -- ZOOMING IN ON ROSS.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. DAY. CRI HUB -- NEW YORK64H64HRoss’ face on all screens. TECH#1We got a hit. Middle of the concourse. VOSEN pacing.VOSENWe’re losing him! We cannot afford to lose him!Frenzied teching as they capture and transmit an image of Ross to...,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. DAY. TAXI RANK -- WATERLOO9696PAZ flipping open his phone. A voice crackling in his earpiece.VOICEWaterloo concourse. Subject heading east.Paz jamming the wheel hard right. Doing a high speed U-turn. Heading towards the east side of the station.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DAY. CONCOURSE9494BOURNE realizes ROSS has been seen. Sees the AGENTS starting to form the box...BOURNEGet into cover. Now!24 ROSS moving faster. VOSENWhat’s the status of the asset?64H64HWILLSIn place in one minute.VOSENAlright, I want to take him now. Get him out of there and have the asset cover it.WILLS gives orders...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. CAR TRAVELLING-- MEPHAM STREET -- DAY.9696PAZ pulling into a side street. Out towards a series of arches that lead underneath the terminal. In his ear...VOICETarget moving towards the stores.ANOTHER VOICEAsset in play. ETA thirty seconds. All exits covered.PAZ through the archway. Grabbing a station plan. Studying it.Through a subterranean maze of corridors. Up steps. 9898Through doors.On his way to the kill zone.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. CONCOURSE-- CONTINUOUS -- DAY9999ROSS moving through crowds around the departures board.BOURNE hearing that last exchange in his earpiece too. Asset in play? BOURNEKeep moving...BOURNE’s POV: AGENTS closing the box. The departures board. Platform 7. A train waiting. BOURNE (CONT’D)Faster....Commuters waiting for the platformBOURNE (CONT’D)The front...25 Suddenly -- CLICK -- PLATFORM 7 displays. A wave of commuters flooding away -- sweeping the AGENTS back with them towards platform 7.BOURNE (CONT’D)GET IN THE STORE. BOURNE’S bought them thirty seconds.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. TUNNELS ABOVE THE CONCOURSE -- DAY100100PAZ on the move. Earpiece crackling. Through a door. Taking a left down another tunnel. Opens another security door and moves up some steps. Towards a ladder.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. CONCOURSE WATERLOO -- SIMULTANEOUSLY -- DAY100A100AThe AGENTS regrouping. Speaking into their radios.VoiceHe’s in the store -- still moving east.ROSS out into the open again. In front of him another STORE COMPLEX.BOURNE INSIDE!BOURNE searching the concourse. Something bothering him. The threat level clicking another notch.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MAINTENANCE AREA-- SIMULTANEOUSLY -- DAY102A/B102A/BPAZ heads up some stairs to a service platform. Climbs a ladder.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. CONCOURSE -- CONTINUOUS -- DAY101101ROSS into the store complex. To one side is a service doorway.BOURNE sees the AGENTS approaching. Looks the other way -- up at the hoardings above. Something’s not right. Treadstone instinct. BOURNEService doorway -- Now!26,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. NEW YORK HUB -- SIMULTANEOUS -- DAY64H64HAn image of Ross as he enters the store complex appears on the screen.TECHY 2Store. Three means of egress. VOSENClose him down...,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. STORE COMPLEX -- SIMULTANEOUSLY -- DAY105105ROSS through narrow store corridors. Sheer panic now. Two of the AGENTS move in after him.BOURNE behind them.BANG - takes the first out silently. BOURNEKeep moving. ROSS moving out to the light as another AGENT follows.BOURNE (CONT’D)Through the store room.ROSS travelling through. The second AGENT right behind as-BOURNE steps out from behind the store room door. The dull snap of bones as second AGENT falls to the floor.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DAY -- CRI HUB64H64HOn a screen VOSEN watches, transfixed, as BOURNE takes out all his agents and then grabs ROBB...VOSENJesus Christ, that’s Jason Bourne.WILLSMaybe he’s the source?VOSENIt doesn’t matter, the asset now has 2 targets. Take them both out.WILLS taps in the order...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MAINTENANCE AREA-- DAY102B102BPAZ moves cross a narrow walkway.27 Now he’s behind a mechanical 'tri-panel' hoarding. The kind that displays a different advert every 15 seconds. He waits for the change and then----- A huge field of vision across the concourse stretching out down below him- a sniper's heaven.PAZ pulling open the motor-casing from the side panel, goes to work on it. Slowing the rotation. Rearranging the large triangular prisms to give him just the right time-gap to pull the trigger- and just enough cover to disappear.He takes out rifle parts from his rucksack. Starts to assemble them.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BEHIND THRESHERS (BEHIND THE SILVER METAL DOOR)102C102CBOURNEI’m going to get you to safety but you have to stay calm do exactly what I say. ROSS(fear-induced autopilot)Sure, okay. BOURNENo, listen to me: Exactly what I say this time. Understand? Ross snaps to focus. Looks Bourne in the eye.ROSSYes.BOURNEStay here while I look for an escape.Ross nods.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MAINTENANCE AREA102B102BPAZ puts together the rifle.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. WATERLOO STATION103103BOURNE exits from the silver door behind Threshers. He stays on the phone with Ross. Hidden from the view of the CCTV cameras by the thick crowd, Bourne sees the approaching agents abruptly pulling back.28 ROSS (PHONE V.O.) (CONT’D)I can see the entrance from here I can make it out--BOURNENo, stay behind that door.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HUB64H64HCCTV view of the silver door behind Threshers that ROSS is behind (not Bourne). Wills is on phone.WILLSThere. That silver door. Bourne’s behind that door? TECHConfirmed. WILLSOkay, pull the agents back and give Bourne’s location to the asset.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MAINTENANCE AREA 107107On his cell phone Paz receives a text indicating Bourne’s location. Paz finds the silver door and aims his rifle at it. SCOPE POVA shape barely visible moving behind the window. (It’s Ross but Paz and the Hub think it’s Bourne.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. BEHIND THRESHERS / WATERLOO CONCOURSE-- DAY111111INTERCUTTING BETWEEN ROSS AND BOURNE:Bourne spots the agents pulling back per Wills’ orders. ROSS (INTO PHONE)If I run now I can make it--BOURNE (INTO PHONENo. Something’s not right.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MAINTENANCE AREA107107Paz awaiting his shot--29 SCOPE POVThe door comes open slightly, but from this angle Paz doesn’t have a clean shot at his target (who he thinks is Bourne).",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CONCOURSE -- WATERLOO111111Bourne searches the rafters, looking for any threats from above. ROSS (TEL. V.O.)I’m going to go for it, okay? BOURNEDon’t move until I tell you.Bourne is distracted by the last of the agents disappearing. Something is definitely wrong--ROSSI’m going to go for it. BOURNENo, No not now.Ross suddenly sprints out from behind the door--SCOPE POV110A110APaz sees the shape emerge--",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MAINTENANCE AREA -- DAY110A110APAZ fires--,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. WATERLOO -- SERIES OF ANGLES111111But it’s Ross, not Bourne. Ross is hit by Paz’s shot. He falls, inches from the silver door, dead. Blood has splattered on the door.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PAZ’S NEST110A110APaz snaps his head back to the scope, realizing he’s shot the wrong person. Then he catches a glimpse of Bourne--Bourne ducks behind the gathering crowd, out of Paz’s line of sight, and goes to the body. 30",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HUB 64H64HVosen and Wills stare at the screen. At the image of Ross, dead on the concourse. The room -- normally full of chatter has gone dead silent...Vosen puts his head in his hands. This is a monumental screw up and everyone here knows it. He just had the wrong man killed.... VOSENOh...shit...Then suddenly Vosen snaps back to focus:VOSEN (CONT’D)Get the asset out of there ...WILLSWhat about Bourne?On the HUB MONITORS we see Police moving in... Vosen doesn’t need to see anymore.VOSENGet him out of there - NOW!",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. WATERLOO -- DAY111111Bourne feels Ross’ body for something.OMITTED110A110APAZ’S NEST110A110APaz is frustrated by the order. He’s itching to get another shot off at Bourne, but after a beat, packs up quickly, as ordered.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. WATERLOO -- DAY111111Back in Waterloo, Cops run in from all sides.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DAY. WATERLOO STATION111A111AOn the screens and in real life, the aftermath of the hit. PARAMEDICS try helplessly to deal with ROSS -- killed instantly by the head shot meant for BOURNE...POLICE arrive and seal off the crime scene...31",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. CONCOURSE WATERLOO -- SIMULTANEOUSLY -- DAY113113BOURNE on the move. Fast -- Past platforms. On his way up to the Tri Panel.Up stairs. On to a walkway. To his right he sees a figure disappearing... PAZ.BOURNE hammers down the walk - way in pursuit.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. PLATFORM AREA -- DAY114114BOURNE tailing PAZ down on to a parallel platform. PAZ dipping down into the underground entrance.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TUBE STATION -- WATERLOO -- DAY115/116115/116PAZ moving deliberately through the evening rush hour-- blending in...BOURNE in pursuit. Chasing on instinct.There...A glimpse of PAZ at the bottom of an escalator.BOURNE fights past people. PAZ disappears into the crowd. BOURNE rushes to catch him. Rounding a corner... A long walkway -- at the end, two staircases lead to different tube lines. BOURNE hesitates-- measures the choice.The sound of a train fills the station-- BOURNE -- Fast downstairs. Watches-- just as PAZ gets onto the car at another door. BOURNE lunges to get on the train...But the doors close...BOURNE’S POVWatching PAZ from the platform as he SAGS down onto a seat, nauseated, his skin clammy, his head pounding...He takes out the PILLS and dry-swallows them...Looks up...CLOSE ON -- BOURNEWatching PAZ...As if he’s looking in the MIRROR at his old self...The self before THE BOURNE IDENTITY...32 CLOSE ON -- PAZHe looks straight ahead, just another commuter...BACK ON -- BOURNEWatching PAZ, as the train pulls away...Then BOURNE is immediately in motion...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DAY. DIRECTOR’S OFFICE -- CIA -- LANGLEY, VA119119KRAMERHello.VOSENIt’s Vosen. We have a situation.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. NIGHT. DANIELS OFFICE -- MADRID119B119BEstablishing Sewell and Marbury.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. NIGHT. DANIELS OFFICE120120DANIELS watches news of ROSS murder on TV. DANIELS panics, opens his safe, packs up papers, takes Blackbriar FILE. Sets alarm. Leaves.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. NIGHT. INTERNET CAFE -- LONDON.120C120CBOURNE sits at a computer, the ROSS notebook open in front of him. He pages through it, finding names, places, “HOW DID THIS ALL START?” -- and Blackbriar. He Googles “Sewell and Marbury”-- finds Paris, Berlin, Madrid. BOURNE continues to search and finds receipt from Madrid. BOURNE leaves.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. DAY. POSH HOTEL -- NEW YORK CITY123123LANDY steps out of a TAXI...,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DAY. POSH HOTEL -- NEW YORK CITY123A123AVosen’s sitting.VOSEN(to waiter)Sparkling. And a “Heart-Healthy” omelet with goat cheese and peppers. Landy arrives. 33 VOSENYou’re late. Traffic?WAITER(handing her the menu)Ma’am?LANDYNothing for me.Vosen looks at her, surprised. VOSENI’m buying.She shakes her head, no. She sits, without taking her coat off. She’s not staying long. VOSENWhen the Director called, it was suggested we bring you on--LANDYSuggested?(beat)Are you sure it was just a suggestion?VOSENFunny how different things look depending on where you sit. I look at this as doing a favor for you. Giving you an opportunity to complete some unfinished business. LANDYMeaning?VOSENJason Bourne.LANDYBourne’s finished.VOSENReally?LANDYIt was finished the moment I realized I was chasing him for something he didn’t do. The case is closed. 34 VOSENSo what do you make of this?(handing her surveillance photos of Bourne in Paris)French intel picked up Bourne meeting Pierre Elattrache on Tuesday. He threatened to burn our house down if you didn’t tell him who started Treadstone. That’s a big problem, wouldn’t you agree?LANDYThis doesn’t feel like Bourne to me.VOSENWhy’s it so hard for you to believe?LANDYProbably because it’s coming from you, Noah. VOSENLets try and be adults okay? We all thought he was done, off the grid. But Bourne’s back. Maybe he’s a threat. We both want the same thing here. LANDYSo what happened at Waterloo? VOSENWe have a leak. Bourne showed up in our surveillance. We had very little time to react. LANDYAnd the reporter ended up dead?VOSENBourne saw us coming. Landy looks at him, suspicious. LANDYSo what was he doing? VOSEN?We don’t know. But just the fact that he was there means he’s up to something, don’t you think? Maybe he’s the source?35 LANDYThe real question is how you managed to get in a fire fight in the middle of a public train station.VOSENDon’t second guess an operation from an armchair, Pam. It’s not fair. LANDYI’m going to the office now. I’ll make my own introductions. Off VOSEN...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DAY. ATOCHA TRAIN STATION -- MADRID125125AN AVE train pulling into the vast station. BOURNE stepping out, walking up the platform. Moving out through the station...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DAY -- CRI HUB 125A125ATWO NEW TECHS plus the three we met before. All watching VOSEN lead LANDY and CRONIN into the room.WILLSThis is Pamela Landy. She’s gonna be quarterbacking our search effort. I think what we oughta do, just to get started, let’s go around the room, say who you are and what your spec is.LANDY stepping in before this gets going --LANDYLet’s do names later.(she’s got the floor) What’s Bourne’s last fixed position?(impatient)Anybody.TECH#3London. Twelve hundred Zulu.LANDYStatus? Wounded? Armed?TECH#2Alive. Mobile. Unknown.36 LANDYWhere are your grids coming from?TECH#1NSA Tactical.LANDYYou have an Echelon package?TECH#1Yes.LANDYWhy isn’t it on?TECH#1We were waiting.LANDYFor what?(no takers)You’re nine hours behind the toughest target you’ve ever tracked. I want everyone to sit down, strap in, and turn on all you’ve got.(beat)That would mean now.That lights it. They’re moving. LANDY (CONT’D)Thank you.VOSEN watches...LANDY (CONT’D)I want everything you’ve got on Ross on screen one.LANDY watches as the screen lights up with ROSS information...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DAY. SEWELL AND MARBURY -- MADRID125B125BBourne arrives, begins to recon the area.He goes to the front door finds “Sewell and Marbury” and rings the bell. No answer. Two cops come around a corner. Bourne sees them, notes the side of the building and leaves. 37",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DAY. CRI HUB -- NEW YORK CITY125E125ETECH#1Sir, we just hacked Ross’s email account at the Guardian and found a round trip ticket to Turin, yesterday. 0800 arrival, 12:05 departure.LANDYI think we can be pretty certain that Bourne’s not your source then?VOSENHow?LANDYRoss’s call to his editor, where he said he just met the source on Blackbriar, took place just after his flight landed. His met his source in Turin.VOSENSo?LANDYSo, what, Bourne met Ross for breakfast and then, at noon the same day Bourne calls Ross to demand a meet at Waterloo?CRONIN(Needling Wills)Maybe they were even on the same flight?VOSENCross check the secure cell phone usage of everyone with Blackbriar SCI clearance against all calls in and out of Turin during the morning Ross was thereTECHNICIANS start pounding keyboards.LANDYThe guy you’re after is a CIA operative with clearance above Top Secret. He was committing treason by talking to Ross. Do you really think, while doing that, he used a cell phone he knows we can track?TECH 3 (JIMMY)Zero results on the cross check.38 VOSEN stares daggers at her.WILLSDo you have a better idea?LANDYYeah, I’d look at all the people whose cell phones were switched off the entire period Ross was in Turin.WILLSDo it Jimmy.TECHNICIANS start tapping.LANDY(looks at Cronin)I mean if your people use their cell phones as much as mine do, the list should be pretty smallTECHNICIAN 3 JIMMY Three names: Tom Brewster, Jack Boulin, Neal Daniels.The names display on the screen: Tom Brewster, Jack Boulin Neal Daniels.The HUB employees can’t help but be impressed by LANDY. WILLS and VOSEN notice their response.LANDYNow check everything in Ross’s apartment against those names. Look for common patterns, look for -CRONINInitials .....Bring that up on main. LANDY turns. CRONIN is leaning down in front of a computer screen. Point to something for the tech --- who puts it on the big screen, blown up.In a set of handwritten notes by ROSS it says “per N.D.”next to several scrawls.LANDYNeal Daniels. He’s Station Chief in Madrid now, isn’t he?WILLSJesus Christ.39 VOSENCall the RSO at the Embassy and have them take Daniels into custody if he’s there. If he’s not, get a grab team to the Calle Norte safe house. Send them in heavy and tell them we’ll assist with entry.LANDY“Heavy?” Daniels isn’t--VOSENI’m worried about Bourne. If he’s not Ross’s source, then he must be after Ross’s source -- just like us.Off LANDY...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MADRID STREETS -- NIGHT125F125FBOURNE in a TAXI turning a corner into a narrow street. The rain has slowed, but the streets are still quiet. BOURNE gets out and walks past the SEWELL and MARBURY front door, picks the lock and gains entry.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SEWELL AND MARBURY. -- NIGHT126B126BBOURNE up the stairs. Finds the office. Jimmies the door. Disables the alarm.All the signs of a hurried exit. A half filled cup of coffee -- cigarette burned down in an ashtray but not snubbed out -- a light left on -- files and documents, some shredded, some not.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HUB127H127HVosen paces back and forth. The hub is MUCH quieter than it was in the Waterloo scenes. TECH 1. (LUCY)Parque Vasquez is clean. No sign of subject.VOSENTeam two, ETA Callee Norte?FILTERED V.O. (KILEY)Three minutes.40",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. MADRID STREETS -- NIGHT127A127AA BLACK CAR moving briskly through traffic and --,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MOVING BLACK CAR -- NIGHT127A127AHAMMOND at the wheel. KILEY with the map. Shutting off his phone.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. SEWELL AND MARBURY -- NIGHT127B127BBOURNE checks the office. Soon he finds a photo of Daniels with Albert Hirsch.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. HOSPITAL ANNEX -- OVERCAST DAY -- FLASHBACKFB3FB3Bourne arrives at a nondescript steel door with two CCTV cameras covering it. He sees 415 written above the door.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. SEWELL AND MARBURY -- NIGHT127B127BThe flashback overwhelms Bourne.,FLASHBACK +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. SRD CORRIDOR -- DAY -- FLASHBACKFB3AFB3APOV shots of Bourne walking down the long corridor with Daniels. Other shots revealing that Bourne is in Army dress greens (without hat). Daniels knocks and leads Bourne into--,FLASHBACK +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. SEWELL AND MARBURY -- NIGHT127B127BBourne is driven to his knees.OMITTEDFB3BFB3B,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TANK ROOM -- FLASHBACKFB3CFB3CBourne is dragged into a room with a large water tank. His hands have been bound behind his back, the sack’s drawstring pulled tight, and he has been weighted down. Bourne is shoved into the water. UNDERWATER SHOT -- FLASHBACKFB3DFB3DBourne falls into the water. SPLASH. He starts to sink. The wet sack allows us to see the outlines of his face. Also POVs as Bourne sinks. 41 SERIES OF SHOTS FROM ABOVE AND BELOW WATER --FLASHBACKFB3EFB3EBourne struggles wildly at first. Tries to get out of his restraints. But to no avail. SRD men watch him from the edge of the tank. Perhaps also on monitors. Expressionless.UNDERWATER SHOT - FLASHBACKFB3FFB3FBourne fights every human instinct to draw a breath. Also shot from Bourne’s POV:HIRSCH (FILTERED, EERIE)You’re going to drown. There is nothing you can do to prevent this. Stop struggling and accept it.Finally Bourne can’t hold his breath for an instant longer. His mouth opens. Water rushes in. He convulses, begins to drown...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. TANK ROOM -- FLASHBACKFB3GFB3GBourne’s body goes limp. SRD men watch. No reaction. UNDERWATER SHOT -- FLASHBACKFB3HFB3HBourne goes limp. POV of him blacking out.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SEWELL AND MARBURY -- NIGHT127B127BBOURNE comes out of the FLASHBACK. As he staggers across the room, he notices a car arriving on the monitor...",FLASHBACK +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. STREET127C127CA car approaches.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. SEWELL AND MARBURY 127B127BBourne snaps out of it and sees the car on a security monitor.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. STREET. 127C127CAgents get out of car and approach building.42,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DAY -- CRI HUB127H127HTECH#3Sir, they’re at the front door.VOSEN watches...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. NIGHT. MADRID SAFEHOUSE127C127CHAMMOND AND KILEY enter the building.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. NIGHT. SAFEHOUSE 127D127DBOURNE runs water into the TEA KETTLE -- sets the trap...,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. NIGHT. SAFEHOUSE 128A128AHAMMOND and KILEY enter. HAMMONDWe're in. BOURNE listens from his hiding spot.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DAY. CRI HUB127H127HLANDY paces.VOSENOkay, put it live.",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. NIGHT. SAFEHOUSE129129HAMMOND moves quickly into the room -- gun raised.HAMMOND at the alarm box.HAMMONDAlarm’s down.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. DAY -- CRI HUB127H127HVOSENThat has to be Bourne.VOSEN already moving to the monitor.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. NIGHT. MADRID SAFEHOUSE131131HAMMOND and KILEY -- move cautiously from room to room -- they’ve done it before...43 HAMMOND(into mike)Safe’s cleaned out.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. CRI/GRID ROOM 127H127HVOSEN pacing impatiently around the speakerphone --VOSEN Shit... Track the passports.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. NIGHT/RAIN -- SAFEHOUSE133133KILEY gestures to a light moving under a door.Kiley crouching...leaning in...hand on the knob, and --Pulls the closet DOOR OPEN -- Nothing. Sink, dishes. a small kitchen. And... on the stove...a tea kettle and a spoon...Which is the last thing they'll remember, because...BOURNE -- coming around the corner fast -- full stop and --BOURNE lays out HAMMOND... KILEY turns to find BOURNE -- who takes him out too. Then it stops.BOURNE yanks the headsets. Closes the PHONE.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. DAY. CRI HUB127H127HThe SCREENS go black. Silence... VOSENGoddamn it! Get a back-up team in there!,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MADRID SAFEHOUSE - NIGHT127D127DTEA KETTLE payoff...,SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HUB127H127HVOSENHow long till back-up arrives?The hub scrambles to answer that... Landy paces in the background. Suspicious of Vosen...44 VOSENHow long?(beat, loud, to the entire hub)Stop! Hang on. I have an idea...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. NIGHT. MADRID SAFEHOUSE 136136ON A SECURITY MONITOR -- BOURNE sees another figure moving up the stairs...Checking his watch, reloading his gun. Twisting into the path to shoot as the door opens, hesitating because-It’s NICKY.A beat -- long unbroken.BOURNEWhat are you doing here?NICKYI was posted here after Berlin.BOURNEWhere’s Daniels?The office PHONE goes. Bourne waving her to it. She picks it up. He hits the speaker phone.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HUB127H127HNICKY (V.O.)Hello.VOSENWho is this?NICKY (V.O.)This is Nicky Parsons. Who’s this?Landy reacts to her voice...Both Vosen and Landy strongly suspect Bourne is there and listening...Vosen reads her “Duress Challenge” identity check off the screen. It reads:Challenge: “Sparrow”Response if Under Duress: “Ruby”Response if Normal: “Everest”45 VOSENNicky, I need to do an ID challenge first. Code in: “Sparrow.”Vosen looks at the screen to check her response...NICKYResponse: “Everest”.VOSENNicky, this is Noah Vosen. How long have you been on site?NICKY (V.O.)I just walked in. VOSENWe have two officers on site. Are you in contact with them?NICKY (V.O.)They’re down. Unconscious, but alive.VOSENIs there any sign of Daniels?NICKY (V.O.)No.LANDYNicky, this is Pam Landy. We have reason to believe there is a connection between Neal Daniels and Jason Bourne. NICKY (V.O.)Bourne, are you still looking for Bourne? I thought the case was closed.LANDYNo, some people are convinced he’s still a threat. I disagree but to find out I need to talk to him.VOSEN seething because LANDY has interrupted him...VOSENHold on Nicky.Vosen hits the mute button.VOSENWhat are you doing? You know Bourne’s probably listening.46 Landy doesn’t answer. Vosen to Wills:VOSENHow long till back up arrives. Wills holds up three fingers. Vosen unmutes.VOSEN (CONT’D)(into microphone again)Listen, Nicky. I want you to stay put and secure the premises. It could be an hour until another team arrives.LANDY piercing VOSEN with a look...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. SAFEHOUSE - NIGHT 138138BOURNE continues to hold the gun in her face -- NICKY is very calm considering the predicament she is in.NICKYOkay.DIAL TONE as the line gets closed at the other end.NICKYThey know you’re here.BOURNEHow long do I have?NICKYThree minutes...,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. NIGHT. MADRID STREET138A138AFLASH: TWO SEDANS squeal around a corner. CRI reinforcements.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. NIGHT. CRI SEDAN -- MADRID STREET138AA138AADELTA DUDE2 minutes to safehouse.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. NIGHT. MADRID SAFEHOUSE138B138BNICKYMy car’s outside. I know where Daniels is.BOURNE lowers his gun, grabs the phone and dials “1-1-2”47 SPANISH OPERATOR (SUBTITLE)Emergency operator. Where is your emergency?BOURNE answers her in perfect Spanish with a perfect Madrid accent, but worked up, like a civilian would be...BOURNE (SUBTITLE)334 Calle Norte. I hear gunfire. And men shouting. I think they’re Americans --BOURNE pushes the phone off the desk -- fires four shots into the ceiling -- calmly moves Nicky towards the back door...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HUB127H127HVOSENYou “disagree” he’s a threat? He just took out two more of my men. Not to mention his ultimatum to Ellatrache? LANDYThe only way this has a happy ending, Noah, is if we find a way to bring Bourne in voluntarily.VOSENHe wants revenge, Pam. The only realistic way to deal with this is to eliminate the threat.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. NIGHT. BACKSTAIRS139139BOURNE and NICKY rapidly descend.BOURNEOkay, where is Daniels headed?NICKY8 o’clock this morning, he wired $100,000. to a numbered bank account in Tangier.BOURNEOkay, Tangier is about 300 miles away, we can make the morning ferry.NICKYAnd then what?48",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. NIGHT -- MADRID SAFEHOUSE STREET139A139ABourne and Nicky exit on to the street. Suddenly they hear tires squealing nearby.NICKYThey’re coming.They continue to walk down the street towards Nicky’s car.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HUB127H127HVosen and Landy are watching this live. As they cross the street two MADRID POLICE CARS come around the corner the wrong way and screech to a stop. Vosen reacts...,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. MADRID -- NIGHT139A139AFour cops jump out and take aim at the AGENTS.SPANISH POLICEManos Arriba! Manos Arriba! More sirens closing in. A third police car appears. Then a fourth...,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HUB127H127HVosen can’t believe it--,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. MADRID -- NIGHT139A139AThe agents drop their guns and surrender.BOURNE and NICKY continue around a corner -- they get in her VW GOLF and drive away...,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HUB127H127HVosen stares at Landy. A beat, then she walks out.VOSENIssue a standing kill order on Jason Bourne, effective immediately. OMITTED139AB139AB49",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. NIGHT -- VOSEN’S OFFICE -- CRI139B-C139B-CVOSEN on the phone. VOSENWe lost Bourne. KRAMERYou still think he’s after Daniels?VOSENYeah. Nicky’s just the means. But if we find Daniels, we’ll find Bourne.KRAMER Daniels knows way too much. Daniels knows everything. We can’t let them meet.VOSENI’ll take care of it. KRAMERGood. (beat)And fill Hirsch in. Just in case.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. NIGHT. TRUCK STOP -- SPAIN R145R145BOURNE and NICKY sit over coffee. A long silence...then:NICKYWhat are you after, Jason? Why are you looking for Daniels?BOURNEDo you know who this is?Bourne puts the photo of Daniels and Hirsch on the table between them. She looks at the photo, points.NICKYThat’s Daniels.(points at Hirsch)I don’t know who that is.BOURNEI have to get back to the beginning...or I’ll never be free of this.NICKYWho is he?50 BOURNEI think he started Treadstone. I remember meeting him. I remember the first day...(beat)Daniels brought me to him.Nicky looks back at him....not sure what to say.NICKYWhat happened?BOURNEAn initiation...I guess...FLASHBACKFB3BFB3BQUICK FLASH: Bourne, head in sack, is held underwater, struggling desperately for breath--",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. NIGHT. TRUCK STOP -- SPAINR145R145Bourne comes out of the flashback. Nicky is looking at him....NICKYJason...that wasn’t some one-off initiation. Daniels said they did that to you over and over again. That’s how they...She doesn’t finish. And Bourne doesn’t ask her to. Just a long pause.BOURNEWhy are you helping me?NICKY It was difficult for me...with you.BOURNE looks up. Another long pause...NICKY (CONT’D)You really don’t remember anything?BOURNENo.NICKY’S face. Two SPANISH COPS enter the cafe. BOURNE (CONT’D)We should move. 51 They get up and leave...,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. VOSEN’S OFFICE -- DAY 145A145AVosen goes to his safe.VOSEN(to voiceprint mic)Noah Vosen.Then he puts his thumb into a print reader. The safe door pops open. He pulls out a file marked “Top Secret.”,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. DAY. LANDY’S OFFICE -- CRI 145B145BCRONIN makes his way down the hallway.LANDY works at her desk. CRONIN enters...CRONINThey tracked Daniels’ passport to a hotel in Tangier. They’re holding up a bank transfer he made to keep him in place while they move an asset in from Casablanca.Off LANDY. This just keeps getting worse...,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. VOSEN’S OFFICE 145C145CLandy enters without knocking. LANDYSince when do you have authorization for lethal action against Daniels?VOSENSince he cleaned out a Blackbriar safe and fled to Morocco!LANDYSo grab him--VOSENI don’t have the people on the ground to do that and I’m not going to risk that file falling into the wrong hands.LANDYWhat’s going on? What’s Daniels got?52 VOSENWhat’s he got? He ran all of Blackbriar’s operations in Southern Europe and North Africa.LANDYI think the world’s well aware we have a rendition and lethal action capability at this point, Noah.VOSENFor Christ’s sake, Pam, he’s got our entire playbook. Names, dates, ghost sites, how we train our assets.....LANDYYou still don’t have the authority to kill him. VOSENOh, yes I do, Pam. Vosen holds up the file we saw him pull out of his safe. It is labeled “Blackbriar: Lethal Action Protocol.”VOSENThat’s what makes us special. No red tape. No more getting badguys in our sights and then watching them escape while we wait for some bureaucrat to issue the order.Landy opens up the file. Sees the words “instantaneous lethal action is authorized when...”LANDYYou just decide? No oversight. No checks and balances. VOSENCome on, Pam, you’ve seen the raw intel. You know how real the threat is. We can’t afford to have our hands tied like that anymore.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. DAY. FERRY -- ESTABLISHING148148BOURNE and NICKY ride the ferry from Gibraltar to Morocco...53,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. DAY. TANGIER HARBOR150150They arrive and pass through CUSTOMS...,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. DAY. TANGIER150A150ADANIELS drives...OMITTED148H148H,SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DAY. TANGIER 148A148ADESH arrives, grabs a TAXI...",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DAY. PENSIONE -- TANGIER148B148BBOURNE and NICKY enter a shabby room. Turn on the fluorescent lights...BOURNE tosses his BACKPACK on the bed...NICKY plugs her LAPTOP into the USB port...ON THE SCREEN, as NICKY hacks into the system...BLACKBRIAR...OMITTED148C148C",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. LANDY’S OFFICE -- DAY 148CA148CALandy on the phone. LANDYIt’s Pamela Landy for him. Would you tell him it’s urgent?,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. KRAMER’S OFFICE -- DAY148CB148CBThe phone buzzes. Kramer picks it up. ASSISTANT (PHONE V.O.)It’s Pam Landy. She says it’s urgent. On Kramer...the wheels turning....KRAMERTell her I’m unreachable.Kramer hangs up.54,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LANDY’S OFFICE -- DAY148CA148CALandy receives the news.... The wheels turning in her head.... She hangs up. A pensive moment, then she gets up and heads for--",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DAY -- CRI HUB148H148HLANDY AND CRONIN enter the hub--VOSEN is in the middle of giving the kill order.VOSENGive me the subject’s location. TECHNICIAN #2Subject is currently on foot and now entering Hotel Velazquez. 45 Route Commerce, Tangier.VOSENGet an elevation and a floor plan, tic-tac-toe. Locate the room. Give the asset Daniels’s location and the route between Daniel’s hotel and the bank.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. TAXI149B149BDESH looks down at his beeping cellphone. It has a MAP on the screen.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HOTEL 149C149CNicky at her computer.SHE LOGS IN WITH HER USER I.D.Bourne looks on.TIGHT ON MONITOR: 3-D IMAGE OF HOTEL WITH DANIEL’S ICON PINPOINTED,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HUB 148H148HVosen and Wills. Landy still pacingVOSEN Do we have that room yet? TECH 2(ARKI)Yes sir Room 117. 55 VOSENGet the hotel’s trunk line. Run all calls through here with an iso on 117TIGHT ON COMPUTER MONITOR: DESH’S ICON STOPS MOVING.MEDIUM CLOSE UP ON TECHTECHSir, the asset is acquiring the materials.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. LOCK-UP GARAGE. DAY154154DESH opens a lock-up and goes in. He comes out with a scooter and drives off.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOTEL 149C149CNicky types on computer. Enters search parameter: NEAL DANIELS. ACCESS DENIED.NICKYHis location’s being blocked.BOURNENow they found Daniels, do you know where he is?NICKYThey’ll get one of the operatives to terminate him.BOURNEFind out who.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. LOCK-UP GARAGE. DAY154154Desh works on a bomb.NICKY (O.C.)Desh.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HOTEL149C149CDESH BOUKSANI’s profile.BOURNETell him you’re going to meet him and that you have a new phone for him.56 NICKYIf you stop Desh they’ll just get someone else.BOURNEWe’re not going to stop him. We’re going to follow him. He’ll take us right to Daniels.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. LOCK-UP GARAGE. DAY154154CU DESH (AND INSERT PHONE) HE RECEIVES NEW ROUTING INFORMATION FROM NICKY.“Meet me Tangier Cafe Paris”The bomb is finished on the Work table.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. LOCK-UP GARAGE. DAY154154Desh takes the scooter out.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. TANGIER ESTABLISHING154154,SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. STREET.155155Bourne and Nicky walk.Desh rides his scooter.TIGHT ON COMPUTER SCREEN: DESH’S ICON TURNS OFF COURSE.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HUB148H148HTECH (LUCY)Sir, the asset is deviating. VOSENFind out why.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ACROSS FROM CAFE DE PARIS. DAY157157BOURNE, recalculating. Looking around him.A scooter is pulling up and the driver walks toward BOURNE. TIGHT ON COMPUTER SCREEN: DESH’S ICON IS NOW STATIONARY57",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HUB 148H148HTECH (LUCY)Asset unscheduled stop.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CAFE DE PARIS 159159NICKY SITS, Desh walks up and snatches the phone off of the table. A scooter is pulling up and the driver walks toward BOURNE. He brushes past him, taking the key.Keeping DESH in sight as he returns to his Vespa and pulls out in to traffic.TIGHT ON COMPUTER SCREEN: DESH’S ICON IS MOVING AGAINTECH Sir, the asset is on the move, in route to subject.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HUB - DAY148H148HTECH #1Sir, the asset is back on course. VOSEN looks up.WILLSSir, we have an unauthorized breach. Someone with active system knowledge has penetrated out protocols. Information was passed to the asset at 14.11. (beat)The trace is confirmed and valid. It comes from a computer belonging to Nicky Parsons. VOSEN looks over at Landy....his wheels turning. A series of cuts between them.VOSENWhere did the course deviation occur?TECH (LUCY)South to Rue Belgique. Stationery at Place de France. VOSENThat’s where Parson’s is.He pauses, deciding what course to take. Landy watches.58 VOSENWhen we’re finished with Daniels send the asset after her. We find Parsons, we find Bourne.LANDY (OVERLAPPING)(going to Vosen, firm)Noah, what are you doing? VOSENNot now.LANDYNow. I want to know what’s going on.VOSENNot now. LANDYI’m asking on what basis you’re continuing this operation. VOSENOn the basis that Nicky Parsons has compromised a covert operation. She is up to her neck in it. LANDYThis is about Daniels, not Nicky!VOSENShe has betrayed us!LANDYYou don’t know the circumstances!VOSENShe’s in league with Jason Bourne for Chrissake!LANDYYou don’t have the authority to kill her or Bourne!VOSENYes, I do Pam, it’s right here and it’s legal.VOSEN slams a document on the desk. INSERT SHOT: “Blackbriar: Lethal Action Protocol.”LANDYShe’s one of our own. You start down this path...where does it end?!59 VOSENIt ends when we’ve won. LANDY turns and storms out...VOSENNotify the asset of the additional target.BRYANYes, sir.BRYAN codes in a kill order on NICKY...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DAY. TANGIER164A164AAs he rides his VESPA, DESH receives additional target information..Pictures of BOURNE and NICKY. DESH glances in his rearview mirror -- spots BOURNE.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. DAY. HUB -- MEDIUM CLOSE UP:148H148HVOSENHave the bank release the funds. A TECH calls DANIELS.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DAY. VELASQUEZ HOTEL 167167DANIELS answers phone.BANK OFFICER (FRENCH, SUBTITLED)Mr. Daniels, Bank of Tangier. Your funds are now available.Daniels leaves.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DAY. TANGIER STREET168168DESH parks the motorbike and walks around the corner, BOURNE follows. DANIELS’ car coming down the street. BOURNE stops and sees the car -- realizes the danger. BOURNE turns back to see DESH with the detonator in his hand.BOURNE locks eyes with DESH. Before BOURNE can react -- DESH detonates.BOOM! DANIELS is DEAD. 60 BOURNE is thrown across the street by the blast. He lays MOTIONLESS.DESH POV. He looks back to see BOURNE not moving, lying in the street.DESH gets on his motorbike and heads off to kill NICKY.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. PETIT SOCCO -- CONTINUOUS*NICKY still at that café waiting. Taking out her phone- *puzzled.*She answers. Looking around.*NICKY*Code in?*(no reply)*Code in?*Nothing. Just the noise of traffic.*,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. VESPA TRAVELLING*DESH on the move towards Petit Socco. On the cell - making *that 'silent call'.*,SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. AVENUE D’ESPAGNE -- THAT MOMENT*BOURNE'S too late- hearing the 'line busy' tone. Knows this *tactic.*And those POLICEMEN are getting closer.*,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. NEW YORK HUB -- ENCRYPED AREA -- CONTINUOUS*Frenzied teching. A screen comes alive.*TECHY*We have a trace.*TECHY 2*Target heading north. Rue des *Chretiens. Intercept ETA six *minutes.*VOSEN*Okay, that’s it. Bar her cell. *Tie it off.*",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. RUE D’ESPAGNE -- CONTINUOUS*DESH is disappearing from view.*61 And the POLICEMEN are surrounding BOURNE. Demanding to see *his papers.*BOURNE speaking in Spanish - fishing for his papers. *Looking back up the street. Forming a plan. Checking his *watch.*More POLICE arriving now.*And DESH has disappeared out of sight.*No time for this.*BOURNE breaks away. Through the crowds into the traffic. *Police whistles- shouting. Confusion. *The chase is on. *Three policemen turning into his path. No choice. BOURNE *taking them down. Sprinting out across the road.*A KID and his moped. Caught up in the police dragnet. *BOURNE leaping on the bike - kick-starting it.*Away into traffic as two squad cars turn and make chase. *BOURNE weaving through traffic. One hand on the bike the *other on the cell, desperately trying to call NICKY.*But now, at least he's got a dial tone.*",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. PETIT SOCCO -- CONTINUOUS*NICKY grabbing the cell. Answering.*NICKY*Bourne?*BOURNE*Nicky? Listen to me. You need *to -*The line goes dead. Looking at the screen - 'SERVICE *DENIED'*Really spooked now- looking around. Time to move.*Dismantling the phone instinctively - scattering it's *components. *She starts to make her way out of the square.*,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. STREETS -- CONTINUOUS*DESH through the streets-getting closer - heading towards *the PETIT SOCCO.*62,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MOPED TRAVELLING*BOURNE picking up the pace. Three more police cars out of a *side road just missing him.*BOURNE choosing his exit. *Up ahead- a narrow alleyway - taking it.*The squad cars crunching to a halt, behind him.*",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. PETIT SOCCO -- CONTINUOUS*DESH crossing the SQUARE weaving through a sea of push *bikes. *Parking his Vespa at the corner of RUE DES CHRETIENS. *Travelling on foot.*,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. RUE DE CHRETIENS -- CONTINUOUS*NICKY - trying to keep calm. Checking each alley. Moving *on.*,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. PETIT SOCCO -- CONTINUOUS*BOURNE arriving - seeing NICKY has left. Seeing DESH'S *Vespa parked up. *More police - on foot now. *BOURNE parking up. Seeing the crowded streets. Looking up *to the rooftops. He needs to get higher.*Starts running up steps.*,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. RIAD/ROOFTOPS -- CONTINUOUS*BOURNE into a riad. Through a courtyard - up more stairs - *up a ladder. Out onto the rooftops. Scanning the skyline. *A beat. Has he misjudged?*No, there in the distance at the top of a narrow street- *NICKY walking slowly and behind DESH. Moving quickly.*BOURNE tailing him - trying to close the gap. Dipping down *through another riad - through an alley. Up more stairs. *Back up onto another roof. He's gained a few metres on *DESH.*63 Desh goes up to the rooftops now. Bourne has him in sight - *DESH is prepping his gun with a silencer.*DESH speeding up. BOURNE sees NICKY down below amongst the *crowds. In Desh's sights. *BOURNE knows he has to gain more ground.*CABLE CAM shot - Two trained assassins leaping across the *narrow streets - silently effortlessly -- the cops down *below searching the alleyways, oblivious to the chase *unfolding above them.*BOURNE nearly on terms with him - then --*DESH dipping down again into the street below. Avoiding *the police -- he melts into the crowds.*STEADYCAM SHOT - following BOURNE as he heads downstairs. *More stairs. Through a corridor then a courtyard - *bursting out of a door into the street -*A police checkpo",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",int. Right in his path. Bourne forced to *dog leg and take another route.*BOURNE'S lost him- for the moment. *,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. RUE DE CHRETIENS -- CONTINUOUS*NICKY - walking fast up the Rue des Chretiens. Wondering *why there are so many police around. *Suddenly stopping - seeing DESH - knows instantly that he *is coming for her.*Now we see NICKY'S skills. Has to think on her fee t- *TREADSTONE MINDSET -- *Checking the alleyways. Slipping out of sight.*NICKY looking to the rooftops -- taking the advantage. Up *some steps -- into a riad. *Desh tracking her. *,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. RUE DE CHRETIENS -- CONTINUOUS*BOURNE seeing Desh again - further up the street. Heading *in that direction.*,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. RIAD -- CONTINUOUS*NICKY through one hallway - then another. Moving up all *the time. *64,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. RIAD -- CONTINUOUS*DESH arriving at the steps. Looks up to where Nicky is *going. Takes the entrance to the next building. *Anticipates her next move. Aiming to cut her off. *,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. RIAD ROOFTOP*NICKY up steps. Out onto the rooftops. Looking for a path *across them. *Scrabbling across the roof of this crumbling riad. Knows *she can't go back down.*She makes it across to the next building.*Where Desh is…*,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. ANOTHER ROOFTOP -- CONTINUOUS*BOURNE up high. Seeing NICKY on that other roof.*He can't get across to her. Moving fast now. *Down steps. Into the riad courtyard.*,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RIAD *BOURNE entering the hallway. *Moving up the stairs. Towards Nicky. *And towards Desh. *Meanwhile NICKY moving down. Looking out into the *courtyard below. The sound of POLICE getting nearer.*BOURNE hearing the POLICE too as he moves up onto a *landing.* *BOURNE into a main room - something stirring on a couch - a *girl and her little sister having a siesta.*In another room two small boys fast asleep. TV playing. *One wakes. *A noise on the stairs above. Quickly arranging a mirror - *getting line of sight - Bourne dipping into a corner.*It's NICKY. *She gives him a look -- DESH is in here somewhere.*65 The door goes below them. The noise of Police entering the *Riad. *NICKY signalling to BOURNE - this way. *They climb narrow stairs to the next floor.*Down below Police begin searching rooms. Waking the *sleeping family. Shouting, crying. Commotion. *",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. -- NARROW STAIRWELL*BOURNE and NICKY creeping up the steps.*Then - suddenly NICKY spinning round as two silenced *bullets speed past her - And DESH bursting out of a landing *toilet. *On to Bourne. *Full on Treadstone fighting in the narrow stairwell. *Crashing into a tiny disused lift cage- silent constrained- *vicious. *Downstairs a young POLICEMAN hears the noise- heading for *the lift.*NICKY seeing the handle turn. Thinking quickly. She sends *the lift up to the next floor. *The POLICEMAN stepping back from the door -- directing the *other cops out to the courtyard.*People are spilling out into the atrium. It's pandemonium. *,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ROOFTOP -- CONTINUOUS*Bourne and Desh spill out of the elevator and onto the *roof. *BOURNE kicking the gun - spinning across the floor - he and *DESH facing each other. *DESH with BOURNE - straight over the edge. *DESH still on top - just. *A brutal exchange. Matching each other's moves like *shadows. *Relentless. Rolling - falling onto another roof level. *And another. *66 The two men tiring now. DESH grabbing for the bag. The *pills. BOURNE kicking them away. *BOURNE has the upper hand now. DESH'S reaction's slowing. *No longer the match he was.*BOURNE drags him to the ground. He's finished. Bourne's *won. *DESH- shivering -- convulsing.*In the struggle, BOURNE strangles Desh.BOURNE and NICKY hide DESH's body. 194194BOURNEAlright, we need to be dead. You need to code that in.NICKY CODES into DESH’S PDA -- BOTH OBJECTIVES ACHIEVED...In the CRI HUB the message comes up...VOSEN and LANDY believe NICKY and BOURNE are both DEAD...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. DAY. HUB -- CRI -- NEW YORK196A196AThe code from DESH remains on screen -- BOTH OBJECTIVES ACHIEVED -- like an EPITAPH for BOURNE and NICKY...VOSEN packs his briefcase. Turns to WILLS.VOSENI want to be sure. Have the station chief in Rabat confirm the deaths and do a sub-rosa check...And keep and eye on Landy. Off WILLS...,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. DAY. LANDY’S OFFICE -- DAY197A197ACronin enters. CRONINThe hub just got word Bourne and Nicky are dead. Landy looks at him.LANDYConfirmed?CRONINNot yet. Landy looks away...thinking. Wheels turning.67 LANDYGet me a copy of Bourne’s personnel file.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. DUSK. PENSIONE195A195ABourne and Nicky enter.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. DUSK PENSIONE -- WASHROOM -- TANGIER198A198ABOURNE scrubs the blood from his hands. REVEAL Nicky watching him from the bedroom.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DUSK. LANDY’S OFFICE (LONELY LANDY)197197Landy sits at her desk reviewing files on Treadstone. Open on her desk we see the file she will be looking at in the Supremacy phone call.The way she examines the papers we get the sense she thinks something is missing, some piece, some file.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DUSK. PENSIONE -- WASHROOM198A198ABourne scrubbing the blood from his hands. Nicky comes in, touches his shoulder. There’s a tenderness to it, a re-assurance. For a moment it looks like Bourne might react...but the moment passes....",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. DUSK. LANDY’S OFFICE (LONELY LANDY)197197Landy opens a new file. Bourne’s operations.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. DUSK. PENSIONE -- WASHROOM198A198ABourne is toweling off.BOURNEI can see all their faces. But I can’t remember any names....,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DUSK. LANDY’S OFFICE (LONELY LANDY)197197Landy looks at Bourne’s kills. The faces Bourne remembers. But there names are here, and who they were, why they were killed.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. NIGHT. PENSIONE -- BEDROOM/SITTING ROOM198AC198ACBourne and Nicky sitting together.68 BOURNEI was starting to remember who they were...in India...with Marie.A beat.NICKYIt’s just going to lead to more killing, Jason. Are you sure you want that?Bourne takes her words in. But who he is is eating him alive from the inside...BOURNEI’ve killed people and I’ve tried to apologize for what I’ve done, for what I am. None of it makes it better...Another moment passes between them...then:BOURNEThey’re going to come for you again. You are going to have to run now.She gets up.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. BATHROOM198198Nicky dies her hair BLACK. Starts cutting it shorter.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. NIGHT. TANGIER BUS STATION199199Bourne walks with a now dark-haired Nicky. They exchange looks for a long beat. She turns towards the bus.BOURNEIt gets easier.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LANDY’S OFFICE. NIGHT197197Landy finds a denotation in Bourne’s file that he was “recruited to Treadstone by Neal Daniels.” Further down the page it says “Bourne was inducted into Treadstone at the Special Research Department facility at 415 E 71st, New York, NY.” Then “Facility closed by order of Director, June 2002.”",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. TANGIER MORGUE198C198CBourne looks at the tattered remains of Daniels’ body and belongings. 69 He goes through his briefcase and finds a nearly destroyed piece of paper with “Noah Vosen - Director of Operations - CRI” written on it. Bourne slips the morgue attendant a bribe.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. VOSEN’S OFFICE -- DAY198DA198DAVosen is shaving. WILLSStation chief in Rabat just called, they found a body. Bourne? VOSENDesh.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. AIRPLANE -- DAY198DB198DBOn final approach to JFK. Bourne looks out the window to see the Verizano Narrows bridge. And beyond it, Manhattan. Bourne is coming home.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. NEW YORKA202A202Establishes skyline.,SENTI +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LANDY’S OFFICE. DAY200200CRONINPam, You need to see this. Landy follows CRONIN into--",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CRONIN’S OFFICE -- DAY201201BOURNE’S PASSPORT is displayed on the computer monitor. CRONIN (CONT’D)This passport just cleared Immigration at JFK ten minutes ago. It’s an early Treadstone identity registered to Jason Bourne but he never used it and it never went to the grid. Bourne’s alive.LANDYThey don’t know.CRONINNo, if they knew Vosen wouldn’t be in his office right now.70",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. AIRPORT TERMINAL202202Bourne moves through the airport.LANDY (O.S.)It’s a hell of a risk.CRONIN (O.S.)Yeah. Maybe Bourne wants us to know, just like Naples, maybe he’s communicating.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. CRONIN’S OFFICE 201201CRONINMaybe he’s trying to communicate with you.LANDYMaybe we should communicate back. Because I think I know what Bourne’s looking for. SERIES OF SHOTS202202Bourne over the 59th Street Bridge -- arrives at CRI -- goes into the adjacent building --,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. OFFICE BUILDING ACROSS FROM CRI -- DAY 202A202ABourne uses his monocular to zoom in on a file Vosen is looking at -- he sees the word “Blackbriar.” Vosen puts the file back in the safe.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. DAY. LANDY’S OFFICE -- CRI -- NEW YORK203203LANDY’S cell phone rings. She answers it.LANDYPamela Landy.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. UNDEFINED SPACE204204BOURNEI hear you’re still looking for me.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. LANDY’S OFFICE203203LANDY puts down her pencil. CRONIN watches.71 LANDYBourne?,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. VOSEN’S OFFICE206206His phone rings. He picks it up. WILLS (TEL. V.O.)Get in here! Bourne called Landy!Vosen jumps up, sprints toward the hub--",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. LANDY’S OFFICE -- DAY203203LANDYI guess I owe you an apology.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HUB -- BACK ROOM207207Vosen rushes in--BOURNE (V.O.)Is that official?VOSEN (OVERLAPPING)Are we triangulating?!LANDY (V.O.)No. Off the record. You know how it is.BACK ROOM TECH (OVERLAPPING)Trying--BOURNE (V.O.)Good-bye.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. LANDY’S OFFICE 203203LANDYWait. Wait.She opens a file on her desk.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. UNDEFINED SPACE204204Bourne listening--LANDYDavid Webb. That’s your real name. 72,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HUB -- BACK ROOM 207207VOSENWhy the hell did she give him that?LANDY (V.O.)You were born 4/15/71 in Nixa, Missouri.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LANDY’S OFFICE203203LANDYWhy don’t you come in, and we’ll talk about it?(beat)Bourne?",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. UNDEFINED SPACE204204BOURNEGet some rest, Pam.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HUB -- BACK ROOM207207BOURNE (V.O.)You look tired.Vosen realizes--VOSEN(rushing out)He’s got line of sight on us!,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. LANDY’S OFFICE203203She spins to look for Bourne--OMITTED210210,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HUB207207Vosen moving across the floor.VOSEN...This is a national security emergency. We have an imminent threat.73,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. LANDY’S OFFICE -- DAY212212Landy takes out her gun. Checks it.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HUB207207VOSENJason Bourne is alive and at large in New York City. We believe in one thousand yards of this building. I want an immediate twelve block lockdown of the area. Send a FLASH message to Langley, prep for local backup assistance.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. CRI -- DAY217217HIGH ANGLE: Landy leaves CRI.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HUB -- DAY207207Wills walks over to Vosen. The look in his eye indicates that he thinks there’s something odd about this:WILLSLandy just left the building.Vosen looks at Wills.... A beat, Vosen’s suspicion building, though he can’t quite put his finger on what he suspects...VOSENCheck Landy’s phone. Is she using it?",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. NYC STREETS -- DAY217B217BLandy receives a text message.,SENTI +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HUB -- DAY207207Vosen leans in to the Hub’s back monitoring room.VOSENNothing? No calls since Bourne--?BACK ROOM TECHWait a minute. Wait. She just got a t,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. NYC STREETS -- DAY219219Landy heads for someplace -- now with purpose.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. DAY. CRI HUB 217A217AVOSEN confers with WILLS.VOSENWhat the hell do you mean we can’t read it?TECHWorking on it-- VOSEN(frustrated)How do you know a text came if you can’t read it--(to Wills)Are we on Landy?TECHSix men. More on the way.VOSENI want that goddamn t,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",ext. We need to get out in front of her!TECHSeconds...VOSEN paces anxiously.TECH (CONT’D)Got it! TECH points at big screen: “Tudor City Pl & 42nd. Ten minutes. Come alone. Come on foot.”VOSENSurround it. Anyone not on Landy goes to Tudor City. Now! (to Wills)Get the trucks. We’re going mobile. OMITTED218A218A,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. MANHATTAN -- DAY219219LANDY walks east toward Tudor City. She looks around her for any signs of surveillance but finds nothing out of the ordinary.75,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. CRI BUILDING -- DAY221221Vosen and AGENTS come running out of the front door. Others leave through a side entrance. They jump in sedans.OMITTED221A221A,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. STREET.223223Landy still being trailed by foot.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. VOSEN’S SUV 222A222AVosen and agents race to Tudor city. An electronic map on the dash.AGENT 3Copy, we’re going to take a left at 41st. One block, settle at the corner.VOSENGet the map up.AGENT 4It’s a bad place to pick, it’s too exposed.VOSENHe wouldn’t have chosen it if he didn’t have a reason.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. MANHATTAN 223223LANDY walks east through the crowded streets.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MANHATTAN 224224BOURNE walks down the street, enters a building. OMITTED225225",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. TUDOR CITY ROOFTOP 225A225ASpotter on a rooftop.76,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MANHATTAN -- DAY226226LANDY is on the east side now, walking toward Tudor City. An agents trails her on foot. Another parallels her from across the street.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. TUTOR CITY OUTSKIRTS 227227SERIES OF SHOTS: CRI cars arrive, careful to stay several blocks from the meet site. They jump out and try to set up surreptitious surveillance posts. AGENT 3 (V.O.)Okay folks here we go, box at two hundred meters. Let’s lock it down.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. STAIRWAY 226A226ABourne climbs stairs.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. TUDOR CITY 226226Landy walks, agents are everywhere looking for her. Vosen is still in car.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. VOSEN’S SUV 226B226BVOSENAs soon as you have eyes on Landy, I want to know.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. TUTOR CITY226226She becomes clear to AGENT 3.AGENT 3Okay, here we go.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. STAIRWAY 226A226ABourne climbs stairs. Walks down a dank hallway.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. VOSEN’S SUV229229VOSENCopy that, I see her. Landy stands on a corner waiting for Bourne.77 VOSEN (CONT’D)Any sign of Bourne?",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. AMBIGUOUS SPACE229A229ATIGHT SHOT on Bourne’s face. FAST TILT to TIGHT ON his hands, pulling up what seems like a piece of clear tape. We can’t tell where we are or what he’s doing.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. TUDOR CITY 230230Landy looks around.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. AMBIGUOUS SPACE229A229ATIGHT ON Bourne’s hands placing the clear tape on a piece of clear plastic. Again we can’t tell what’s going on.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. TUTOR CITY 231231Agents watch Landy.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. VOSEN’S SUV -- DAY 232232Vosen’s cell phone rings. VOSEN Noah Vosen.BOURNE (V.O.)This is Jason Bourne.VOSEN reels for a beat. Then quickly scans the streets, trying to see if he can spot BOURNE.VOSENHow did you get this number?BOURNE (V.O.)You didn’t actually think I was coming to Tudor City, did you?VOSENNo, I guess not. But if it��€™s me you want to talk to maybe we can arrange a meet.BOURNE (V.O.)Where are you right now?VOSENIn my office. 78 BOURNE (V.O.)I doubt that. If you were in your office--",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. VOSEN’S OFFICE -- DAY233233REVEAL that BOURNE is inside VOSEN’S office. BOURNEWe’d be having this conversation face-to-face.BOURNE hangs up. Puts a portable dictaphone up to VOSEN’S SAFE and his play:VOSEN (TAPE V.O.)Noah Vosen.As he places the plastic slide we saw in the ECUs into the fingerprint reader. The safe pops open--,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. DAY. VOSEN SUV 234234VOSEN stunned.... Is it possible? Is it a trick?,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DAY. VOSEN’S OFFICE 233233From the safe, BOURNE scoops out the “TREADSTONE: Blackbriar” folder Bourne saw Vosen putting into his safe.”He flips it open. He scans down the page. His eye stopping at the words “US Citizen.”He flips to another page -- another photo, and again “US Citizen.”BOURNE shoves the folders in his backpack and leaves.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. VOSEN’S SUV -- DAY234234VOSENThis is a code ten abort, I want everybody back in the vehicles this is a code ten abort! Back to the vehicles immediately, back to CRI immediately. OMITTED237237",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. SERVICE STAIRS237B237BBourne rushes down with his back pack.79,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. VOSEN’S OFFICE237C237CWills grabs the phone and hits a speed-dial:WILLSBourne got into your safe!,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. MANHATTAN239239Bourne onto the street with back pack.OMITTED234234,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MANHATTAN -- DAY238238SERIES OF SHOTS -- VOSEN’S SUV races, lights and sirens, across town. 2) Other CRI cars race back across town.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MANHATTAN -- DAY239239BOURNE walks out of a building, backpack over his shoulder. CAMERA BEGINS TO CRANE UP...BOURNE walks around a corner near CRI. He hears a siren turn on a few blocks away. Then another. He starts to run.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CRONIN’S CAR -- DAY240240A SEDAN pulls to a stop as a door comes open. CRONIN’S inside. REVEAL Landy on the sidewalk. She jumps in.LANDYWhat just happened?CRONINBourne got into Vosen’s safe.LANDYWhat?!Cronin pulls out.CRONINWhere to?LANDY415 East 71st Street.Cronin puts it together.CRONIN4.15.71... Jesus, Pam.80",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. MIDTOWN WEST -- DAY240A240ABOURNE walking away from CRI.Agents leaving a building. Getting into unmarked sedans and peeling out.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. VOSEN’S SUV -- DAY 240AA240AAAs Vosen races across town.VOSEN...I want the entire building searched. Every room. Every hallway. Every closet. Every goddamm airduct. Do you understand? I want him found!,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CRI CAR -- DAY240B240BThe passenger side agent sees BOURNE, points--BOURNE cuts to the south side of the road so the passenger-side agent doesn’t have a shot, while controlling the car makes it almost impossible for the driver to fire accurately.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. 41 STREET -- DAY240C240CThe westbound car cuts sharply and drives up on the sidewalk. But Bourne is too fast. He’s already past them. The passenger side agent jumps out. But he’s still got to get around the door and then move a few steps to get a bead over the hood of his car on Bourne.The other CRI car races the wrong way on the street but gets immobilized and trapped by the onrushing tunnel traffic.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. VOSEN’S SUV -- DAY242A242AVosen and Wills race West on 41st.SERIES OF SHOTS242B242BCRI cars close in -- on 42nd, on 39th, on 10th Ave.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. MIDTOWN WEST -- DAY242C242CBourne races through the tunnel traffic and onto 40th street. He rushes east toward the spaghetti of concrete ramps leading into and out of Port Authority. 81 He runs across 10th Avenue as a third CRI car screams up the street at him.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. VOSEN’S SUV -- DAY243243Several radios blare. CRI AGENT (RADIO V.O.)He’s heading for Port Authority! Subject up the ramp, eastbound into Port Authority.VOSEN(to Tac Team Leader)Lethal force is authorized. TACTICAL TEAM LEADERI told-VOSENTell them again!",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. PORT AUTHORITY -- DAY258258Bourne runs up a one lane outgoing ramp.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. CRI CAR -- DAY258A258AThe driver pilots his car up the ramp behind Bourne. He jams the accelerator down. He’ll be on top of Bourne -- running him over -- in seconds--,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. PORT AUTHORITY -- DAY260260A New Jersey-bound bus exits the complex and heads around the corner of the ramp -- it skids to a stop when it sees Bourne and the CRI car giving chase heading right at the bus.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. CRI CAR -- DAY260A260AThe driver has to skid to a stop to avoid hitting the bus. Bourne slides between the side of the bus and concrete guard rail. The driver calls it in--SERIES OF SHOTS261261Cops and CRI cars close in on Port Authority. One agent jumps out of his car on 8th Avenue and rushes for the stairs.82 TACTICAL TEAM LEADER (V.O.)Block every exit. I want a full perimeter on Port Authority--,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ROOFTOP PARKING LOT -- PORT AUTHORITY262262Bourne races up a set of stairs the rooftop parking lot. He surveys every aspect of his environment on the fly (which includes his taking a quick peak over the concrete railing at the east end of the roof.Next Bourne rushes toward the parked cars. Smashes the window of one to set off its alarm. Then a second and a third, setting off their alarms.The fourth window Bourne smashes in doesn’t set off an alarm. Bourne pulls the door open and climbs in.Inside the car Bourne reaches under the dash and yanks handful of wires off the steering column and starts to expertly hotwire the car.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. VOSEN’S SUV -- DAY263263TACTICAL TEAM LEADER(into radio)Box him in! Box him in!SERIES OF SHOTS264264Agents race up stairwells. Two CRI cars careen up the ramp to the passenger parking (a separate ramp to the bus ramp we saw Bourne on earlier.) A third CRI car races through the parking level just below the roof and up the circular ramp to the roof.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. VOSEN’S SUV -- DAYTACTICAL TEAM LEADER(to Vosen)He’s on the roof. He’s trapped.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ROOFTOP PARKING LOT -- PORT AUTHORITYBourne works to hotwire the car. A CRI car gets to the roof. Two agents come from the elevator lobby. The three car alarms distract them. They search for Bourne, but can’t find him at first...Bourne gets the car engine on - but, given the wonders of modern anti-theft technology his steering wheel is still locked.83 A second CRI car arrives. Bourne slams the car into low gear and backs up at high speed. He smashes into the car across the aisle from him. With a sharp metallic snap the wheel in Bourne’s car is suddenly free, he jams the car into drive pulls out into lane and stops.Three CRI cars here now. Two head straight for him. A third blocks the exit ramp. Bourne checks the rearview and sees two more agents pour from the elevator lobby, one carrying the serious firepower of an M-4 (an M-16 variant whose bullets can penetrate metal and concrete). They move into position to get a bead on him.Bourne assesses. But he doesn’t move. The agents swarm toward him. What the hell is he doing? Why is he waiting?",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. VOSEN’S SUV -- DAY267267TACTICAL TEAM LEADERWe’ve got him! He’s got nowhere to run!VOSENTake him out!,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ROOFTOP PARKING LOT -- PORT AUTHORITY268268The agents clear their obstructions and drop their barrels toward Bourne--But before they can get a bead-- Bourne slams the car into reverse again. Petal to the metal in reverse--The agents open fire. Bourne ducks the lead slugs ripping through the windshield. But there’s no dodging the shower of broken glass.As Bourne disappears below the dashboard, the CRI agent adjusts his fire into the car’s grill.Virtually blind, Bourne races the hard-pressed vehicle backwards as the agent’s fire decimates the car’s driveline. Bourne slips the car into neutral and takes a quick peek behind him. 84 Steers still speeding but quickly dying car towards a small gap between two parked cars at the edge of the parking structure.Bourne’s car splits the gap between the parked cars, hits the base of a low angled wall that slams the back of his car up and over the wall.Bourne is pounded as his car jounces onto the wall, a second later the front end seesaws over the top, the sudden angle change exposes for an instant the bottom of Bourne’s car, to the shooters.Several rounds rip through the floorboard and tear past Bourne’s head just before his car drops upside down for 25 feet and slams onto a row of parked cars.The impact rips Bourne from the seat and slams him hard against the roof.Bourne struggles out of the car, knowing he has only a moment before the armed agents will fire down into his over-turned car.CRI AGENTHo-ly shit!",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. VOSEN’S SUV -- DAY269269VOSEN(practically screaming into his handheld)He did what?!,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. ROOFTOP PARKING LOT -- PORT AUTHORITY270270The CRI agents race to the spot where Bourne’s car disappeared over the railing and reflexively fire into Bourne’s car but they’re too late! Bourne’s already out. He disappears from sight under the covered parking structure.LEAD CRI AGENTGet down there! Get down!,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. VOSEN’S SUV -- DAY271271As it speeds toward the spaghetti of ramps leading in and out of Port Authority -- two blocks away.TACTICAL TEAM LEADERWho has eyeball on him?! Who has eyeball?!85,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. ROOFTOP PARKING LOT -- PORT AUTHORITY271A271AOne of the agents scrambles over the edge and starts to climb down. Other agents race for the stairs.TACTICAL TEAM LEADER (V.O.)Don’t tell me--,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. VOSEN’S SUV -- DAY274274TACTICAL TEAM LEADER--you’ve lost him! Who’s on street level?! Street level backup?!Clearly there is no one down there. Bourne’s car jump from the roof has completely flat-footed them.VOSEN(to Wills)Get NYPD backup! And FBI, DEA, any other federal assets we can draft!OMITTEDA274AA274AINT/",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. CIRCULAR RAMP274A274ATwo CRI cars race down from the roof to try to get to the level Bourne’s on.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PARKING GARAGE -- TWO LEVELS BELOW ROOFTOP275275Bourne cuts off a guy cruising for a parking space and pulls him from his car and races away as the agent from the roof lands hard behind him. Bourne’s race to the exit is cut off as a 3rd CRI sedan slides into view and it’s occupants open fire on Bourne in a head on charge.The just stolen vehicle takes heavy fire as Bourne reacts instantaneously; thumbing on the cruise control, shouldering his door open, and slamming the gas pedal to the floor as he dives out of the car.The agents react as Bourne’s sedan torpedoes them head on. Hit hard they’re taken out of the fight as metal collapses, glass shatters, and airbags explode.Bourne tumbles to a stop at the rear of a parked car as his car implodes against the oncoming agents. 86 Instantly Bourne is on his feet, moving between the parked cars to engage another CRI sedan traveling parallel to the course of the wrecked one. The agents in this sedan are distracted by the still echoing crash and are caught off-guard as Bourne steps out and points his gun at the driver.The driver ducks and floors his gas pedal in a desperate effort to save his own life. As the sedan suddenly accelerates, Bourne deliberately shifts his aim to the sedan’s front tire and fires.The tire explodes and the car suddenly veers left and slams into a parked car, pitching the driver violently against the unyielding interior of the sedan.An instant later Bourne rips the radio off the dazed drivers belt just before he cold cocks him with it.With the wreck still echoing through the garage Bourne has to deal with the arrival of the first NYPD sedan.Bourne takes on the persona of an alarmed witness as the on edge cop climbs out of his car but Bourne’s performance is cut short as the agent running from his drop from the roof, arrives and opens fire.The police officer goes down in the hail of gunfire as Bourne turns and expertly drops the gunman with a single shot.The increasing volume of squealing tires alerts Bourne to a new threat, he pulls the officer into some cover and grabs the officer’s radio.BOURNE10-13. Shots fired. Officer down. Port Authority parking lot. Level four. Bourne rips a piece of his sweater off and ties a makeshift tourniquet for the officer. Then he hands the cop his radio back. BOURNE (CONT’D)Stay out of sight until one of your own arrive.Bourne disappears. We pick him up as he jumps into the cops car and guns the engine and heads for the exits. CRI agents are confused for a second -- until they pick up the NYPD car exiting Port Authority on one of the ramps. But that’s all the time Bourne needs--87 OMITTED276276",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CROSSTOWN STREET -- DAY277277Bourne turns on his lights and siren and speeds east, followed closely by a CRI sedan.As cars yield to Bourne’s siren a taxi tries to jump into Bourne’s wake but a CRI sedan punches the taxi back to the right. It ricochets off several parked cars before regaining control.OMITTED277A277AOMITTED280280",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CROSSTOWN STREET -- DAY281281Bourne struggles to keep his over-matched vehicle ahead of the more powerful CRI Sedan which tries to spin Bourne out by hitting his bumper. Bourne tacks right quickly and barely avoids a stopped car. The CRI sedan flanking Bourne’s slams into the rear of that car, spinning it 180 degrees into the path of the trailing CRI sedan which destroys itself in the resulting collision and blocks the path of the other CRI sedan.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BOURNE’S CAR -- DAY282282Bourne is home free. He looks around and spots a sign that indicates a right turn and says “To Holland Tunnel / US 95.” Bourne turns right--Suddenly the window next to his head explodes as two more shots rip through his door to tear a jagged wound into the top of Bourne’s leg.REVEAL Paz, his SUV racing along the curb lane. As Bourne’s car crosses in front of a small car stopped at the intersection Paz swerves his car into that car and punches it into the side of Bourne’s car.Bourne’s car is knocked spinning, Paz keeps charging forward and slams into the back of Bourne’s car. With his front tires spinning wildly Bourne fights to straighten his car as another CRI sedan appears and tries to box Bourne’s car by sliding into his path.OMITTED28328388",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MANHATTAN STREET -- DAY284284Bourne just manages to punch his car into the right rear of the CRI Sedan and race down the Avenue with Paz and the slightly damaged sedan in pursuit.Paz gains on him and Bourne is forced to swerve violently to deny Paz the kill shot he is all too capable of.Just ahead of Bourne, two government SUVs slide into the intersection completely blocking his path.Bourne instantly spins his car 180 degrees and continues on, barreling into the roadblock backwards.As Bourne’s car plows through the SUV’s he whips the wheel and his car spins through a reverse 180 as Paz and the other sedan race through the wreckage in Bourne’s wake.Paz and the CRI sedan are all over Bourne as he slides a right hand turn onto South St. as Paz and the CRI sedan overwhelm Bourne’s battered vehicle.OMITTED284A284A",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BOURNE’S CAR -- DAY287287On his police radio, Bourne singles out an NYPD officer (call sign Alpha-2503) racing toward the intersection just ahead.Bourne slows, then speeds up quickly to time it right:The CRI car almost hits his bumper, then has to accelerate through the upcoming intersection. As he does, the cop car Bourne was listening to on the radio slams broadside into the CRI sedan drafting the bumper of the mangled cop car.Swerving wildly Paz avoids the pileup and slams his heavy SUV into the back of Bourne’s car, pushing him into the oncoming traffic.Several cars swerve left and right as Paz pushes Bourne sideways onto the ramped end of a K-Rail dividing the street ahead.The nearly upended car grinds down the K-Rail until the rear of Bourne’s car strikes an obstruction which punches it back into the lane as it slams against the front of Paz’s SUV, knocking the SUV sideways, into a row of parked cars.Bourne’s car hits parked cars on the other side of the road. SMOKE and STEAM -- SIRENS -- CHAOS 89 BOURNE kicks the window out of the police car. Gun up... Ready--NEARBYPAZ in the car. Still. Bloody from the crash, really 287A287Afucked up. He comes to...and Bourne is there. Gun pointed at his head...The two assassins look at each other...then Bourne lowers his gun...and disappears...ON PAZ -- as the wheels start to turn...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HUB287B287BWILLSThe asset lost Bourne. We lost him.Vosen reacts--,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. UPPER EAST SIDE -- LATE AFTERNOON289289Bourne exits from the subway. Bourne walks north.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HUBA288AA288AWills pacing... Bourne’s profile is up on Screen 2. It says “David Webb (AKA Jason Bourne)” on the profile. A tech comes to Wills. TECHSir, this may be nothing but, look at Bourne’s birthday. Wills looks at the profile. Bourne’s birthdate is listed as 9/13/70.WILLSWhat about it?TECHWell, Landy told Bourne his birthday was 4/15/71 so...Wills gets it instantly.WILLSEverything stops.(to the room now)EVERYTHING STOPS! LISTEN UP!(they’re listening)New assignment. Numbers. Four. 90 (MORE) Fifteen. Seventy-one. What do they mean?Wills grabs his headset--",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. CRASH SITE -- DAY 288A288AA CRI agent approaches Vosen. CRI AGENTLandy gave Bourne a false birthday. Wills thinks it’s a code.It sinks in for Vosen...oh...shit...,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SEVENTH AVENUE -- DAY 289289BOURNE emerges into the crowed street, headed uptown.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HUB289A289AWills watches the techs work.TECH #3-- if you plug them in as variants of latitude and longitude you get Cameroon -- Peru -- Colombia --TECH #2-- San Francisco’s got a four-one-five area code --TECH #1-- 41571 is the zip code for Varney, Kentucky --TECH #4-- there’s no 415 West 71st Street, but there is a 415 East 71st --TECH #1-- if it’s a substitution code, we’re way short on variables, which I --(no chance to finish as--)WILLS--hang on -- wait -- Seventy First Street? Like what? Like York and First?91WILLS (cont'd) TECH #4That’s correct.Wills like he’s been hit. Like hard. As we cut to --",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. VOSEN’S SUV -- DAY289B289BThey race uptown.WILLSShe gave him the facility. She gave him--VOSEN(into cell phone)I know.(to driver)Go! Go! Drive!(into cell phone)We’re already on our way. Turn the teams around. Bring them in behind me.OMITTED 291291OMITTED292292,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. VOSEN’S SUV -- LATE AFTERNOON 303303Vosen steely eyed as they race uptown. He dials a number--,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. UPPER EAST SIDE -- LATE AFTERNOON304304Bourne reaches 71st street and 2nd Ave. He looks up at the sign...,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HIRSCH’S OFFICE (NEW BUILDING OF HOSPITAL) -- LATE 306306AFTERNOONHirsch’s office is located in the SRD’s “front office”, which is located covertly on a floor of the new building of the hospital. He is the longtime head of SRD and a powerful behind-the-scenes official at CIA. THE CAMERA FINDSDR. HIRSCH, 70, is, put simply, not a man to be trifled with. He’s a 45 year CIA veteran. One of the great brains in the Agency’s history, but also a man who knows how to wield power silently, invisibly, and to tremendous effect. His phone buzzes. 92 DR. HIRSCH (INTO PHONE)Hello.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. VOSEN’S SUV -- LATE AFTERNOON306A306AVOSEN at the other end of the line --VOSEN (INTO PHONE)Bourne knows everything. I think he’s heading for you right now.Dead pause.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HIRSCH’S OFFICE (NEW BUILDING OF HOSPITAL)-- DAY306306HIRSCH (INTO PHONE)He’s coming home, Noah. There’s a wistfulness in the way he says it. But also the sense that this was absolutely inevitable. And he’s calm about it, doesn’t show any fear, doesn’t reach for a gun.HIRSCH (INTO PHONE)How long do I have? VOSENNot long. Get out of there. HIRSCHNo. I’m going to stay.VOSENAre you crazy, he’ll--HIRSCHHe’ll come to the training wing. That’s what he knows. I’ll keep him in play until you arrive.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. NEW YORK -- HOSPITAL -- LATE AFTERNOON309R309RBourne arrives at the “Johnston Medical Center.” He looks up to see “415”. FLASHBACKFB5FB5The image of “415” that has been haunting his dreams.,FLASHBACK +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. NEW YORK -- HOSPITAL -- LATE AFTERNOON309309This is the place... When he looks down Landy steps out of the lobby to meet him on the sidewalk.93 BOURNEThey’ll kill you for giving me this place. LANDY4/15/71 isn’t much of a code. My guess is Vosen’s already on his way.BOURNEWhy’d you do it?LANDYThis isn’t us, David. What they turned you into, what they’re doing with Blackbriar... This has to stop.BOURNEThen stop it. Everything you need is in there.Bourne hands her the black bag and enters the hospital. LANDYDavid... Come in with me. It’s better if we do this together.BOURNE(shakes head)This is where it started for me, this is where it ends. She watches the doors close behind him.... Landy lets him go.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. NYC STREETS -- LATE AFTERNOON323323QUICK SHOTS of six different CRI sedans and SUVs rushing toward the hospital.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HOSPITAL -- LATE AFTERNOON309R309RLandy looks in the backpack. JUMPCUTS: --She unzips the backpack and looks in at the the Blackbriar Operations File. --A cover page inside: “utmost secrecy”... “potentially explosive public reaction would jeopardize the program”... --Another page: “Terminated” stamped across the photos of victims. Next to the victim from the inciting incident, the words: “US citizen”... 94 LANDYOh, my God...--A third page, more photos, no “terminated” on these. Future victims. “US citizen” stamped next to each one...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HOSPITAL -- LATE AFERNOON310310Bourne uses the card reader he took from Vosen’s safe to enter a “restricted access elevator.” A guard comes. Bourne aims his pistol at him as the elevator door closes.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FIRST AVENUE -- OUTSIDE HOSPITAL -- LATE AFTERNOON309R309RLandy walks down the street. She looks up to spot two black sedans speeding east on 71st, turns south -- two SUVs coming up York. Shit--",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. VOSEN’S SUV -- LATE AFTERNOON323323A block south of the hospital, stuck in traffic, Vosen points. VOSENLandy! Right there! She’s got Bourne’s backpack!",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. 8TH FLOOR ELEVATOR LOBBY -- LATE AFTERNOON310R310RBourne flips up the elevator stop button and uses the access card to enter a secure corridor--,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. LOBBY -- LATE AFTERNOON323323Landy runs across the lobby.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. FIRST AVENUE -- LATE AFTERNOON323323Vosen’s SUV careens to a stop behind a bunch of traffic. Still a half block from the entry door but it’s close enough--,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. CORRRIDOR322322Bourne rushes down a nondescript corridor--,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HOSPITAL LOBBY -- LATE AFTERNOON325325Vosen and CRI agents rush into the lobby. 95 VOSEN(to a group of six agents)I’ll find Landy. You get to the training wing and get Bourne!A security guard comes over. VOSENDo you know who I am?(the guard nods)Where’s your security room?,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HOSPITAL CORRIDOR324324Landy looks around. Finds an open office. She pushes open the door and runs to the fax machine. She starts faxing the Blackbriar documents Bourne took from Vosen’s safe.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. SECURITY ROOM -- LATE AFTERNOON324A324AVosen enters. VOSENI want to see all your footage for the last three minutes.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SRD TRAINING WING (OLD BUILDING OF HOSPITAL) -- LATE 322322AFTERNOONBourne stares down the corridor from his dreams, the corridor Daniels lead him down in his flashback. We see Bourne go into--FLASHBACKFBA3FBA3That first day, Bourne’s POV being led down this corridor by Daniels.BACK TO SCENE322322Bourne moves down the corridor.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. SRD TRAINING WING (OLD BUILDING OF HOSPITAL) -- LATE 322322AFTERNOONBourne reaches the end of the hall. He looks around “flashback style” --96 FLASHBACKFBB3FBB3Bourne was standing at this door....,FLASHBACK +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. OFFICE -- LATE AFTERNOON331331Vosen enters the room. The last pages have been faxed...LANDYYou better get a good lawyer.She exits...BACK TO SCENE322322Then spins, gun up--Hirsch is there, halfway down the corridor behind him.HIRSCHPut the gun down. I wouldn’t be here if I didn’t want to talk. BOURNEI’ve spent three years running. Three years trying to find out who I was.Hirsch moves toward Bourne, completely unfazed by the gun.HIRSCHYou still don’t have it all back, do you? You haven’t filled in all the pieces?BOURNELet’s start with the moment you found out I wouldn’t execute Wombosi. The amnesia wasn’t the issue, it was the fact that I didn’t pull the trigger.... HIRSCHOne lapse meant your conditioning had failed. Bourne grabs Hirsch and slams him against the wall BOURNEIt was always you, behind Conklin, behind Abbott.... They were just following orders.Bourne grabs Hirsch and pushes him to the wall. Searches him for weapons. 97 HIRSCH(completely calm)I’m unarmed, Jason.BOURNE(shoving Hirsch hard against the wall)“David.” I’m David Webb. CLOSE ON Bourne’s face--HIRSCHYou were David Webb, but not anymore.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SRD TRAINING WING CORRIDOR -- LATE AFERNOON322322Bourne stands with Hirsch.BOURNEWhy me? Why did you pick me?A beat...HIRSCHYou really don’t remember, do you?(beat)You picked us, Jason. BOURNEWhat does that mean?HIRSCHYou volunteered. Hirsch uses his free hand to hit the keypad on the wall. The “room in use” sign lights up. Bourne looks up “flashback style”-- FLASHBACKFBA1FBA1Bourne remembers that keypad, that “room in use” sign from the first day...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROOM WHERE BOURNE FIRST MET HIRSCH322322Bourne and Hirsch enter...HIRSCH You volunteered right here....You didn’t even blink, Jason. You just handed me these...98 Hirsch removes a pair of dog tags from his jacket pocket. Holds them out to Bourne. Bourne takes the dog tags. Stares at them.INSERT of the dog tags:Webb, David946610190O NegativeCatholicFLASHBACKFB9FB9Bourne hands over his dog tags....HIRSCH (CONT’D)Has everything been explained to you.BOURNEYes, sir. PRESENT DAY322322HIRSCHYou were a soldier ready to serve his country. Just like thousands of others, except you were a prodigy with languages...and a perfect shot. FLASHBACKFBB3FBB3HIRSCH (CONT’D)Your missions will save American lives.PRESENT DAY322322BOURNE You said I’d be saving American lives. Instead you just turned me into a killer.Bourne raises the gun to Hirsch.HIRSCHYou could have left at any time. And you knew exactly what it meant for you if you chose to stay.99 FLASHBACKFB9FB9HIRSCHWhen we’re finished with you, you’ll no longer be David Webb.BOURNE I’ll be whoever you need me to be, sir.PRESENT DAY322322HIRSCHStop running from the truth, Jason. You chose to come here! You chose to stay! And no matter how much you want to forget it...eventually you’re going to have to face how you chose, right there, to become Jason Bourne!FLASHBACK:FB10FB10Bourne sitting in a chair, looking terrible. Hirsch looks at him from behind the desk...HIRSCH (CONT’D)You haven’t slept for a long time have you David? Have you made a decision? This can’t go on, you know. You have to decide. BOURNEWho is he?HIRSCH We’ve been through that. BOURNEWhat did he do?HIRSCHIt doesn’t matter. (beat)You came to us. You volunteered. You said you’d do anything it takes to save American lives. You’re not a liar are you? Or too weak to see this through? This is it. Let go of David Webb. Will you give yourself to this program?100 Bourne looks down, a gun in his hand. He gets to his feet swiftly and fires the pistol several times into a hooded figure. The man slumps over. Bourne stares at what he’s done.HIRSCH (CONT’D)You’re no longer David Webb. From now on you’ll be known as Jason Bourne. Welcome to the program.Daniels pulls the hood off the figure to show that he is dead. Just then Kramer walks through the door.KRAMERHe’s ready. Send him to Operations. PRESENT322322And now, in real time, Bourne comes out of the flashback. He stares back at Hirsch....HIRSCH Do you remember now? Bourne lowers the gun.BOURNEI remember. I remember everything. HIRSCHYou can’t outrun what you did, Jason. You made yourself into who you are. BOURNEI’m done running. That’s why I’m here. To end you, to shut this down. I’m no longer Jason Bourne. HIRSCHSo now you’re going to kill me?BOURNENo. You don’t deserve the star they give you on the wall at Langley.Just then Bourne spins -- agents arrive at the door. It’s locked. 101",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HALLWAY 322322The agents fire at the door handle to get it open.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROOM WHERE BOURNE FIRST MET HIRSCH322322Bourne looks out a window. Sees the layout of a roof several stories below. Then he turns and shoots out the room’s mirrored observation window. Bourne dives through it just as agents rush in and open fire at him.SERIES OF SHOTSBourne races through corridors, loosing the CRI agents.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ROOF -- NIGHT352352Bourne runs out onto the roof. Rushes across it to look over the edge. It’s a straight drop to the FDR -- 12 stories down. He races to another ledge -- the East River below him. But he has to clear a 10 foot supporting wall at the base of the building to hit the water. He backs up to get a running leap. As he does, he turns and sees Paz, who is holding a gun on him.PAZWhy didn’t you take the shot?Bourne looks at him.BOURNEDo you even know why you’re trying to kill me? Look at what they make you give.Bourne turns and runs off the roof. Paz fires into the air...FOLLOW Bourne as he drops fourteen stories into the freezing river--MULTIPLE ANGLES -- Bourne goes into the river...UNDERWATER352352Bourne in a dead man’s float...as his clothes soak through he begins to sink....102 PULL BACK...farther and farther from Bourne’s dead still sinking....as OVERLAPPING, INTERWEAVING VOICE OVERS begin:ANCHOR 1 (V.O.)FBI agents arrested several senior CIA officials today in connection with the broadening scandal enveloping Washington today--ANCHOR 2 (V.O.)Assassination program code-named “Blackbriar” was exposed by a former assassin named David Webb---ANCHOR 3 (V.O.)Program reportedly targeting US Citizens in some cases...ANCHOR 4 (V.O.)CIA Director Ezra Kramer produced explosive documents for the Senate Committee indicating “Blackbriar” was authorized at the highest levels of government.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BAR -- URUGUAY -- SUNSET356356Nicky goes to the bar of at a low end tourist bar with several other customers. She stands there, eyes fixed on a TV behind the bar:ANCHOR 5 (V.O., CONT’D)Webb, who was known inside the intelligence community, as “Jason Bourne” jumped from the fourteenth floor of the CIA facility where he was trained in New York into the East River below. While experts say it would be nearly impossible to survive the fall, despite two weeks of efforts, his body has still not been recovered. PUSH in on the smile that develops on Nicky’s face. As we CUE the Moby “Extreme Ways” sting--- UNDERWATER352352Bourne’s body sinking toward the bottom...when all of a sudden it comes to life -- arms together, legs kick powerfully--And Bourne swims away...103 THE END104",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOSPITAL - DAY A newborn baby swaddled in a blanket, held by her parents. Push in... and ZOOM IN TO HER HEAD.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HEADQUARTERS Out of the blackness steps a glowing figure. This is JOY. The room is black except for a bright CONSCIOUSNESS SCREEN . JOY Hmm? In front of Joy is a single large BUTTON. She pushes it.,SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HOSPITAL - CONTINUOUS The baby gurgles and wiggles happily. JOY (V.O.) And there she was...,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS - CONTINUOUS ON THE CONSCIOUSNESS SCREEN: MOM Hello, Riley. DAD Oh look at you. Aren’t you a little bundle of joy? A GOLDEN GLOWING SPHERE rolls from behind the screen. It’s a MEMORY of what we just saw: Mom and Dad cooing at Riley. JOY Whoa. Joy rolls the memory on its track, illuminating the room. She turns back to the button and pushes it again.",FLASHBACK +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOSPITAL - CONTINUOUS Baby Riley gurgles happily. JOY (V.O.) It was amazing. Just Riley and me, forever...",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS - CONTINUOUS Baby Riley CRIES. JOY (V.O.) ...for 33 seconds. Joy looks to her side. There’s a new, droopy, blue character touching the button. SADNESS I’m Sadness. JOY Oh, hello. I’m Joy. Joy tries to muscle past Sadness to press the button. JOY (CONT’D) Can I just... if you could... I just want to fix that. Thanks. The two struggle. JOY (V.O.) And that was just the beginning. Headquarters only got more crowded from there.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MINNESOTA HOUSE - DAY Riley, now age 3, barrels through the house pulling a wagon.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS ON THE SCREEN: Riley’s POV as she runs through the house. Fear “supervises” Joy, who drives.INSIDE OUT 2. FEAR Very nice. Okay, looks like you got this. Very good, sharp turn... Riley approaches a POWER CORD on the ground. FEAR (CONT’D) Ahh! Look out!!! No! Fear leaps to the console. JOY (V.O.) That’s Fear. He’s really good at keeping Riley safe.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MINNESOTA HOUSE - CONTINUOUS Riley stops. She cautiously steps over the power cord. FEAR (O.S.) Easy... we’re good! We’re good.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HEADQUARTERS A fear memory (purple) rolls in. JOY/SADNESS Whew!/Nice job. FEAR Thank you! Thank you very much. Joy jumps back into driving position. JOY And we’re back!,SENTI +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MINNESOTA HOUSE - CONTINUOUS Riley continues her sprint through the house. Suddenly she’s picked up.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. KITCHEN - CONTINUOUS PLOP into highchair. Bib. Tray. Bowl. DAD Here we go. Alright, open.INSIDE OUT 3. Dad lifts a spoonful of food to Riley’s mouth.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS JOY Hmm. This looks new. FEAR/SADNESS Do you think it’s safe?/What is it? ON THE SCREEN: a spoonful of broccoli. DISGUST enters. DISGUST Okay, caution! There is a dangerous smell, people. Hold on, what is that? JOY (V.O.) This is Disgust. She basically keeps Riley from being poisoned, physically and socially. DISGUST That is not brightly colored or shaped like a dinosaur... Hold on guys... It’s broccoli! Disgust GAGS and pulls a lever.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. KITCHEN YOUNG RILEY Yucky! Riley swats the broccoli. It flies into Dad’s face.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS A disgust memory (green) rolls in. DISGUST Well, I just saved our lives. Yeah. You're welcome.INSIDE OUT 4.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. KITCHEN DAD Riley, if you don’t eat your dinner, you’re not going to get any dessert.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS ANGER looks up from reading his newspaper. ANGER Wait. Did he just say we couldn’t have dessert? JOY (V.O.) That’s Anger. He cares very deeply about things being fair. ANGER So that’s how you want to play it, old man? No dessert? Oh, sure, we’ll eat our dinner, right after YOU eat this! GrrrraaaAAHH !!!! Anger takes the controls as FLAMES blast out of his head. An anger memory (red) rolls in.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. KITCHEN Riley throws a fit. Dad distracts her. DAD (’flying’ the spoon) Hey, Riley, Riley, here comes an airplane!",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS Anger stops screaming. ANGER Oh, airplane. We got an airplane, everybody. DISGUST/FEAR/SADNESS/JOY Ohh!/Ahh!",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. KITCHEN Dad “lands” the food into Riley’s smiling mouth.INSIDE OUT 5.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS A happy memory (golden) rolls in. The others leave Joy alone at the console with Sadness. JOY (V.O.) And you’ve met Sadness. She... well, she... FLASH CUTS of Riley crying: broken toy, spilled ice cream, tantrum in the supermarket, wanting out of her car seat. JOY (V.O.) I’m not actually sure what she does. And I’ve checked, there’s no place for her to go, so she’s good, we’re good. It’s all great! Sadness exits. Joy turns to the wall of golden memories. JOY (V.O.) Anyway! These are Riley’s memories-- and they’re mostly happy, you’ll notice, not to brag. She inspects one of the golden memories: Riley and her friend MEG (both age 3) going down a slide. She REWINDS it, relishing the happy moment. JOY (V.O.) But the REALLY important ones are over here. I don’t want to get too technical, but these are called CORE MEMORIES. Joy pops up the CORE MEMORY HOLDER . Inside are five intensely bright golden memories. JOY (V.O.) Each one came from a super- important time in Riley’s life. Like when she first scored a goal? That was so amazing!",FLASHBACK +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MINNESOTA LAKE, WINTER - DAY Two-and-a-half-year-old Riley shoots a hockey puck across the ice. She trips and accidentally scores a goal.INSIDE OUT 6. MOM/DAD (cheering) Heeey! Would you look at that?! We got a future center here!",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS A super-bright CORE MEMORY rolls in. It rolls to the Core Memory Holder. Clicking into position, a LIGHTLINE shoots out. The Emotions follow it to the back window and watch a new ISLAND OF PERSONALITY form. JOY (V.O.) And each core memory powers a different aspect of Riley’s personality. Like Hockey Island! Five ISLANDS OF PERSONALITY float in space, miles from Headquarters, connected by LIGHTLINES -- their power sources. JOY (V.O.) Goofball Island is my personal favorite.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MINNESOTA LIVING ROOM - NIGHT Toddler Riley runs naked from the bathroom, underpants on her head, laughing wildly. Dad chases her with a towel. DAD Come back here, you little monkey!",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS Goofball Island activates: lights, movement, etc.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MINNESOTA LIVING ROOM Naked Riley does the goofy dance on the sofa.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS JOY (V.O.) Yup, Goofball is the best! Friendship Island is pretty good too. Joy looks at FRIENDSHIP ISLAND.INSIDE OUT 7.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SIDEWALK - DAY Riley and Meg walk leg over leg, arms linked, laughing.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS Joy inspects Honesty Island. JOY (V.O.) Oh, I love Honesty Island! And that's the truth!",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MINNESOTA HOUSE - DAY A guilty Riley stands by a broken plate. She reveals a HAMMER from behind her back.,FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS Joy examines Family Island. JOY (V.O.) And, of course, Family Island is amazing.",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. MINNESOTA KITCHEN TABLE - DAY The family decorate cookies together. Riley stuffs one into Dad's mouth.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS The Emotions look out over the Islands of Personality. JOY (V.O.) The point is, the Islands of Personality are what make Riley... Riley!",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BATHROOM Riley splashes in the bathtub. YOUNG RILEY Look out, mermaid!INSIDE OUT 8.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MINNESOTA LIVING ROOM Riley climbs the couch. She looks at the floor.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HEADQUARTERS Joy projects an IMAGINATION of LAVA onto the screen.,SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MINNESOTA LIVING ROOM YOUNG RILEY Lava! Riley jumps from couch to chair to avoid the lava.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MINNESOTA HOUSE Riley draws. Pull back to reveal she’s drawing on the wall. YOUNG RILEY (singing) Who’s your friend who likes to play? Bing Bong, Bing Bong...",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. MINNESOTA LAKE - DAY Six-year-old Riley skates across the ice backwards. MOM/DAD Hey! Very nice! Where did you learn that?,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS Joy skates around the room, in sync with Riley.",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. MINNESOTA FRONT STEPS - DAY Riley and Meg slurp frozen drinks. Riley grimaces: ice headache!,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HEADQUARTERS FEAR Brain freeze! The Emotions scream as Headquarters freezes over.INSIDE OUT 9.,SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. MINNESOTA LAKE - DAY A kids’ hockey game. Riley takes a shot and scores!,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HEADQUARTERS JOY Yaaay!,SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RILEY’S MINNESOTA BEDROOM - NIGHT Parents tuck Riley into bed and turn off the light. DAD Good night, kiddo! RILEY G’night, Dad. She looks up at the stars on her ceiling and falls asleep.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS Joy watches the screen go DARK. She inspects the shelves mostly populated with GOLDEN MEMORIES. JOY And... we’re out. That’s what I’m talking about: another perfect day! Nice job everybody! Let’s get those memories down to Long Term. Joy pulls a lever. Memories cascade down the shelves. FEAR All right, we did not die today! I call that an unqualified success. The memories pachinko down the shelves and up a tube. Joy runs to the back window to watch them glide through the distant tubes towards Long-Term Memory like falling stars. JOY (V.O.) And that’s it! We love our girl. She’s got great friends and a great house. Things couldn’t be better. After all, Riley’s 11 now. What could happen? CUT TO:INSIDE OUT 10.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. MINNESOTA HOUSE FRONT YARD - DAY Moving sign: Sold!,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HEADQUARTERS JOY Wha...? SADNESS/FEAR/ANGER/DISGUST AIIIIIGHH !!!,SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. DRIVEWAY - DAY SLAM! A packed car hatchback closes.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HEADQUARTERS JOY Huh? SADNESS/FEAR/ANGER/DISGUST AIIIIIGHH !!!,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. MINNESOTA STREET - DAY VROOM! A moving van drives away.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS JOY OK, not what I had in mind. SADNESS/FEAR/ANGER/DISGUST AIIIIIGHH !!!",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. AMERICAN HIGHWAYS A SERIES OF SHOTS: the family car drives across America. The car passes corn fields and rolling hills. TITLE CARD: A PIXAR ANIMATION STUDIOS FILM Riley sleeps in the back seat. The car zips around a mountain curve, down a desert highway. Riley looks out the back window.INSIDE OUT 11. The car emerges from a tunnel onto the GOLDEN GATE BRIDGE. TITLE CARD: INSIDE OUT The car drives across the bridge. Riley looks out the window. JOY (V.O.) Hey look! The Golden Gate Bridge! Isn’t that great?! It’s not made out of solid gold like we thought, which is kind of a disappointment, but still! The car drives past the Ferry Building.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS FEAR I sure am glad you told me earthquakes are a myth, Joy. Otherwise I’d be terrified right now! Everyone eyes each other behind Fear’s back. JOY Uh... yeah.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. LOMBARD STREET - DAY The car is stuck in traffic. Cars HONK and people YELL.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HEADQUARTERS ANGER These are my kind of people!,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MARKET STREET - DAY DAD All right, just a few more blocks. We’re almost to our new house!",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS ANGER Step on it, Daddy!INSIDE OUT 12. DISGUST Why don't we just live in this smelly car? We've already been in it forever. JOY Which, actually, was really lucky, because that gave us plenty of time to think about what our new house is going to look like! Let’s review the top five daydreams. Joy plugs in DAYDREAMS showing fantasy houses: tree house, water-slide house, etc. FEAR Ooh! That looks safe! JOY Ohh, this is will be great for Riley! Oh, no, no, no, THIS one. A gingerbread house. DISGUST (O.S.) Ugh, Joy. For the last time, she cannot live in a cookie. A castle. ANGER THAT’S the one! It comes with a dragon!",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SAN FRANCISCO HOUSE - DAY JOY (O.S.) Now we’re getting close, I can feel it. Here it is, here’s our new house... and... The car stops and Riley steps out. REVEAL: a run-down Victorian. Nothing like the daydreams.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HEADQUARTERS Everyone looks slackjawed . JOY Maybe it’s nice on the inside.INSIDE OUT 13.,SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SAN FRANCISCO HOUSE - CONTINUOUS Riley steps inside. The room is dark, dusty, uninviting. ANGER (V.O.) We’re supposed to live here? SADNESS (V.O.) Do we have to? DISGUST (V.O.) I’m telling you, it smells like something died in here.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS A disgust memory rolls in. FEAR Can you die from moving? JOY Guys, you’re overreacting. Nobody is dying-- DISGUST A DEAD MOUSE!!! ON THE SCREEN: A dead mouse in the corner. DISGUST (O.S.) (CONT’D) I’m gonna be sick... ANGER (O.S.) Great, this is just great. FEAR (O.S.) Ahhhhh!! It’s the house of the dead! What are we gonna do?! We’re gonna get rabies!!! Fear jumps into Anger’s arms. Anger fires up the flames. ANGER GET OFFA ME!!! Fear runs around on fire. Joy puts him out with a fire extinguisher. JOY Hey, hey, hey, all through the drive Dad talked about how cool our new room is. Let’s go check it out!INSIDE OUT 14. FEAR/ANGER/DISGUST (O.S.) You’re right, Joy/Yeah!/That’s right!/Yes, yes, yes!",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. SAN FRANCISCO HOUSE Riley dashes up the stairs.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RILEY’S ROOM - CONTINUOUS It’s tiny. Depressing. FEAR/DISGUST/ANGER (O.S.) No, no, no, no, no./I’m starting to envy the dead mouse./Get out the rubber ball, we’re in solitary confinement.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS SADNESS Oh, Riley can’t live here. ANGER She's right.FEAR Really bad. DISGUST It’s the worst. It’s absolutely the worst.ANGER This house stinks. Memories roll in: anger, disgust, fear. JOY Hey, it’s nothing our butterfly curtains couldn’t fix. I read somewhere that an empty room is an opportunity. ANGER Where did you read that? JOY It doesn’t matter. I read it and it’s great. We’ll put the bed there. And the desk over there... Joy projects an IMAGINATION of Riley’s furniture. FEAR The hockey lamp goes there...INSIDE OUT 15. ANGER Put the chair there.DISGUST Well, the trophy collection goes there. SADNESS Posters...FEAR Stars! I like that. JOY Now we’re talking! Let’s go get our stuff from the moving van!",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SAN FRANCISCO HOUSE - DAY Riley dashes down the stairs as Mom and Dad enter the house. Dad is on the phone. DAD Alright. Goodbye. (hangs up; to Mom) Well, guess what? The moving van won’t be here until Thursday. MOM You’re kidding.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HEADQUARTERS FEAR The van is lost?! This is the worst day ever! ON THE SCREEN: Mom and Dad ARGUE. MOM You said it would be here yesterday!DAD I know that’s what I said. * That’s what they told me! FEAR (O.S.) Mom and Dad are stressed out! FEAR/ANGER/DISGUST/SADNESS They’re arguing!/What are we going to do?/This is so stressful./What is their problem? Joy runs to storage and grabs what looks to be a LIGHTBULB . JOY I’ve got a great idea! She clicks the IDEA into the console.INSIDE OUT 16.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SAN FRANCISCO LIVING ROOM - DAY Riley’s face lights up. Riley grabs her hockey stick. Puts a wad of paper in play. MOM Did you even read the contract?DAD Honey, you act like this is my fault -- * RILEY Andersen makes her move. She's closing in! DAD (grabbing a broom) Hey! Oh, no you’re not! RILEY She’s lining up for the shot! DAD Coming behind you! Watch out! She slides past him. Knocks the “puck” into the fireplace. RILEY She shoots and she scores! Yeah!",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS The Emotions cheer. Out the back window, Family Island runs.",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SAN FRANCISCO LIVING ROOM - CONTINUOUS RILEY (taunting Mom) Come on, Grandma! MOM Ha! “Grandma?”",FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS JOY Uh-oh, she put her hair up, we’re in for it!INSIDE OUT 17.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SAN FRANCISCO LIVING ROOM They all play hockey, Mom using a pillow to guard the “goal.” Dad picks her up to shoot past her. MOM (laughing) Woo! Hey, put me down! Dad scoops up Riley, too. Riley giggles.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HEADQUARTERS A happy memory rolls in. Joy’s back in charge.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SAN FRANCISCO LIVING ROOM Dad’s cell phone beeps. DAD Ugh. Sorry, hold on, hold on. (answers) Hello?",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HEADQUARTERS JOY Wait. Wha--?,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SAN FRANCISCO LIVING ROOM DAD You’re kidding. All right. Stall for me, I’ll be right there. (hangs up) The investor’s supposed to show up on Thursday, not today! I gotta go.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HEADQUARTERS Joy is disappointed.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SAN FRANCISCO LIVING ROOM MOM It's okay. We get it.INSIDE OUT 18. DAD You’re the best. Thanks, Hon. (to Riley, as he leaves) See you, Sweetie.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS FEAR Dad just left us. SADNESS Oh, he doesn’t love us anymore. That’s sad. I should drive, right? JOY BLOCKS HER. SADNESS (CONT’D) Joy? What are you doing? JOY Uh, just uh, gimme one second... You know what I’ve realized? Riley hasn’t had lunch! (takes a memory off the wall and plays it) Remember? MEMORY: A PIZZA SHOP.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. SAN FRANCISCO LIVING ROOM RILEY Hey I saw a pizza place down the street. Maybe we could try that? MOM Pizza sounds delicious!,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS FEAR/ANGER/DISGUST Yeah!/Pizza!/Good idea, Joy. Joy smiles.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. PIZZA PLACE - DAY Riley and Mom get their pizza. On it: broccoli.INSIDE OUT 19.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS FEAR/JOY/DISGUST What the HECK IS THAT?!/Who puts broccoli on pizza?/That’s it. I’m done. ANGER Congratulations, San Francisco, you’ve ruined pizza! First the Hawaiians, and now YOU!",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SAN FRANCISCO STREET - LATER Mom and Riley walk home. Riley looks disappointed. MOM What kind of a pizza place only serves one kind of pizza? Must be a San Francisco thing, huh?",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HEADQUARTERS Joy glances at the wall of multi-colored memories. She sighs: things are not going well.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SAN FRANCISCO STREET - CONTINUOUS MOM Still, it’s not as bad as the soup at that diner in Nebraska. RILEY Oh yeah. The spoon stood up in the soup by itself! That was disgusting.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HEADQUARTERS Joy looks out the back window. Family Island is going. JOY Oh good. Family is running.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SAN FRANCISCO STREET MOM The drive out was pretty fun, huh? What was your favorite part?INSIDE OUT 20.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS ANGER Spitting out the car window! DISGUST Definitely not when Dad was singing. FEAR Wearing a seat belt! JOY What about the time with the dinosaur! Joy pulls up a memory. SADNESS/FEAR/ANGER/DISGUST Yeah./Yup./That’s the one. ON THE SCREEN: Riley and Mom pose in front of a roadside cement dinosaur in Vernal, Utah. DAD (ON SCREEN) Say cheese! Behind Dad, the car rolls down the hill. No brakes! RILEY (ON SCREEN) Dad! Dad! Look behind you. MOM (ON SCREEN) Honey. The car! The car! DAD (ON SCREEN) Hold still. Huh? (runs off after the car) Stoooop! No no no nononono !! Stegosaurus tail through the back window. The family laughs. Enjoying the memory, Joy and the others chuckle. FEAR Nice one, Joy.",FLASHBACK +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. SAN FRANCISCO STREET RILEY (smiling) I liked that time at the dinosaur. That was pretty funny.INSIDE OUT 21.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HEADQUARTERS Joy’s cheer is cut short when the dinosaur memory TURNS BLUE.,TWIST +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. SAN FRANCISCO STREET - DAY Riley’s smile fades.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS JOY Wait. What? What happened? Joy looks back. Sadness is touching the memory. FEAR She did something to the memory. Joy tries to fix the memory. JOY What did you do? SADNESS I just touched it. JOY That shouldn’t make it change. FEAR Change it back, Joy! Joy rubs it, but the memory stays blue. JOY I’m trying. ANGER You can’t change it back? JOY No, I guess I can’t! DISGUST Good going Sadness. Now when Riley thinks of that moment with Dad, she’s gonna feel sad. Bravo. SADNESS I’m sorry Joy... I don’t really know-- I thought maybe, if you-- if I-- if... I mean...INSIDE OUT 22. DISGUST Joy, we've got a stairway coming up.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. SAN FRANCISCO STREET - DAY Riley runs towards a stairway and handrail.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS JOY Just don’t touch any other memories until we figure out what’s going on. SADNESS Okay. JOY (stepping up to controls) Alright. Get ready, this is a monster railing, and we are riding it all the way down!",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SAN FRANCISCO STREET - CONTINUOUS Riley sits on the railing, ready to slide.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HEADQUARTERS Joy looks back: GOOFBALL ISLAND is whirring like crazy.,SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. SAN FRANCISCO STREET Riley goes to slide... but hops off and walks down instead.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS JOY Wait, what? What happened? Suddenly a CORE MEMORY ROLLS up to Joy’s feet. FEAR A core memory! JOY Oh no!INSIDE OUT 23. Out the back window, GOOFBALL ISLAND GOES DARK. Joy rushes to the Core Memory Holder. JOY (CONT’D) Sadness! What are you doing? SADNESS It looked like one was crooked so I opened it and then it fell out! Joy pops the memory back in. GOOFBALL ISLAND comes back on.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. SAN FRANCISCO STREET Riley jumps back on the railing and slides down. RILEY Woo hoo!,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS SADNESS It’s just that... I wanted to maybe hold one. She reaches out to touch one, AND IT STARTS TO GO BLUE. FEAR JOY! Joy pushes Sadness away before she can touch it. JOY Whoa, whoa, whoa! The core memory TURNS BACK TO YELLOW. JOY (CONT’D) Sadness! You nearly touched a core memory. And when you touch them, we can’t change them back! SADNESS I know. I’m sorry. Something’s wrong with me. It’s like I’m having a breakdown. JOY You are not having a breakdown. It’s stress.INSIDE OUT 24. SADNESS I keep making mistakes like that. I’m awful... JOY Nooo, you’re not. SADNESS ...and annoying. JOY Well... uh... You know what? You can’t focus on what’s going wrong. There’s always a way to turn things around, to find the fun! SADNESS Yeah. Find the fun. I don’t know how to do that. JOY Okay. Well, try think of something funny! Long pause. SADNESS Oh! Remember the funny movie where the dog dies? JOY Yeah, that’s not... (tries another approach) What about that time with Meg, when Riley laughed so hard milk came out of her nose? I mean come on... INSERT: Riley spitting milk out of her nose, Meg laughing. SADNESS Yeah, that hurt. It felt like fire. JOY Okay, okay, don’t think of that. Let’s try something else. What are your favorite things to do? SADNESS My favorite? Um, well, I like it when we’re outside. JOY That’s good! Like there’s the beach and sunshine... Oh! (MORE)INSIDE OUT 25. Like that time we buried Dad in the sand up to his neck? INSERT: Riley at beach, Dad buried in sand. SADNESS (V.O.) I was thinking more like rain. INSERT: Riley stands in a downpour. JOY Rain? Rain... is my favorite too! We can stomp around in puddles... INSERT: Riley happily jumps through puddles. JOY (CONT’D) There’s cool umbrellas, lightning storms... SADNESS (V.O.) More like when the rain runs down our back and makes our shoes soggy. And we get all cold and shivery... INSERT: Riley’s shoes fill with water. She looks miserable. SADNESS ...and everything just starts feeling droopy... Sadness melts to the floor, crying. JOY Oh, hey, hey... easy. Why are you crying? That’s really the opposite of what we’re going for here. SADNESS Crying helps me slow down and obsess over the weight of life's problems. JOY Ugh, you know what? Let’s think about something else. How about we read some mind manuals, huh? Sounds fun! She drags Sadness over to a shelf of technical manuals. SADNESS I’ve read most of them.JOY (CONT'D)INSIDE OUT 26. JOY Well have you read this one? This seems interesting: “Long-Term Memory Retrieval, Volume 47?” SADNESS No. JOY Ohhh! A real page turner! SADNESS (opens manual; reads) “Long-Term Memory Data Selection via channel sub-grouping?” JOY See? Fun already! You lucky dog, you’re reading these cool things and I gotta go work. Life is so unfair. Joy walks away. But just as she thinks things are handled... DING! Another memory -- Disgust -- slides in. Joy groans.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SAN FRANCISCO HOUSE - NIGHT Riley hops down the stairs towards the living room. DAD (O.S.) (on phone) What can we do? We’ve only got capital to last a month, maybe two. If we can't find investors by then, we’re going to have to lay people off. Riley hears the stress in Dad’s voice. RILEY Mom! Dad! Come kiss me g’night! MOM Be right there! DAD (on phone) I know, I know! We’ve got to land this, okay? Riley heads back upstairs.INSIDE OUT 27.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. RILEY’S ROOM - MOMENTS LATER Riley climbs into her sleeping bag.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HEADQUARTERS FEAR Did you hear Dad? He sounded really upset.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. RILEY’S ROOM STRANGE NOISES from outside. Headlights cast shadows on the wall. Riley looks scared.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS FEAR What was that? Was it a bear? It’s a bear! DISGUST There are no bears in San Francisco! ANGER I saw a really hairy guy. He looked like a bear. FEAR Oh, I’m so jumpy, my nerves are shot! DISGUST Ew, I don’t want to hear about your nerves! ANGER I’ll tell you what it is. This move has been a bust. FEAR That’s what I’ve been telling you guys! There are at least 37 things for Riley to be scared of right now! DISGUST The smell alone is enough to make her gag.INSIDE OUT 28. ANGER I can’t believe Mom and Dad moved us here! JOY Look, I get it. You guys have concerns. But we’ve been through worse! Tell you what: let’s make a list of all the things Riley should be HAPPY about! ANGER Fine. Let’s see... this house stinks, our room stinks... DISGUST Pizza is weird here... SADNESS Our friends are back home... FEAR And all of our stuff is in the missing van! JOY Oh c’mon, it could be worse... DISGUST Yeah, Joy. We could be lying on the dirty floor. In a bag.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. RILEY’S ROOM Riley is lying on the dirty floor in a sleeping bag.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS JOY Okay, I admit it, we had a rough start. But think of all the good things that-- ANGER No, Joy. There’s absolutely no reason for Riley to be happy right now. Let us handle this. FEAR I say we skip school tomorrow and lock ourselves in the bedroom.INSIDE OUT 29. DISGUST We have no clean clothes. I mean, no one should see us. SADNESS Yeah, we could cry until we can’t breathe. ANGER We should lock the door and scream that curse word we know. It’s a good one! JOY Now hold on! Look, we all have our off days. You know, I-- ON THE SCREEN: Mom opens Riley’s bedroom door. MOM Hi honey. ANGER The Mom Bad News Train is pulling in! Toot toot!",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RILEY’S ROOM Mom sits next to Riley. MOM Still no moving van. Now they’re saying it won’t be here ‘til Tuesday, can you believe it?",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HEADQUARTERS ANGER Toot toot toot!,SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RILEY’S ROOM RILEY Where’s Dad? MOM On the phone. This new venture is keeping him pretty busy. Your dad’s a little stressed -- you know, about getting his new company up and running...INSIDE OUT 30.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HEADQUARTERS ANGER I rest my case! Joy sighs. She falls back from the controls. Anger steps up to the console. ANGER (CONT’D) Now for a few well-placed withering scowls.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. RILEY’S ROOM MOM I guess all I really want to say is: thank you.,SENTI +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HEADQUARTERS ANGER Huh? Anger drops the controls.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RILEY’S ROOM MOM You know, through all this confusion you’ve stayed... well, you’ve stayed our happy girl! Mom brushes Riley’s cheek. MOM (CONT’D) Your dad’s under a lot of pressure. But if you and I can keep smiling, it would be a big help. We can do that for him, right?",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS Joy, smiling with renewed purpose, steps back to the console. JOY Whoa! Well. INSIDE OUT 31.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. RILEY’S ROOM RILEY (smiles) Yeah! Sure. MOM What did we do to deserve you? (kisses Riley) Sweet dreams. RILEY Good night.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS ANGER Well, you can’t argue with Mom. “Happy” it is. FEAR Team Happy! Sounds great!DISGUST I’m totally behind you, Joy.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. RILEY’S ROOM Riley goes to sleep.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS The screen goes black. JOY Looks like we’re going into REM. I got Dream Duty, so I’ll take care of sending these to Long Term. Great day today, guys! Sleep well TEAM HAPPY! The team heads off to bed. Harp music plays. JOY (CONT’D) Alright, what's on tonight, Dream Production? ON THE SCREEN: a DREAM COMES UP. The family FLIES happily through the air in the car. They land in front of the house--INSIDE OUT 32. DAD Well, this is it. The new place. -- except it’s haunted! Organ music. Ghosts howling. The dead mouse rises up into frame. MOUSE Come live with me, Riley! The mouse falls over, dead. A bear enters, holding a pizza. PIZZA BEAR Somebody order a broccoli pizza? The pizza slices hop up and dance a jig. PIZZA SLICE Eat me! I’m organic!",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. RILEY’S ROOM Riley frowns in her sleep.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS JOY Ah, NO, who is in charge of programming down there?! I know I’m not supposed to do this, but... Joy ducks behind the console and REBOOTS it. The dream ends.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. RILEY’S ROOM - NIGHT Riley still looks troubled.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS JOY We are not going to end the day like this. Joy has a thought. She recalls a memory. ON THE SCREEN: Riley ice skates with her parents. Joy watches, loving this kid. She shadows Riley, “skating” around headquarters.INSIDE OUT 33. JOY (CONT’D) Don’t you worry. I’m gonna make sure that tomorrow is another great day. I promise.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. RILEY’S ROOM - NIGHT Riley SMILES in her sleep.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. KITCHEN - MORNING Riley excitedly snarfs down breakfast cereal.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS - MORNING Joy plays the accordion around Headquarters. The others appear, looking grumpy. Joy yells over the noise. JOY Hello! Did I wake you? ANGER DO you have to play that? JOY Well, I have to practice. And I don’t think of it as playing so much as hugging. She tosses aside the accordion and runs off. JOY (CONT’D) Okay, first day of school! Very, very exciting! I was up late last night figuring out a new plan. Here it is. (to Fear) Fear! I need a list of all the possible negative outcomes on the first day at a new school. FEAR Way ahead of you there. Does anyone know how to spell “meteor?” JOY Disgust! Make sure Riley stands out today... but also blends in.INSIDE OUT 34. DISGUST When I’m through, Riley will look so good the other kids will look at their own outfits and barf. JOY (addressing herself) Joy! Yes Joy? You’ll be in charge of the console, keeping Riley happy all day long. And may I add I love your dress, it’s adorable. Oh, This ol’ thing? Thank you so much, I love the way it twirls... TOOT TOOT! A TRAIN rushes by outside. JOY (CONT’D) Train of Thought! Right on schedule. The engineer waves from the cab and drops off a large bag. JOY (CONT’D) Anger! Unload the daydreams. I ordered extra in case things get slow in class. ANGER Might come in handy, if this new school is full of boring useless classes, which it probably will be... Sadness walks by. Joy stops her. JOY Oh - Sadness! I have a super important job just for you. SADNESS Really? JOY Mmm-hmmm . Follow me. CUT TO: THE BACK OF THE ROOM Joy draws a chalk circle on the floor around Sadness’s feet. SADNESS What are you doing?INSIDE OUT 35. JOY (finishing the circle) And... there. Perfect. This is the circle of Sadness. Your job is to make sure that all the Sadness stays inside of it. SADNESS So... you want me to just stand here? JOY Hey, it’s not MY place to tell you how to do your job. Just make sure-- (nudging Sadness’ foot back over the line) --ALL the Sadness stays in the circle. Sadness stands there. JOY (CONT’D) See? You’re a pro at this! Isn’t this fun?! SADNESS No. JOY (heading to the console) Atta girl. Alright everyone, fresh start! We are gonna to have a good day, which will turn into a good week, which will turn into a good year, which turns into a good LIFE!",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SAN FRANCISCO HOUSE - MORNING Mom helps Riley on with her backpack. Dad is on the phone. MOM So, the big day! New school, new friends, huh? RILEY I know! I’m kinda nervous, but I’m mostly excited! How do I look? Do you like my shirt?",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS Joy looks back at Family Island, working away.INSIDE OUT 36.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. SAN FRANCISCO HOUSE - CONTINUOUS MOM Very cute! You gonna be okay? You want us to walk with you?,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HEADQUARTERS DISGUST Mom and Dad? With us in public? No thank you. JOY (operating console) I’m on it.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SAN FRANCISCO HOUSE RILEY Nope, I’m fine. Bye Mom! Bye Dad! DAD (covering phone) Have a good day at school, Monkey! All three make monkey sounds at each other.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HEADQUARTERS Goofball Island works out the back window.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SAN FRANCISCO HOUSE Riley giggles as she exits. MOM Have a great day, sweetheart.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. SCHOOL - MORNING Riley walks up to her new school. New kids everywhere. She hesitates. FEAR (O.S.) Are you sure we want to do this? JOY (O.S.) In we go!INSIDE OUT 37. FEAR (O.S.) Okayyy! Going in! Yes. Riley perks up and walks in.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CLASSROOM - MORNING Riley sits at her desk and looks at the other kids in class. DISGUST (O.S.) Okay, we’ve got a group of cool girls at 2 o’clock.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS - CONTINUOUS JOY How do you know? DISGUST Double ears pierced, infinity scarf... A group of makeup-wearing girls look back at Riley. JOY Whoa. Is she wearing eye shadow? DISGUST Yeah, we want to be friends with them. JOY Let’s go talk to ‘em! DISGUST Are you kidding?? We’re not TALKING to them, we want them to like us. JOY Oh! (then) Wait, what? FEAR (drops a giant stack of paper on the console) Almost finished with the potential disasters. Worst scenario is either quicksand, spontaneous combustion, or getting called on by the teacher. So as long as none of those happen...INSIDE OUT 38.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CLASSROOM TEACHER Okay, everybody. We have a new student in class today.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HEADQUARTERS FEAR Are you kidding me?! Out of the gate? This is not happening!,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. CLASSROOM TEACHER Riley would you like to tell us something about yourself?,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HEADQUARTERS FEAR Nooooooo ! Pretend we can’t speak English! JOY Don't worry. I got this. Joy pushes a lever.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. CLASSROOM RILEY Uhh... okay. My name is Riley Andersen. I’m from Minnesota. And now I live here. TEACHER And how about Minnesota?... Can you tell us something about it? Well you certainly get a lot more snow than we do.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HEADQUARTERS JOY (laughs) She’s hilarious! She turns a lever.INSIDE OUT 39.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CLASSROOM Riley smiles, in spite of all the eyes on her. RILEY Yeah, it gets pretty cold. The lake freezes over, and that’s when we play hockey. I’m on a great team. We’re called the Prairie Dogs. My friend Meg plays forward. My Dad’s the coach. Pretty much everyone in my family skates.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HEADQUARTERS Joy recalls a MEMORY: the family skating together.,FLASHBACK +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CLASSROOM Riley “watches” the memory, smiling. RILEY It’s a kind of family tradition. We go out on the lake almost every weekend.",FLASHBACK +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS Joy smiles. Then, mysteriously, the IMAGE TURNS BLUE.",TWIST +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CLASSROOM Riley’s smile fades, her brow furrows. RILEY Or we did, ‘til I moved away.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS Confused, Joy looks around. FEAR/DISGUST/ANGER Huh?/Hey, what gives?/What? JOY Hey-- She spots Sadness, who is guiltily touching the memory.INSIDE OUT 40. JOY (CONT’D) Sadness! You touched a memory?! We talked about this. SADNESS Oh yeah, I know. I’m sorry. JOY Get back in your circle. (trying to eject memory) Gnnh! What’s going on? Why won’t it eject?!! She fiddles with the console, but the blue memory won’t move. FEAR Get it out of there, Joy!",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. CLASSROOM RILEY (sniffling) We used to play tag and stuff...,SENTI +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HEADQUARTERS DISGUST Cool kids whispering at 3 o’clock!,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. CLASSROOM The other kids whisper and stare.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS FEAR Did you see that look?!? They’re judging us! JOY Oh no. Joy tries pulling the memory. Anger, Fear and Disgust help. JOY (CONT’D) Somebody help me. Grab that... everybody... They pull with all their might, but the memory’s not budging.INSIDE OUT 41.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. CLASSROOM RILEY But everything’s different now. Since we moved... TEARS stream down Riley’s face.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS FEAR Oh no! We’re CRYING AT SCHOOL !!! Joy turns to the console. SADNESS IS DRIVING. JOY What? No! Sadness, what are you doing? Joy finally yanks the memory out. She runs to the console and pulls Sadness away from the controls. SADNESS Oh no, I'm sorry... I... oh... PING! A memory is created. BRIGHT BLUE. JOY Huh? ANGER Whoa! FEAR It’s a core memory! DISGUST But it’s blue! The bright blue core memory rolls through the memory shelf and STARTS TOWARDS THE CORE MEMORY HOLDER! JOY No wait... stop it! No! Ahh! Joy leaps to the holder and pops it open, preventing the new blue core memory from going in. Joy grabs it. She pushes the end-of-day “memory flush” button. The tube comes down from the ceiling.INSIDE OUT 42. SADNESS (trying to take her memory back from Joy) Joy, no. That’s a core memory, Joy! JOY Hey! Stop it. Let go. As they struggle, they bump into the Core Memory Holder, KNOCKING ALL OF THE CORE MEMORIES OUT onto the floor. FEAR/DISGUST/ANGER Ahh!FEAR The core memories! Out the window, the ISLANDS OF PERSONALITY GO DARK.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CLASSROOM Riley, her face tear-stained, looks up.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS JOY Ahh! Joy tosses the blue core memory aside to collect the yellow core memories. Sadness grabs the blue core memory and heads to the Core Memory Holder to plug it in. Joy lunges, knocking the blue core memory out of Sadness’s hands. It’s SUCKED UP the vacuum tube. Joy trips backward. In the chaos a yellow core memory rolls toward the tube. JOY (CONT’D) No, no, no, no! She reaches to grab it and gets sucked up the tube herself, along with the other core memories -- and Sadness! Fear, Anger and Disgust now stand alone in Headquarters. A stunned silence as the tube retracts.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CLASSROOM Riley sits and wipes her tears.INSIDE OUT 43. TEACHER Thank you, Riley. I know it can be tough moving to a new place, but we're happy to have you here. Alright everyone, get out your history books and turn to chapter seven. Riley hides behind her book.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HEADQUARTERS ANGER Can I say that curse word now?,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. TUBE Joy and Sadness scream as they rocket down the tube. Joy desperately tries to hold on to the core memories. The blue core memory is sorted to a side tube.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LONG-TERM MEMORY CLIFF EDGE Joy lands in a bin of memories. Sadness crashes next to her. JOY Oh no... (gathering memories) One, two, three... okay, got ’em. Wha-- where are we? Joy takes in the shelving around her. JOY (CONT’D) Long-Term Memory...! Joy grabs the core memories and jumps out of the dumpster. She sees GOOFBALL ISLAND, silent and dark. JOY (CONT’D) Goofball Island. Joy surveys the islands beyond. They’re all dark. SADNESS Hoh... Riley’s Islands of Personality. They’re ALL down! This is bad.INSIDE OUT 44. JOY We-- we can fix this. We just have to get back to Headquarters, plug the core memories in, and Riley will be back to normal. Joy and Sadness hurry towards headquarters. SADNESS Riley has no core memories, no personality islands and no-- (gasp) JOY Wha-- What is it? SADNESS You! YOU’RE not in headquarters. Without you, Riley can’t be happy. We gotta get you back up there. JOY I’m coming, Riley. They set off across the bridge to Goofball Island. We see the LIGHTLINE beyond it, leading towards Headquarters.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. KITCHEN TABLE - EVENING Riley and her parents eat dinner. MOM So as it turns out the green trash can is not recycling, it’s for greens. Like compost. And eggshells. DAD (not really listening) Mmm. MOM And the blue one is recycling. And the black one is trash. Riley pushes food around on her plate.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS DISGUST Riley is acting so weird. Why is she acting so weird?INSIDE OUT 45. ANGER What do you expect? All the islands are down. DISGUST Joy would know what to do. FEAR That’s it! Until she gets back, we just do what Joy would do! DISGUST Great idea! Anger, Fear, Disgust. How are WE supposed to be happy? MOM (O.S.) Hey, Riley. I’ve got good news!",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. KITCHEN TABLE - CONTINUOUS MOM I found a junior hockey league right here in San Francisco. And get this: try-outs are tomorrow after school. What luck, right?",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS ANGER Hockey? DISGUST Uh-oh. What do we do? FEAR Guys, uh, this... Here, you pretend to be Joy. Fear pushes Disgust forward. She steps up to drive. ON THE SCREEN: MOM Won’t it be great to be back out on the ice?INSIDE OUT 46.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. KITCHEN DINING TABLE RILEY (sarcastic) Oh yeah, that sounds fantastic.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS FEAR What was that? That wasn’t anything like Joy. DISGUST Uh, because I’m NOT Joy. FEAR Yeah, no kidding.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. KITCHEN TABLE Mom, taken aback, eyes Riley. Zoom in to Mom’s head...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MOM’S HEADQUARTERS MOM’S SADNESS Did you guys pick up on that? MOM'S ANGER Uh-huh. MOM'S JOY / MOM'S FEAR / MOM'S DISGUST Oh yeah/Definitely. MOM’S DISGUST Something’s wrong. MOM’S ANGER Should we ask her? MOM’S SADNESS Let’s probe. But keep it subtle, so she doesn’t notice.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. KITCHEN TABLE MOM So! How was the first day of school?INSIDE OUT 47.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. RILEY’S HEADQUARTERS ANGER She’s probing us. DISGUST I'm done. (to Fear) YOU pretend to be Joy. FEAR What? Uh... okay... hmm.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. KITCHEN TABLE RILEY (nervous) It was fine, I guess, I don't know.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RILEY’S HEADQUARTERS DISGUST Oh, very smooth, that was JUST like Joy.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MOM’S HEADQUARTERS MOM’S ANGER Something’s definitely going on. MOM’S DISGUST She’s never acted like this before. What should we do? MOM’S SADNESS We’re going to find out what’s happening. But we’ll need support. Signal the husband.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. KITCHEN TABLE Mom clears her throat at Dad. He doesn’t notice. Zoom in to Dad’s head...,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DAD’S HEADQUARTERS All of Dad’s emotions are watching a HOCKEY MATCH, cheering.INSIDE OUT 48. SPORTS ANNOUNCER ...with a nice pass over to Reeves, he comes across center ice...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. KITCHEN TABLE Again Mom stares, clears her throat. Dad looks up, clueless.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DAD’S HEADQUARTERS DAD’S ANGER Uh-oh. She’s looking at us. (turns off the memory) What did she say? DAD’S FEAR What? Uh, sorry, Sir. No one was listening. DAD'S ANGER Is it garbage night? We left the toilet seat up? What? What is it, woman, what?!?",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MOM’S HEADQUARTERS MOM’S DISGUST (re: Dad on the screen) He’s making that stupid face again. MOM’S ANGER I could strangle him right now! MOM’S SADNESS Signal him again.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. KITCHEN TABLE Mom raises her eyebrows and tilts her head towards Riley. Dad finally gets it. DAD Ahh, so, Riley! How was school?",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MOM’S HEADQUARTERS Mom’s Emotions give up.INSIDE OUT 49. MOM'S JOY / MOM'S SADNESS / MOM'S FEAR / MOM'S DISGUST You gotta be kidding me!/He really needs to start paying attention./ Is he paying attention at all? MOM'S ANGER For THIS we gave up that Brazilian helicopter pilot?,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. RILEY’S HEADQUARTERS ANGER Move! I’LL be Joy.,SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. KITCHEN TABLE RILEY (snarky) School was great, alright? MOM Riley, is everything okay? Riley rolls her eyes.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DAD’S HEADQUARTERS DAD’S FEAR Sir, she just rolled her eyes at us. DAD’S ANGER What is her deal? Alright, make a show of force. I don’t want to have to put “the Foot” down. DAD'S FEAR No. Not the Foot.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. KITCHEN TABLE DAD Riley, I do NOT like this new attitude.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RILEY’S HEADQUARTERS ANGER Oh I’ll show you attitude, old man.INSIDE OUT 50. FEAR No, no, no! Stay happy! Anger shoves him away and hits a button.",FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. KITCHEN TABLE RILEY What is your problem? Just leave me alone.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DAD’S HEADQUARTERS DAD’S FEAR Sir! Reporting high levels of sass! DAD’S ANGER Take it to DEFCON 2. Sirens begin to BLARE. DAD’S FEAR You heard that, gentleman. DEFCON 2.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. KITCHEN TABLE DAD Listen young lady, I don’t know where this disrespectful attitude came from...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RILEY’S HEADQUARTERS ANGER You want a piece of this, Pops? Come and get it! Anger grasps two levers with all his might.",FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. KITCHEN TABLE RILEY Yeah, well... well...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DAD’S HEADQUARTERS DAD’S ANGER Here it comes... Prepare the Foot!INSIDE OUT 51. Dad’s Emotions uncover “Launch Station” buttons, insert keys. DAD’S FEAR Keys to safety position! Ready to launch on your command, Sir!",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RILEY’S HEADQUARTERS ANGER, flames and yell at full blast, pushes up the levers.",FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. KITCHEN TABLE RILEY Just SHUT UP! Dad and Mom are shocked.,FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. DAD’S HEADQUARTERS DAD’S ANGER FIRE!,FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. KITCHEN TABLE DAD That’s it, go to your room! Now! Riley pushes away from the table and goes upstairs in a huff.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. DAD’S HEADQUARTERS DAD’S FEAR The Foot is down! The Foot is down! They all CHEER. DAD’S ANGER Good job gentlemen. That could have been a disaster.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MOM’S HEADQUARTERS MOM’S SADNESS Well, that was a disaster. Mom’s Anger recalls a memory: the Brazilian helicopter pilot. HELICOPTER PILOT Come fly with me, gatinha.INSIDE OUT 52. They all SIGH.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HALLWAY - CONTINUOUS Riley slams her bedroom door.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MIND WORLD, LIGHTLINE In the distance, Family Island RUMBLES. Joy and Sadness have made it across Goofball Island and must now walk across the thin lightline. Below is the darkness of the Memory Dump. SADNESS We’re gonna walk out there? On that? JOY It’s the quickest way back. SADNESS But it’s right over the Memory Dump. If we fall we’ll be forgotten forever! JOY We have to do this. For Riley. Just follow my footsteps. SADNESS Hohh... ok. JOY (stepping onto lightline) It's not that high. It’s totally fiii... Whoa... She loses her balance. Almost drops a memory over the side. Sadness steps out onto the lightline. They inch along.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RILEY’S ROOM - LATER Dad knocks on Riley’s door, peeks in. DAD Hey. Riley’s in her sleeping bag. She doesn’t answer.INSIDE OUT 53. DAD (CONT’D) So uh, things got a little out of hand downstairs. You want to talk about it? (still no answer) Come on. Where’s my happy girl? Monkey. (he tries monkey noises)",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS ANGER He’s trying to start up Goofball. Fear looks at the empty Core Memory Holder, then out the window: GOOFBALL ISLAND is dark and silent.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RILEY’S ROOM DAD Come on. (tries more monkey noises) Riley looks at Dad, but TURNS AWAY .",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. GOOFBALL ISLAND Goofball Island crumbles and breaks.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. GOOFBALL ISLAND LIGHTLINE Joy sees the lightline breaking ahead. JOY Ahhh! Go back! RUN! RUN! RUN! They run back onto Goofball Island as the lightline crumbles.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. GOOFBALL ISLAND Joy and Sadness frantically outrun collapsing debris.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LONG-TERM MEMORY CLIFF EDGE They leap across the buckling bridge, making it over to the cliff just in time to see Goofball Island fall into the dump.INSIDE OUT 54. JOY What-- ? Joy watches it sink. FLASH CUTS of Young Riley: * Riley twirling until she falls over. * The family jumping on a trampoline. * Riley riding on Dad’s shoulders, making silly faces with ice cream all over her face.",FLASHBACK +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RILEY’S ROOM - CONTINUOUS DAD I get it, you need some alone time. We’ll talk later.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS The Emotions stare out the back window in disbelief. DISGUST We have a major problem. FEAR Ohh, Joy where are you?",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LONG-TERM MEMORY CLIFF EDGE Joy and Sadness stare down into the abyss. SADNESS We lost Goofball Island. That means she can lose Friendship, and Hockey, and Honesty, and Family! You can fix this, right Joy? JOY I... I don’t know. (Sadness sighs in despair) But we have to try. C’mon. The sky darkens. JOY (CONT’D) Riley’s gone to sleep. (more sighs from Sadness) ...which is a good thing, when you think about it, because nothing else bad can happen while she’s asleep! We’ll be back to Headquarters before she wakes up. We’ll just go across Friendship Island.INSIDE OUT 55. Shelves jut out over the cliff edge, making Friendship Island inaccessible. SADNESS We’ll never make it, hoh... nooo... JOY No, no, no, don’t obsess over the weight of life’s problems, remember the funny movie where the dog dies?! Sadness face plants. JOY (CONT’D) Uhhh, Sadness, we don’t have time for this. She looks to her side. Memory shelves wind into the distance. Joy heads off into the maze. JOY (CONT’D) We’ll just have to go around! Take the scenic route. SADNESS Wait! Joy, you could get lost in there! JOY Think positive! SADNESS Okay. I’m positive you will get lost in there. That’s Long-Term Memory. An endless warren of corridors and shelves. I read about it in the manuals. Joy stops. Sadness is right. But wait! JOY The manuals? The manuals! You read the manuals! SADNESS Yeah... JOY So you know the way back to headquarters! SADNESS I, guess...INSIDE OUT 56. JOY You are my map! Let’s go! Lead on, Mind Map! Show me where we’re going! SADNESS Okay! Only, I’m too sad to walk. Just give me a few... hours. Joy grabs Sadness’ leg and DRAGS her into the shelves. JOY Which way? Left? SADNESS Right. (Joy turns right) No. I mean, go left. I said left was right, like “correct.” JOY Okay. SADNESS This actually feels kind of nice. Joy heads off into the COMPLICATED LABYRINTH ahead of them. JOY Okay! Here we go. We’ll be back to Headquarters before morning. We can do it. This’ll be easy. This is working! DISSOLVE TO:",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LONG-TERM MEMORY - LATER Joy, exhausted, drags Sadness through the maze of shelves. JOY This is not working. Are we getting close? SADNESS Yeah. Just another right. And a left. Then another left, and a right... JOY Are you sure you know where we’re going? Because we seem to be walking AWAY from Headquarters--INSIDE OUT 57. The SKY BRIGHTENS. Day. And they’re still lost. JOY (CONT’D) Riley’s awake. Joy drops a core memory. Sadness reaches to grab it. JOY (CONT’D) Ah ah ah, don’t touch, remember? If you touch them, they stay sad! SADNESS Oh. Sorry. I won’t... Joy looks behind her. The bottom row of memories are BLUE. SADNESS (CONT’D) ...starting now. JOY I can’t take much more of this. MALE FORGETTER (O.S.) Forget ‘em! JOY Mind Workers! Joy runs off toward the voice. SADNESS But Joy we’re almost... ohhhh.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LONG-TERM MEMORY - LATER Joy finds two workers vacuuming up memories from the shelves. FEMALE FORGETTER Phone numbers. We don’t need all of these. They’re in her phone. MALE FORGETTER Just forget all of that. Please. Forget it! JOY Excuse me. Hi. I need to find Friendship Island... FEMALE FORGETTER (pointing to memories) Look at this. Four years of piano lessons.INSIDE OUT 58. MALE FORGETTER Yeah, looks pretty faded. FEMALE FORGETTER You know what? Save ""Chopsticks” and “Heart and Soul,” get rid of the rest. Zoop! The memories get vacuumed up. JOY Are you-- FEMALE FORGETTER U.S. Presidents. What do you think? MALE FORGETTER Eh, just keep Washington, Lincoln and the fat one. FEMALE FORGETTER Forget ‘em! JOY Hey! You can’t throw those away! Those are perfectly good memories. MALE FORGETTER The names of every “ Cutie Pie Princess” doll? JOY Yes! That is critical information! Glitterstorm , Honeypants , Officer Justice... FEMALE FORGETTER Forget ‘em! He vacuums up the memories behind Joy.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. CLIFFSIDE - CONTINUOUS The memories shoot out a sewer pipe and fall into the darkness of the Memory Dump.,FLASHBACK +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LONG-TERM MEMORY - CONTINUOUS JOY Hey! Bring those back.INSIDE OUT 59. FEMALE FORGETTER They’re in the dump. Nothing comes back from the dump. MALE FORGETTER Yeah. Look lady, this is our job, OK? FEMALE FORGETTER When Riley doesn’t care about a memory, it fades. JOY Fades? FEMALE FORGETTER Happens to the best of ‘em. MALE FORGETTER (pulls memory from a cart) Except for this bad boy! This one will NEVER fade. JOY (recognizing it) The song from the gum commercial? MALE FORGETTER (conspiratorial) Sometimes we send that one up to headquarters for no reason. FEMALE FORGETTER It just plays in Riley’s head over and over again. Like a million times! Ha! Let’s watch it again! She rewinds it and plays it again. They sing along. MALE FORGETTER Tripledent gum will make you smile! Tripledent gum! It lasts a while! Tripledent gum will help you, mister, to punch bad breath right in the kisser. JOY We all know the song. Okay. Yup. Real catchy. MALE FORGETTER (to Female Forgetter) What do ya think? Should we do it?INSIDE OUT 60. FEMALE FORGETTER Yeah! Ha ha! MALE FORGETTER OK, here we go! Ha ha ha! He tips the gum memory into the inner workings of the shelf. FWOOM! It shoots up towards Headquarters.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS - CONTINUOUS Fear, Anger and Disgust are having a peaceful morning. The memory drops into Headquarters, playing at full volume. GUM MEMORY Tripledent gum will make you smile! Tripledent gum! It lasts a while-- ANGER Wha-- this again!?!",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LONG-TERM MEMORY The Forgetters walk away, laughing and singing. JOY (following them) Wait! Do you know how to get to Friendship Island?!",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RILEY’S ROOM - DAY Riley, laptop on her stomach, hums the Tripledent gum song. MEG (O.S.) (on the computer) Do you like it there? Did you feel any earthquakes? Is the bridge cool? RILEY Yeah, it’s good. What happened with the playoffs? MEG We won the first game. Coach says we might actually go to the finals this year. Oh, and we’ve got this new girl on the team. She’s so cool.INSIDE OUT 61.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS DISGUST Oh, she did NOT just say that. FEAR A NEW GIRL? Meg has a new friend already?! Anger GROWLS. DISGUST Hey hey, stay happy! We do NOT want to lose any more islands here guys!",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. RILEY’S ROOM MEG We can pass the puck to each other without even looking. It’s like mind reading!,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS ANGER You like to read minds, Meg? I got something for you to read right here! (grabbing the controls) DISGUST No no no, what are you doing?! FEAR Wait, wait-- let’s just be calm for one second-- Anger snaps Fear’s nose like a rubber band. Anger slams the controls forward like a lunatic. ANGER GAAAAAA!!!!",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. RILEY’S ROOM MEG (O.S.) I heard they have parrots living in- RILEY I gotta go.INSIDE OUT 62. MEG What? RILEY I GOTTA GO. Riley slams down the computer and SCOWLS.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LONG-TERM MEMORY Joy follows the Forgetters, trying to get directions. They ignore her, singing the gum-commercial jingle. A horrible mechanical GROANING sound. Joy reacts. JOY What...?",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LONG-TERM MEMORY Joy rounds a corner and sees Friendship Island crumbling. JOY Friendship Island? The FRIENDSHIP CORE MEMORY Joy holds fades. She runs forward. JOY (CONT’D) Wh-- ? She looks on in horror as Friendship Island falls. JOY (CONT’D) Ohh, not Friendship. Joy hugs the core memories. One of them is memory of young Riley and Meg walking together. SADNESS Oh, Riley loved that one. And now it's GONE. Goodbye friendship, hello loneliness. Joy sees Hockey Island in the distance. JOY (trying to stay positive) We’ll just have to go the long way. They turn to look back into the deep memory shelves.INSIDE OUT 63. SADNESS Yeah. The long, long, looong way. I’m ready. Sadness lies down on the ground, offering her leg. Joy sighs. She doesn’t want to do this again. JOY Ah, yes. (pulling Sadness) There’s gotta be a better way. BING BONG (O.S.) (talking to the memories) Ohhh, look at you, you’re a KEEPER! JOY Huh? Joy sees a strange figure up ahead, gathering memories. BING BONG I will take you, but not you. (beat) Oh who am I kidding, I can’t leave you! JOY Hello! The figure sees Joy -- and bolts. JOY (CONT’D) Wait! Hey, wait! Stop! Joy chases after him.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LONG-TERM MEMORY DEAD END Joy rounds a corner to find the figure crouched on the ground, hiding his face in his hands like a three year old. JOY Excuse me...? BING BONG (jumping up; cornered) Ahhhh! Uh, I was looking for, uh-- (grabs a memory) --DIVERSION! He THROWS IT and makes a run for it.INSIDE OUT 64. BING BONG (CONT’D) Ha ha! So long, sucker! He immediately crashes into a cart of memories. BING BONG (CONT’D) Ow! Oww, I hurt all over. JOY Wait. I know you. BING BONG No you don’t. I get that a lot, I look like a lot of people. JOY No, I do! Bing Bong! Riley’s Imaginary Friend! BING BONG You really DO know me! JOY Well of course! Riley loved playing with you, you two were best friends! Oh! You would know. We’re trying to get back to Headquarters... BING BONG Headquarters? You guys are from Headquarters? JOY (mock modesty) Well, yeah. I’m Joy. This is Sadness. BING BONG You’re Joy? THE Joy? JOY Mm-hmm. BING BONG Well what the heck are you doing out here? JOY That's a good question! You want to answer that, Sadness?INSIDE OUT 65. BING BONG Without you, Riley won’t ever be happy. We can't have that, we gotta get you back! I’ll tell you what, follow me. JOY Oh, thank you!",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LONG-TERM MEMORY Bing Bong leads them on through the memory shelves. JOY It is so great to see you again. I gotta tell you, I am such a huge fan of your work. Do you remember when you and Riley were in a band? FLASH CUTS of their adventures: *Riley bangs on pots and pans, Bing Bong plays his trunk. JOY (V.O.) I went to all of your concerts. BING BONG (V.O.) Yeah, I blow a mean nose. *Bing Bong runs on ceiling, Riley chases after him. JOY (V.O.) Watching you play tag was such a treat. BING BONG (V.O.) Two-time world champ. *Riley and Bing Bong sit in her wagon (”rocket”). JOY (V.O.) Oh, and remember your rocket?! BING BONG (V.O.) Of course! It runs on song power. JOY That’s right, your theme song! (singing) Who's your friend who likes to play?INSIDE OUT 66. BING BONG (sings) BING BONG BING BONG! JOY His rocket makes you yell “Hooray!” BING BONG/JOY BING BONG BING BONG! Sadness eyes Bing Bong, who is a pink elephant made with a cat tail. SADNESS What exactly are you supposed to be? BING BONG You know, it’s unclear. I’m mostly cotton candy, but shape-wise, I’m part cat, part elephant, part dolphin. JOY Dolphin? Bing Bong does a spot-on dolphin impression. BING BONG You gotta remember, when Riley was three, animals were all the rage. The cow goes moo. The horse goes neigh. That’s all people talked about back then. JOY Yeah, I guess that’s true. What are you doing out here? BING BONG Well, there’s not much call for imaginary friends lately, so, uh, you know, I’m... JOY Hey, hey, don’t be sad. Tell you what, when I get back up to Headquarters, I’ll make sure Riley remembers you. BING BONG You will?!INSIDE OUT 67. JOY Of course, she’d love that! BING BONG Ha ha! This is the greatest day of my life! He launches into a jig, but hurts himself and bursts into tears. Candy pours out of his tear ducts. JOY Are you okay? SADNESS What’s going on? BING BONG I cry candy. Try the caramel, it’s delicious. JOY Ooo. (fumbles memories) Woah! BING BONG Oh-- here-- use this. (offers his satchel) JOY Thanks! BING BONG Oh, hold on. Wait a second. He empties out an impossible amount of stuff: tons of memories, a boot, an anchor, a cat... Joy and Sadness stare in amazement. BING BONG (CONT’D) What? It’s imaginary. Joy accepts the satchel and puts in the core memories. JOY Thanks! This’ll make it a lot easier to walk back to Headquarters. BING BONG Walk? We’re not walkin’! We’re taking the Train of Thought! He points to the train speeding towards Headquarters.INSIDE OUT 68. JOY The train, of course! That is so much faster! But how do we catch it? BING BONG Well, it kind of goes all over the place, but there is a station in Imaginationland. I know a short cut. Come on, this way! JOY I’m so glad we ran into you! A giant BUILDING blocks their progress. Bing Bong opens a door. It’s dark inside. BING BONG The station is right through here. The train station is visible through a door on the other side. BING BONG (CONT’D) After you. SADNESS Joy... JOY What? SADNESS I read about this place in the manual. We shouldn’t go in there. JOY Bing Bong says it’s the quickest way to Headquarters. SADNESS No, but Joy, this is Abstract Thought. BING BONG What’re you talking about? I go in here all the time. It’s a shortcut, see? He points to a “Danger” sign above the door. BING BONG (CONT’D) D-A-N-G-E-R: shortcut. I’ll prove it to you. (he climbs in) (MORE)INSIDE OUT 69. Look at me! I’m closer to the station ‘cause I’m taking the shortcut! SADNESS Let’s go around. This way. She points: the building is huge -- it’s a long way around. BING BONG Almost there...! Joy looks back at Bing Bong. The station is right there. JOY (to Sadness) If you want to walk the long way, go for it. But Riley needs to be happy. I‘m not missing that train. (walks in) Bing Bong knows what he’s doing. He's part dolphin. They're very smart. SADNESS Well, I guess... She climbs in.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SCHOOL LUNCH YARD - LUNCHTIME Riley carries her lunch tray outside. The yard is full of chatty, happy kids, but Riley finds an empty bench and eats by herself.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ABSTRACT THOUGHT BUILDING - HATCH DOOR - MOMENTS LATER Two Mind Workers approach the same door our trio entered. ABSTRACT WORKER #1 Okay, what abstract concept are we trying to comprehend today? ABSTRACT WORKER #2 (checking a clipboard) Um... loneliness . ABSTRACT WORKER #1 Hm. Looks like there’s something in there. I’m going to turn it on for a minute and burn out the gunk.BING BONG (CONT’D)INSIDE OUT 70. She closes the door.",SENTI +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ABSTRACT THOUGHT BUILDING BING BONG What’d I tell ya? You’ll be at Headquarters in no time. BAM! The door closes behind them. The LIGHTS GO ON. BING BONG (CONT’D) Say, would you look at that! Around them, strange SHAPES float into space. JOY Whoa! What's happening?! SADNESS Oh no. They turned it on. BING BONG Huh! I’ve never seen this before. Bing Bong’s head turns into a Picasso-like form. Joy and Sadness scream as they become Cubist versions of themselves. BING BONG (CONT’D) My face! My beautiful face! JOY What is going on? SADNESS We’re abstracting! There are four stages. This is the first: non- objective fragmentation! BING BONG Alright, do not panic! What is important is that we all STAY TOGETHER. His arm falls off. JOY Ah! Joy’s head falls off. Sadness’ leg goes. She topples. SADNESS We’re in the second stage: we’re deconstructing !INSIDE OUT 71. BING BONG Run! Bing Bing falls into pieces. BING BONG (CONT’D) Aaah! I can’t feel my legs! (his disassembled arm finds them) Oh, there they are. JOY Come here, me! They gather their pieces as they rush to the exit. SADNESS We’ve gotta get out of here before we’re nothing but shape and color! We’ll get stuck here forever! JOY “Stuck?!” Why did we come in here?! BING BONG I told you, it’s a shortcut! Though the window, the TRAIN OF THOUGHT pulls in. JOY The train! POP! They change into FLAT COLOR VERSIONS of themselves. SADNESS Oh no... We’re two-dimensional! That’s stage three! JOY We’re getting nowhere! BING BONG Depth! I’m lacking depth! It’s hard to move. They struggle towards the window. JOY Come on! Sadness and Bing Bong follow and try to squeeze through. But because of the broken perspective, they are now all HUGE compared to the door.INSIDE OUT 72. JOY (CONT’D) AUGH! We can’t fit! POP! They abstract into ABSTRACT COLORED BLOBS . SADNESS Oh no, we’re nonfigurative . This is the last stage! BING BONG We’re not going to make it! Sadness slumps to the ground... and becomes a line! SADNESS Wait! We’re two dimensional. Fall on your face! (crawls like an inchworm) JOY Oh! They follow Sadness and inch safely out the window.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ABSTRACT THOUGHT BUILDING The three lines land outside just as the train pulls out. They get up to go, but as lines they can barely move. JOY Wait! Stop! Stop! STOP! POP! Joy goes from non-representational to two-dimensional. She falls down flat as the train speeds off. POP! The three transform back to normal. JOY (CONT’D) (to Bing Bong) I thought you said that was a shortcut. BING BONG I did, but wow, we should NOT have gone in there. That was dangerous! They really should put up a sign. JOY How long till the next train? BING BONG Who knows? But don’t worry. There’s another station. That way! (MORE)INSIDE OUT 73. (points O.S.) The train always stops there right before it goes to Headquarters. If we hurry, we can catch it! JOY This isn’t another one of your short cuts, is it? BING BONG (laughing exuberantly) Yeah! Joy skeptically watches him head off. JOY (to Sadness) Is there really another station? SADNESS Uh-huh. Through there. Bing Bong leads them towards the impressive gates of... BING BONG Welcome to Imaginationland!",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. IMAGINATIONLAND - CONTINUOUS JOY Imaginationland? BING BONG Sure! I come here all the time. I’m practically the mayor. Hey, you guys hungry? There’s French Fry Forest! (starts eating) Nom nom nom, delicious! Joy is loving this. JOY No way! BING BONG Check it out! Trophy Town! Medals! Ribbons! Everyone’s a winner! Bing Bong kicks a soccer ball into a giant goal and workers appear out of nowhere to shower him with awards.BING BONG (CONT'D)INSIDE OUT 74. BING BONG (CONT’D) I won first place! Workers give Joy a medal and Sadness a ribbon. JOY Me too! SADNESS Hohh... Participation award... JOY Wait, is that-- Sadness, look, it’s Cloud Town! That is my favorite! Joy rips off a chunk of cloud and floats up into the air. JOY (CONT’D) It's so soft! Joy jumps down and runs off. BING BONG Woah! Let me try! Bing Bong rips off some cloud. A CLOUD MAN emerges from the house, angry. CLOUD MAN Hey! What’s the big idea? You’d better fix that wall, or else you’re in big troub-- POOF! Bing Bong blows the Cloud Man away and walks off nervously.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. IMAGINATIONLAND, LAVA DAYDREAM Joy and Bing Bong gleefully jump between couch cushions. JOY Oh no, lava! Whooo! *BING BONG Whawhoooo! Imaginationland is * the best! Sadness tries to jump to a rock, barely makes it. SADNESS Is it all going to be so interactive?INSIDE OUT 75.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. IMAGINATIONLAND, HOUSE OF CARDS BING BONG Hey, look! The House of Cards!! Ooh, wait, hang on just a minute... From a nearby garage made of cards, Bing Bong pulls a wagon. JOY Your rocket! BING BONG Yeah! I stashed it in there for safekeeping. Now I’m all set to take Riley to the MOON! He gestures proudly -- accidentally knocking over the house. BING BONG (CONT’D) Oh, I’m sorry. HOUSE OF CARDS WORKER Great.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. IMAGINATIONLAND JOY I love Imaginationland! BING BONG Isn’t it great? And there’s always something new, like... A giant machine. A conveyer belt reveals a handsome teenager. BING BONG (CONT’D) Who the heck is that? BOYFRIEND GENERATOR WORKER Imaginary Boyfriend. IMAGINARY BOYFRIEND I would die for Riley. Joy grimaces. BING BONG I’ve never seen him before. IMAGINARY BOYFRIEND I live in Canada.INSIDE OUT 76. BING BONG Anyway. This way, through Preschool World! We’re nearly to the train! JOY Riley, here we come!",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. HOCKEY RINK - FOOT OF GOLDEN GATE BRIDGE -- SUNSET,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOCKEY RINK - BLEACHERS - CONTINUOUS Mom and Riley sit on the bleachers. MOM This should be fun. New team, new friends! These kids look pretty good -- considering they're from San Francisco. Heh heh! HOCKEY COACH (O.S.) Okay Andersen, you're up! RILEY I gotta go. Riley heads onto the ice. MOM Okay. Good luck, sweetie!",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS DISGUST Luck isn’t gonna help us now. If she tries to use Hockey Island, it’s going down. FEAR Which is why I’ve recalled every hockey memory I can think of. The Emotions are standing ankle deep in memories. FEAR (CONT’D) One of these has got to work in place of the core memory. O.S. Hockey whistle. ANGER/DISGUST She’s about to play!/Hurry!INSIDE OUT 77. Fear loads a memory into the core holder.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HOCKEY RINK Riley skates onto the ice.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS Out the window, Hockey Island lights up feebly. FEAR Ha ha! We did it gang! It’s working-- BOOM! The Core Memory Holder ejects a memory, slamming Anger in the face. Hockey Island shakes. Fear SHRIEKS.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HOCKEY RINK Riley struggles to dribble the puck. HOCKEY COACH Line change! Line change! Change it up! Change it up!,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS Fear frantically loads memories into the Holder, which spits them out like dodge balls. Disgust and Anger run for cover. The Holder spins furiously, flinging Fear against the window. Memories pelt him. DISGUST (hiding behind a sofa) It’s like we don't learn anything.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOCKEY RINK HOCKEY COACH Let’s pick it up out there! Riley attempts to slap the puck, misses, and TRIPS.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS ANGER That’s it!INSIDE OUT 78. FEAR No, no, no, breathe! Find your happy place-- Anger grabs Fear by the neck and ricochets him off the console, then furiously takes the controls.",FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HOCKEY RINK Riley angrily throws her stick to the ice and skates off. The other players stop and watch.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOCKEY RINK - BLEACHERS - CONTINUOUS Mom stands up, concerned. Riley heads to the stands and removes her skates. MOM Riley, what’s wrong? RILEY Let’s go. MOM You’re not going to finish tryouts? RILEY What’s the point? MOM Hey, it’ll be alright. Let’s just-- RILEY Stop saying everything will be alright! Riley stomps towards the exit. She looks back at the rink. All the players cheer and high five. Riley turns away from the rink and walks out.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. IMAGINATIONLAND, PRESCHOOL WORLD ENTRANCE Boom! Joy turns around and watches Hockey Island crumble. JOY Hockey? Oh no... no, she loves hockey. She can’t give up hockey. Joy pulls out the HOCKEY CORE MEMORY: Riley’s first goal. INSIDE OUT 79.",FLASHBACK +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. IMAGINATIONLAND, PRESCHOOL WORLD JOY Bing Bong, we have to get to that station. BING BONG Sure thing. This way, just past Graham Cracker Castle. Hey. That’s weird. Graham Cracker Castle used to be right here. I wonder why they moved it? He walks on, concerned, LEAVING HIS WAGON BEHIND HIM. BING BONG (CONT’D) Wow, that’s not... I would have sworn Sparkle Pony Mountain was right here. Hey, what’s going on? JOY Yeah, yeah, I dunno, we’ll have to come back-- BING BONG Princess Dream World! A wrecking ball hits a pink castle. Glitter dust plumes. BING BONG (CONT’D) Oh no! The Stuffed Animal Hall of Fame! RIIIP! The head of a bear comes off. Too late, Bing Bong notices some construction workers CARRYING AWAY HIS ROCKET. BING BONG (CONT’D) My rocket! (running after them) Wait! Riley and I, we’re still using that rocket! It still has some song power left!! (sings) Who's your friend who likes to play? THE ROCKET RESPONDS weakly, propelling it forward. The workers toss it onto a junk pile. A bulldozer pushes the pile towards the CLIFF EDGE. BING BONG (CONT’D) Nooo!!! No! No! No! You can’t take my rocket to the dump! Riley and I are going to the MOON! Ahhh!INSIDE OUT 80. Over it goes, into the darkness. BING BONG (CONT’D) Riley can’t be done with me. Bing Bong sits, stunned. Joy approaches gingerly. JOY Hey, it’s going to be okay. We can fix this! We just need to get back to Headquarters. Which way to the train station? BING BONG (still stunned) I had a whole trip planned for us. Joy tries another tactic. JOY Hey, who’s ticklish, huh? Here comes the tickle monster... No response. JOY (CONT’D) Hey! Bing Bong, look at this! Dohoioih ! She makes a silly face. Nothing. JOY (CONT’D) Oh, here’s a fun game! You point to the train station and we all go there! Won’t that be fun? Come on, let’s go to the train station! Joy walks off, attempting to lead. SADNESS (sits beside Bing Bong) I’m sorry they took your rocket. They took something that you loved. It’s gone, forever. JOY Sadness, don’t make him feel worse. SADNESS Sorry. BING BONG It’s all I had left of Riley.INSIDE OUT 81. SADNESS I bet you and Riley had great adventures. BING BONG They were wonderful. Once we flew back in time. We had breakfast twice that day. SADNESS That’s sounds amazing. I bet Riley liked it. BING BONG Oh she did. We were best friends. SADNESS Yeah. It’s sad. Bing Bong puts his head on Sadness’ shoulder and CRIES. Sadness keeps her arm around him until he’s done. BING BONG I’m okay now. (stands) C’mon, the train station is this way. He walks off. Joy and Sadness follow. JOY How did you do that? SADNESS I don’t know. He was sad, so I listened to what-- BING BONG (O.S.) Hey, there’s the train!",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TRAIN CAR - DAY Our trio climb aboard just as the train moves. JOY We made it! We’re finally going to get home! Twirling, she knocks over two boxes labeled “FACTS” and “OPINIONS.” Small objects spill out of both.INSIDE OUT 82. JOY (CONT’D) Oh no! These Facts and Opinions look so similar! He dumps them into the “FACTS” box. BING BONG Eh, don’t worry about it -- happens all the time.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. RILEY’S ROOM - NIGHT Riley drops her gear and throws herself on her sleeping bag.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS DISGUST On a scale of one to ten, I give this day an F. ANGER Well why don’t we quit standing around and DO something? DISGUST Like what, genius? Fear enters with a suitcase. FEAR Like quitting! That’s what I’m doing. He stomps on the recall button. FEAR (CONT’D) Sure, it’s the coward’s way out. But this coward is gonna survive! The tube drops over him, but pummels Fear with dozens of memories. The tube shuts off and retracts. Fear drops to the floor in pain. DISGUST Emotions can’t quit, genius. Fear spits up a memory. DISGUST (CONT’D) Euch! I thought we were supposed to be keeping Riley happy.INSIDE OUT 83. ANGER Wait a minute. Wait a minute! Anger runs to the back and rummages through the ideas. ANGER (CONT’D) Ah ha! FEAR What is it? ANGER (holds up the lightbulb ) Oh nothing. Just the best idea ever. DISGUST What? ANGER All the good core memories were made in Minnesota. Ergo, we go back to Minnesota and make more. Ta-da! FEAR Wait. You’re saying we run away? ANGER Well, I wouldn’t call it that. I’d call it, “The Happy Core Memory Development Program.” FEAR You can’t be serious. ANGER Hey. Our life was perfect until Mom and Dad decided to move to San Fran Stinktown . FEAR But, I mean, it’s just so drastic! ANGER Need I remind you of how great things were there? Our room? Our back yard? Our friends? He punches up a memory. It plays on the screen. GUM MEMORY Tripledent gum will make you smile! Tripledent gum it lasts--INSIDE OUT 84. ANGER Did I ASK for the gum commercial?!?! (he ejects the memory) Anyway, it was better, that’s my po",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int. DISGUST (considering) Riley was happier in Minnesota... FEAR Wait, hold on. Shouldn’t we just sleep on this or something? ANGER Fine. Let’s sleep on it. Because hey, I’m sure jolly fun-filled times are just around the corner.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. RILEY’S ROOM - NIGHT Riley goes to sleep.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LONG-TERM MEMORY CLIFFS The train slows to a stop. JOY Huh? The engineer and his assistant hop off the engine. JOY (CONT’D) Hey hey! Why aren’t we moving? TRAIN ENGINEER Riley’s gone to sleep. We’re all on break. SADNESS You mean we’re stuck here until morning? BING BONG Yeah, the Train of Thought doesn’t run while she’s asleep. JOY Oh, we can’t wait that long!INSIDE OUT 85. SADNESS How about we wake her up? JOY Sadness, that’s ridiculous. How could we possibly... She follows Sadness’ gaze and spots DREAM PRODUCTIONS . JOY (CONT’D) How about we wake her up!? SADNESS Great idea, Joy. JOY Thanks. Come on!",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DREAM PRODUCTIONS - NIGHT Pan down from the DREAM PRODUCTIONS GATE: a busy backlot. JOY Whoa! This place is huge. SADNESS Yeah, it looks so much smaller than I expected. They walk past dream “movie posters.” BING BONG Whoa! “I Can Fly”? I love that one! Joy spots a Unicorn sitting in a director’s chair. JOY Rainbow Unicorn! She’s RIGHT THERE! Joy tries to play it cool as they walk past. SADNESS My friend says you’re famous. She wants your autograph. JOY No, no, Sadness, don’t bother Miss Unicorn, okay? (to unicorn) Sorry, she’s from outta town. So embarrassing, right? She pushes Sadness away. Joy pops back in.INSIDE OUT 86. JOY (CONT’D) I loved you in Fairy Dream Adventure Part 7. Okay, bye. I love you. They reach STAGE B. A sign below a red flashing light reads, “DO NOT ENTER WHEN LIGHT FLASHING.” BING BONG Huh. Wonder what that means. Oh well, let’s go in! They enter.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. STAGE B - BUSTLING SOUND STAGE Workers scramble to get ready for the production. A Director distributes scripts. DREAM DIRECTOR (O.S.) Set up the classroom set! Today’s memories are in, we’ve got a lot to work with here. Riley dumped her best friend, had a miserable day at school, and quit hockey. The writers have put together a killer script!",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. STAGE B - COSTUME AREA Joy cringes at the news as the three hide behind costumes.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS Fear enters drinking tea. FEAR (grumbling to self) Just because Joy and Sadness are gone, I have to do stupid dream duty...",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. STAGE B - COSTUME AREA Joy, Sadness and Bing Bong watch from behind boxes. JOY Okay, how are we gonna wake her up?INSIDE OUT 87. SADNESS Well, she wakes up sometimes when she has a scary dream. We could scare her. JOY Scare her? No no, she’s been through enough already. SADNESS But Joy-- JOY Sadness you may know your way around down here, but I know Riley! We’re gonna make her so happy she’ll wake up with exhilaration! We’ll excite her awake! SADNESS That’s never happened before. Joy spots a nearby dog costume and tosses it to Sadness. JOY Ooh, Riley loves dogs. Put this on! SADNESS I don’t think that’ll work. JOY Bing Bong. BING BONG Yeah? She gives him the satchel containing the CORE MEMORIES. JOY Don’t let anything happen to these. BING BONG Got it!",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. STAGE B - STAGE AREA, CLASSROOM SET DREAM DIRECTOR checks the monitor. DREAM DIRECTOR Mm hm. Add the reality distortion filter.INSIDE OUT 88. A WORKER slips a filter over the camera lens, transforming the MIND WORKERS into replicates of Riley’s classmates. DREAM DIRECTOR (CONT’D) Love it. (to actors) Remember, play to the camera, everyone! Riley is the camera! Makeup, get out of there, we are on in 5,4,3... A UNION HARP PLAYER strums: the dream is starting. From the camera’s POV: the classroom set. STUDENTS at desks. An EXTRA playing Riley’s teacher reads cue cards badly. EXTRA Hello class. Before we begin today’s pop quiz, which counts for 90% of your final grade...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS - CONTINUOUS FEAR Man, she is one bad actress.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. STAGE B - CLASSROOM SET The CUE CARD GUY flips over the next card. EXTRA ...I want to introduce our new student. Riley. Would you like to stand up and introduce yourself? DREAM DIRECTOR Camera. The camera adjusts as if Riley is standing. DREAM DIRECTOR (CONT’D) And... cue Riley. A CREW MEMBER clears his throat and reads into a megaphone. RILEY VOICE My name’s Riley Andersen, I’m from Minnesota and now I live here. A STUDENT points to the camera.INSIDE OUT 89. DREAM STUDENT #1 Ew, look! Her teeth are falling out! A crew member drops handfuls of teeth in front of the camera.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS FEAR (dismissive) Pff, teeth falling out, I'm used to that one. Let me guess, we have no pants on. ON THE SCREEN: DREAM STUDENT #2 Hey look! She came to school with no pants on! The camera adjusts down to reveal Riley’s bare legs. Riley’s hands try to block them. FEAR Called it!",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. STAGE B - BACKSTAGE Joy and Sadness are in the dog costume, waiting to go on. JOY Ready? SADNESS I don’t think this happy thing is going to work. But if we scare her-- JOY Just follow my lead. Here we go! Joy yanks Sadness onto the set.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. STAGE B - CLASSROOM SET They run around in playful circles. Joy makes puppy noises. DREAM DIRECTOR (flipping through script) Who is that?INSIDE OUT 90.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HEADQUARTERS FEAR What’s going on?,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. STAGE B - CLASSROOM SET Joy and Sadness run around, Joy licking students and barking. Through the reality distortion they look like a happy puppy. Joy looks at the sleep indicator: Riley is still asleep.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. RILEY’S ROOM - CONTINUOUS Riley is sound sleep.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. STAGE B - CLASSROOM SET JOY (to Bing Bong) Psst. You’re on! Go! Bing Bong pulls a rope. Balloons drop! A colorful backdrop! JOY (CONT’D) Woo! Let’s party! Let’s dance. Woo!,SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS FEAR Hey, a party!",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. RILEY’S ROOM Riley is still sound asleep.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. STAGE B - CLASSROOM SET On stage, Joy and Sadness run in circles, barking. SADNESS Joy, this isn’t working. Bing Bong knocks over a light, causing spooky uplighting. Sadness tries to stop. The dog costume RIPS IN HALF.INSIDE OUT 91.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS Fear does a spit take. On screen, a real dog is in two pieces.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. STAGE B - CLASSROOM SET Joy runs after Sadness. JOY Huh? Sadness, what are you doing?! Come back here!",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS On screen, the front half of a dog chases the rear half. FEAR It’s just a dream, it’s just a dream, it’s just a dream...",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. RILEY’S ROOM Riley stirs in her sleep.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. STAGE B - CLASSROOM SET DREAM DIRECTOR They’re trying to wake her up! Call security!,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS Bing Bong appears on screen. BING BONG (O.S.) Hi Riley, it’s me! Who’s your friend who likes to play? Bing Bong, Bing Bong! FEAR Bing Bong?",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. STAGE B - CLASSROOM SET Bing Bong slips, tipping over the set wall.INSIDE OUT 92. JOY Sadness! You are ruining this dream! You’re scaring her! SADNESS But look, it’s working! The SLEEP INDICATOR is starting to tip. Joy’s eyes widen. JOY Whoa! But before she can do anything, Security enters. DREAM DIRECTOR (to Security) They are not part of this dream! Get them! Sadness pulls Joy out of harms way as guards GRAB Bing Bong. DREAM PRODUCTIONS COP #1 Stop right there! BING BONG Ow! Hey! DREAM DIRECTOR (to camera operator) Pan away! Pan away! The camera pans away to Rainbow Unicorn making off with a giant cupcake platter from the craft services table.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HEADQUARTERS FEAR Booooo! Pick a plot line!,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. STAGE B - CLASSROOM SET Joy and Sadness watch as guards haul off Bing Bong.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. STAGE B Joy and Sadness exit Stage B. BING BONG (O.S.) Ow! Ow! Cut that out. Ow! Please... you can’t do this! (MORE)INSIDE OUT 93. Do you like candy? You look hungry. I can get you candy! Please! Ow. Ow. Ow. Joy and Sadness watch Bing Bong being dragged far off to the dark, menacing entry of SUBCONSCIOUS. JOY No, no no no, there go the core memories...! The door opens. SPOOKY LIGHT spills out. BING BONG I can’t go in there. I’m scared of the dark. Please! He’s thrown in and the door SLAMS SHUT. Joy and Sadness head after him, down the long stairway.",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. SUBCONSCIOUS STAIRS JOY What is this place? SADNESS (hushed tone) The Subconscious. It’s where they take all the troublemakers.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. SUBCONSCIOUS GATE Joy and Sadness hide. TWO CLUELESS GUARDS block the gate. SUBCONSCIOUS GUARD DAVE My hat feels loose. SUBCONSCIOUS GUARD FRANK Let me see. How to get in? Sadness has an idea.,SENTI +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SUBCONSCIOUS GATE Sadness leads Joy around and behind the guards. SUBCONSCIOUS GUARD DAVE You got my hat? Or, or is that your hat?BING BONG (O.S.) (CONT'D)INSIDE OUT 94. SUBCONSCIOUS GUARD FRANK Yeah, it’s my hat. SUBCONSCIOUS GUARD DAVE You sure? I don’t know, look in the label. SUBCONSCIOUS GUARD FRANK Yeah, it says, “My Hat.” SUBCONSCIOUS GUARD DAVE Wait, it says, “My Hat”? SUBCONSCIOUS GUARD FRANK “My Hat,” it says. SUBCONSCIOUS GUARD DAVE That’s what I wrote in my hat. SUBCONSCIOUS GUARD FRANK What are you talking about? SUBCONSCIOUS GUARD DAVE You’ve got my hat on. SUBCONSCIOUS GUARD FRANK Okay, but it’s my handwriting-- Sadness loudly SHAKES the door. SUBCONSCIOUS GUARD DAVE Hey! You! SADNESS Oh! You caught us! Heh. SUBCONSCIOUS GUARD FRANK Get back in there! No escaping! The guards shove them through and slam the door.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SUBCONSCIOUS CAVE Joy gives Sadness an approving nod: nice work. They head forward. This place is spooky. SADNESS I don’t like it here. It’s where they keep Riley’s darkest fears. Joy spots a dark shape ahead:INSIDE OUT 95. JOY It’s broccoli! Behind them: SADNESS The stairs to the basement! They SCAMPER AWAY like frightened mice. JOY Grandma’s vacuum cleaner! The vacuum gives chase. Joy and Sadness lose it and hide behind a rock. JOY (CONT’D) (catching her breath) Okay, come on. Sadness makes a loud CRINKLING NOISE with each step. JOY (CONT’D) Would you walk quieter? SADNESS I’m trying! JOY What is going-- (looking down) Candy wrappers. They follow a trail of candy wrappers into the cave to find--",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SUBCONSCIOUS CAVE, CLOWN LAIR --a crying Bing Bong in a balloon cage, atop a large mound. JOY Bing Bong! BING BONG Joy? JOY There you are. BING BONG SHHHHH! (points) They are standing in front of a giant SLEEPING CLOWN.INSIDE OUT 96. JOY (terrified) It’s Jangles. JANGLES (talking in his sleep) Who’s the birthday girl, who’s the birthday girl... They gingerly approach Jangles. Joy climbs up to Bing Bong. JOY Do you have the core memories? He gives her the satchel. Joy holds them close. BING BONG All he cared about was the candy! Joy helps Bing Bong squeeze through, but the balloon-bars make loud twisting noises. Jangles stirs. Joy freezes. She stretches them further... Success! Joy and Bing Bong hurry down and the trio rush away. BING BONG (CONT’D) We’re out of here! Let’s get to that train. JOY Wait. The train’s not running. We still have to wake up Riley. SADNESS But how? Joy and Sadness look back at the clown. BING BONG Oh no. Together, Joy and Sadness approach Jangles and HONK HIS NOSE. His eyes open. He stands. He’s HUGE, towering over them. JOY (loudly) H-hhey Sadness, did you hear about the p-pahh-party that we’re having? SADNESS Ohhhh yeah, yes Joy! Isn’t it a ba- bahh... birthday party?INSIDE OUT 97. JANGLES Did you say... birthday? JOY And there’s going to be cake, and presents and-- SADNESS --and games and balloons-- JANGLES (pulls out a giant mallet) A BIRTHDAY?!?! JOY Okay. Follow us! All three run towards the gate, followed by the giant clown! JOY (CONT’D) Nothing like a good scare to wake you up, right?",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SUBCONSCIOUS GATE -- CONTINUOUS The guards inspect each others’ hats. SUBCONSCIOUS GUARD FRANK Okay, but it’s my handwriting. SUBCONSCIOUS GUARD DAVE No, it isn’t. That’s my handwrit-- I wrote that! SUBCONSCIOUS GUARD FRANK No, but THIS one’s my handwriting-- BASH! Jangles’ mallet smashes through, laughing maniacally. Our trio run up the stairs, Jangles close behind.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DREAM PRODUCTIONS - STAGE B - MOMENTS LATER The UNICORN DREAM is mid-production: a Glitter Dance Party, rainbows and sparkles aplenty. The crew is bored.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HEADQUARTERS Fear is practically asleep.INSIDE OUT 98.,SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. STAGE B The set begins to shake. BLAAAM! Jangles crashes in. JANGLES WHO’S THE BIRTHDAY GIRL?!?!,SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS Fear SHRIEKS, bashes a button and passes out.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. RILEY’S ROOM - NIGHT Riley bolts upright in bed.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. STAGE B The meter reads “AWAKE.” Joy and Sadness do a happy dance. BING BONG Come on, let’s go! They bolt, leaving Jangles gleefully demolishing the sets.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. TRAIN STATION - MOMENTS LATER Our trio leap aboard just as the train picks up speed. JOY Ha ha! We made it! *SADNESS Whoo-hoo! Ha ha! * JOY Guess who’s on their way to Headquarters?! Joy grabs Sadness and picks her up in celebration. SADNESS We are!,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. RILEY’S ROOM - NIGHT Riley sitting up in bed after being scared awake.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS - MORNING Anger and Disgust come out looking tired, rumpled...INSIDE OUT 99. DISGUST What is going on? ANGER He did it again. FEAR (huddled on the floor) We were at school, and we were naked, and there was a dog, and his back half was chasing him... and then we saw Bing Bong. ANGER You idiot! It was a DREAM! This is ridiculous, we can’t even get a good night sleep anymore. Time to take action. He goes and gets the Idea Bulb he held up earlier. ANGER (CONT’D) Stupid Mom and Dad. If they hadn't moved us, none of this would've happened. Who’s with me? Fear stammers nervously. Anger looks to Disgust. DISGUST Yeah, let's do it. Anger plugs the Idea Bulb in.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. RILEY’S ROOM - NIGHT Riley gets the idea. She takes out her computer.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS ANGER She took it. There’s no turning back. DISGUST So, how’re we gonna get to Minnesota from here? ANGER Well, why don’t we go to the elephant lot and rent an elephant?INSIDE OUT 100. FEAR Hey! That sounds nice! ANGER We're taking the bus, nitwit!",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RILEY’S ROOM - NIGHT On her laptop, Riley pulls up the Transway Bus Lines website.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS ANGER There’s a bus leaving tomorrow. Perfect. DISGUST A ticket costs money. How do we get money? ANGER Mom’s purse. DISGUST You wouldn’t. ANGER Oh, but I would. Where was it we saw it last? He punches up a memory. It comes up and plays. GUM MEMORY (O.S.) Tripledent gum will-- ANGER NOOOO!!! (slams his fist, canceling the memory) It’s downstairs somewhere. Mom and Dad got us into this mess. They can pay to get us out.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. RILEY’S ROOM - NIGHT Riley’s face grows angry.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MIND WORLD - MORNING The train speeds ahead. The trio look out the train door.INSIDE OUT 101. BING BONG How about this, huh? Isn’t this nice? You can see everything from up here! Look, there's Inductive Reasoning. There's Deja Vu. There's Language Processing! There's Deja Vu. There's Critical Thinking! There's Deja Vu. Hey look at this, guys! Memories! Bing Bong ducks inside the train. Joy looks over to Sadness. JOY Hey, that was a good idea. About scaring Riley awake. You’re not so bad. SADNESS Really? JOY Nice work. Joy turns to sit on a crate inside the train. JOY (CONT’D) I can’t wait to get the old Riley back. As soon as we get there I’m going to fix this whole mess. Bing Bong looks at a memory. BING BONG Whoa. Is this Riley? A RECENT MEMORY: Riley hoisted in the air by her teammates. BING BONG (CONT’D) She’s so big now. She won’t fit in my rocket. How’re we gonna get to the moon? JOY (taking the memory) Oh, it's that time in the twisty tree, remember? The hockey team showed up and Mom and Dad were there cheering. Look at her, having fun and laughing. I love this one. SADNESS Mmm. I love that one too.INSIDE OUT 102. JOY Atta girl! Now you’re getting it! SADNESS Yeah. It was the day the Prairie Dogs lost the big playoff game. Riley missed the winning shot. She felt awful. She wanted to quit. Joy’s smile fades. SADNESS (CONT’D) Sorry. I went sad again, didn’t I? JOY I’ll tell ya what. We’ll keep working on that when we get back. Okay? SADNESS Okay. Joy puts the memory in the satchel.",FLASHBACK +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SAN FRANCISCO HOUSE - NIGHT Riley sneaks down the stairs. Mom is on the phone in the kitchen with her back to Riley. MOM (on phone) But I just don’t understand, why did our moving van even go to Texas? Riley spots Mom’s purse on the table. MOM (CONT’D) Multiple customers? Riley opens the purse. MOM (O.S) (CONT’D) Well, we were promised delivery on the fifth. Uh-huh. Riley takes out Mom’s credit card. She pauses. Is she really doing this? Suddenly Mom turns. Riley panics. Mom looks up. Empty room. INSIDE OUT 103. MOM (CONT’D) (still on phone) Excuse me, isn’t there any way that you can rush it? Riley slips off with the credit card.",TWIST +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. MIND WORLD - CONTINUOUS The train passes crumbling HONESTY ISLAND .,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TRAIN CAR Honesty Island crashes into the train tracks. Joy, Sadness and Bing Bong scream. Workers below see the train falling towards them. WORKER #1 LOOK OUT! The train CRASHES onto the cliffside. It slips towards the edge. Joy struggles to get up, but the floor is pitching. BING BONG Hold on! Workers grab Joy, Sadness and Bing Bong just as the train slides off the cliff and drops into the dump below. Joy looks towards Headquarters. JOY That was our way home! We lost another island... what is happening? WORKER #1 Haven’t you heard? Riley is running away. JOY What?!",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. RILEY’S ROOM - MORNING Riley packs her clothes when her expression changes to worry.INSIDE OUT 104.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS Fear is driving. FEAR Wait, wait, hang on, guys. Are we really doing this? I mean, this is serious. Anger pushes Fear aside and works the console. ANGER (O.S.) Look. We have no core memories. You want Riley to be happy? Let’s get back to Minnesota and make more.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. RILEY’S ROOM Riley’s worried face goes angry. She packs and exits.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LONG-TERM MEMORY CLIFFS SADNESS If we hurry, we can still stop her. (points) JOY Family Island. Let’s go! The trio run along the cliff edge towards the last island.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. SAN FRANCISCO HOUSE - STAIRWAY - DAY Riley walks downstairs.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LONG-TERM MEMORY CLIFFS Family Island shakes and crumbles. SADNESS Joy! Joy! It’s too dangerous! We won’t make it in time! JOY But that’s our only way back! The rumbling causes an END CAP of a nearby shelf to break, exposing an open tube. A memory gets sucked up and shot towards Headquarters.INSIDE OUT 105. JOY (CONT’D) A recall tube! SADNESS We can get recalled! They run towards it.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SAN FRANCISCO HOUSE - DAY Riley goes to the front door. Mom and Dad are in the kitchen. MOM Have a great day, sweetheart. DAD See you after school, monkey. MOM We love you! Riley doesn’t respond. She turns and walks out the door.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LONG-TERM MEMORY CLIFFS Family Island rumbles. A LARGE CHUNK of cliff edge breaks off behind them, driving Joy and Sadness forward. JOY Go! Run! RUN! Joy steps into the disconnected TUBE, ready to sail up to Headquarters. Sadness tries to climb in, but there’s not enough room; she jostles, pressing against the satchel. The CORE MEMORIES start to turn blue. JOY (CONT’D) Woah woah! Sadness! (pushing her back) Sadness, stop! You’re hurting Riley! Joy pulls a core memory from the satchel. It is BRIGHT BLUE, but slowly fades back to normal. SADNESS Oh no, I did it again...INSIDE OUT 106. JOY If you get in here, these core memories will get sad! Joy watches FAMILY ISLAND crumble. She looks down at Sadness. Joy, pained, decides. JOY (CONT’D) I’m sorry. Riley needs to be happy. She pulls the tube closed and starts up alone. Sadness and Bing Bong watch, betrayed and despondent. Joy looks guilt-ridden, but looks on towards Headquarters. Suddenly, the cliffside rumbles. Joy’s tube BREAKS. Joy FALLS! Bing Bong runs forward to help her, but the ground beneath him crumbles away. Joy and Bing Bong tumble into the abyss. SADNESS Joy!!!",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. SAN FRANCISCO ALLEY - DAY Riley walks off into the fog.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MEMORY DUMP - MOMENTS LATER Joy falls, clutching the satchel of core memories. She lands hard, rolling down a hill of faded memories. She sits up, looks around. The satchel! All the memories are still there. Panicked, Joy runs up the hills of memories. Off in another part of the dump, Bing Bong comes to. BING BONG Joy? Bing Bong notices his hand beginning to fade. He gasps. BING BONG (CONT’D) Joy! He finds Joy desperately clawing her way up the hill. INSIDE OUT 107. BING BONG (CONT’D) Joy? Joy, what are you doing? Will you stop it please? Joy ignores him; keeps trying. BING BONG (CONT’D) Don’t you get it, Joy? We’re stuck down here. We’re forgotten. This stops Joy. All around, memories are fading to dust. Vapors blowing in the atmosphere, they disappear. RILEY (O.S.) We used to play tag and stuff. Joy recognizes this. She finds Sadness’ BLUE CORE MEMORY : Riley crying in class. RILEY (O.S.) (CONT’D) But everything’s different now since we moved. Seeing Riley cry breaks Joy’s heart. She falls to her knees. She picks up a nearby MEMORY of young happy Riley coloring. JOY Do you remember how she used to stick her tongue out when she was coloring? Another memory: Riley talking to a bug. JOY (CONT’D) I could listen to her stories all day. Another memory: Riley spinning. JOY (CONT'D) I just wanted Riley to be happy. And now... She holds the recent blue memory of Riley in class. Joy hugs them all until the memories fall out of her arms. Joy cries. A long, deep, painful cry. Joy has lost everything. Around her, memories fade and disappear. A tear falls onto the faded TWISTY-TREE MEMORY . Joy wipes it.INSIDE OUT 108. In wiping the tear, the memory rewinds. Its color CHANGES from GOLD TO BLUE. IN THE MEMORY: Riley sits in the tree with her parents, the team approaching in the distance. Joy looks closer. What’s this? She rewinds more. IN THE MEMORY: Riley sits in the tree, crying, alone. Joy remembers what Sadness said about the memory... SADNESS (V.O.) It was the day the Prairie Dogs lost the big playoff game. Riley missed the winning shot. She felt awful. She wanted to quit. IN THE MEMORY: Mom and Dad come to console Riley. Joy fast forwards. IN THE MEMORY: The hockey team lifts Riley on their shoulders and cheers. Riley smiles. JOY Sadness. Mom and Dad, the team... they came to help because of Sadness. She turns to Bing Bong, ready to take action. JOY (CONT’D) We have to get back up there! BING BONG Joy, we’re stuck down here. We might as well be on another planet. JOY (getting an idea) Another planet. (sings) Who’s your friend who likes to play? Silence. JOY (CONT’D) (sings louder) Who’s your friend who likes to play?INSIDE OUT 109. BING BONG (understanding; excited) His rocket makes you yell ""Hooray!"" Far off, BING BONG’S ROCKET answers. They run towards it. BING BONG (CONT’D) Who's the best in every way and wants to sing this song to say, who's your friend who likes to play? Bing Bong Bing Bong! Joy and Bing Bong find the rocket!",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MEMORY DUMP - LATER They perch the wagon atop a hill. Joy looks resigned. JOY Hop in! Both inside, Bing Bong pushes off. They speed down a slope to gain momentum, singing all the way. They reach the bottom and shoot up another hill, launching up towards the cliff top. Joy and Bing Bong enthusiastically, if not desperately, sing at the top of their lungs. Not even close. They crash back to the bottom. JOY (CONT’D) C’mon!",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MEMORY DUMP - MOMENTS LATER They shoot down a taller hill for another go. They SING faster and louder. Joy reaches for the ledge but they fall with a thud. Bing Bong stands. There’s no way they’ll make it. He looks up at the ledge and then to his hand -- it’s disappearing! BING BONG Come on, Joy. One more time. I’ve got a feeling about this one.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MEMORY DUMP - MOMENTS LATER Hurdling down the largest hill yet, they continue to sing Bing Bong’s song.INSIDE OUT 110. BING BONG Louder! Louder, Joy! Sing louder! Bing Bong times it just right... and jumps out of the wagon. Without his weight, the Joy gains momentum. She’s unaware of Bing Bong’s absence. JOY We’re gonna make it! The rocket makes it over the ledge! It crashes atop the cliff. JOY (CONT'D) Woohoo! Bing Bong, we did it! We-- She turns around. She’s alone. JOY (CONT'D) Bing Bong? Bing Bong! She runs to the cliff side. Below, Bing Bong laughs excitedly, happy to help Riley in the only way he can. BING BONG Ya ha ha! You made it! Ha ha! Go! Go save Riley! (pause) Take her to the moon for me. Okay? He waves as the last of him vanishes into the air. Joy’s eyes widen in awe; he’s sacrificed his life for her. JOY I'll try, Bing Bong. I promise. Joy gets up and soldiers on.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. SAN FRANCISCO HOUSE - EVENING Mom and Dad walk in. MOM We’re home! Riley? Riley!,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. RILEY’S ROOM - EVENING Dad opens the door. The room is empty. MOM I’ll call her cell.INSIDE OUT 111.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. SAN FRANCISCO STREET - EVENING Riley walks through a sketchy part of the city.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HEADQUARTERS FEAR This is terrible. Wait. Is that someone walking towards us? Let’s cross the street. Riley’s cell phone rings. MOM is calling.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HEADQUARTERS FEAR It's Mom! She's on to us! Where's my bag? Fear finds a paper bag and breathes into it to calm himself. DISGUST What do we do? ANGER Riley needs to get core memories. We keep going.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. SAN FRANCISCO STREET - CONTINUOUS Riley ignores the call and walks on.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LONG-TERM MEMORY Joy runs through the Long-Term Memory stacks. JOY Sadness! She sees Family Island rumble, pieces beginning to break off. She frantically continues on.",FLASHBACK +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. BUS DEPOT - EVENING Riley walks into the bus depot.INSIDE OUT 112.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LONG-TERM MEMORY Joy runs through a long corridor. JOY Sadness? Sadness? (no answer; desperate) C’mon Sadness, where are you? Okay. If I were Sadness, where would I be? Joy slumps to the ground. She kicks a leg up in the air. JOY (CONT'D) (Sadness voice) Ohhh... everything is awful and my legs don’t work and you have to drag me around while I touch all the-- Joy stops. Something has caught her eye. REVEAL: a path of blue memories on the bottom shelves. Joy follows the path.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. BUS DEPOT - MOMENT LATER Riley walks out of the bus depot and into the advancing line. Her cell phone rings again: “Mom.”,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS Fear breathes faster into his paper bag. DISGUST Oh no. It’s Mom again. What do we do?! ANGER Uh... Uh... Boom! Family Island rumbles behind them. QUICK INTERCUTS between the line getting shorter, Riley declining Mom’s call, and Family Island crumbling. Finally...",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HEADQUARTERS Fear’s bag POPS.INSIDE OUT 113. ANGER This is madness! She shouldn’t run away! DISGUST Let’s get this idea out of her head. They rush to unplug the idea.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LONG-TERM MEMORY Joy runs, following the path of blue memories. JOY Sadness! Joy rounds a corner and spots Sadness far down the next row. JOY (CONT’D) Sadness! Sadness turns around. SADNESS Joy? Inexplicably, Sadness turns and runs away. JOY Wait, Sadness! Joy chases after her. Sadness doesn’t stop. SADNESS Just let me go! Riley’s better off without me! Joy follows Sadness straight into...",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. IMAGINATIONLAND, FRENCH FRY FOREST Sadness topples giant french fries in Joy’s path. JOY Come back! Joy uses a super-long fry to vault over the mound of fries.INSIDE OUT 114.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. IMAGINATIONLAND, CLOUD TOWN Two MIND WORKER COPS are questioning a CLOUD WITNESS. MIND WORKER COP #1 So you’re saying your husband was blown away by an elephant. The Cloud Witness nods. Sadness runs past the crime scene. They don’t notice. MIND WORKER COP #1 (CONT’D) Was he with anyone? CLOUD WITNESS Yes! And there she is! Joy runs right through the Cloud Witness, dissipating her. MIND WORKER COP #1 (runs after Joy) Hey! Come back here! MIND WORKER COP #2 Forget it, Jake. It’s Cloud Town.",SENTI +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. IMAGINATIONLAND, CLIFF EDGE Joy searches for Sadness. Suddenly, rain falls on her. Above, Sadness is floating on a chunk of rain cloud, away from Headquarters. JOY What? Sadness! SADNESS (crying) I only make everything worse! JOY Wait-- Sadness! We've gotta get you back to... (Sadness is too far away) Ugh. Joy looks back at Family Island crumbling. She looks around: what does she have to work with? The Boyfriend Generator...",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS Anger tries to untwist the Idea Bulb, but IT WON’T MOVE.INSIDE OUT 115. ANGER It’s stuck! DISGUST Oh great. FEAR Whadayamean it’s stuck?!? DISGUST Now what? A strange BLACKNESS spreads over the console. FEAR Oh, no, no, no. What is THIS?!",TWIST +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. BUS - EVENING Riley boards the bus.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HEADQUARTERS Anger slams a chair down on the console. It bounces off with no effect. Fear lunges in with a crowbar. He loses control and it smacks him in the face.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. BUS - CONTINUOUS Riley walks down the aisle of the bus.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS FEAR Oh, how do we stop it? DISGUST I got it! Make her feel scared! That’ll make her change her mind! FEAR Brilliant! DISGUST I know it’s brilliant. Do it! Fear frantically pushes buttons.INSIDE OUT 116. FEAR Ahh! Nothing’s working! Why isn’t it working?? ANGER Let me try! Disgust and Fear pound on the console buttons. DISGUST Great, you broke it! FEAR No, I didn’t! ANGER Let me do it!",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. BUS - CONTINUOUS Riley takes a seat.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS By now, the console is mostly black. FEAR Guys. We can’t make Riley feel anything.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. BUS - CONTINUOUS Riley sits on the bus.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HEADQUARTERS ANGER What have we done?,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. IMAGINATIONLAND, BOYFRIEND GENERATOR Joy runs up to Riley’s Imaginary Boyfriend. JOY Hey! Hey, look at me. Did you mean what you said before?INSIDE OUT 117. IMAGINARY BOYFRIEND I would die for Riley! I would die for Riley! JOY Yeah, yeah, okay, Haircut. Time to prove it. Joy scoops him into her satchel. She activates the generator. Imaginary Boyfriends pour out, directly into Joy’s satchel.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. IMAGINATIONLAND Joy spots Sadness ahead, and runs past her.",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. IMAGINATIONLAND, BALLOON TREES Joy pulls a balloon free from a TWISTY BALLOON PALM TREE. She aims it towards the approaching Sadness and unties it. PTHHPT! The balloon blows Sadness back over the MEMORY DUMP. In the process, the HOUSE OF CARDS behind them collapses. HOUSE OF CARDS WORKER (angry) That’s it! I fold!",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. IMAGINATIONLAND, BOYFRIEND GENERATOR Joy sprints by grabbing the SATCHEL, now full of boyfriends.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. IMAGINATIONLAND, CLIFFSIDE Sadness floats out over the Memory Dump. Joy runs along the cliff edge, parallel to Sadness, towards Family Island.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LONG-TERM MEMORY CLIFFS, NEAR FAMILY ISLAND Joy sights Sadness and aligns herself with Family Island. She dumps the satchel, pouring out the Boyfriends. Their momentum pulls her to the top of a TOWER OF BOYFRIENDS. JOY (to herself) This is crazy, this is crazy... No, no, no! Joy! Be positive. (beat) I am POSITIVE this is crazy!INSIDE OUT 118. Joy spots the trampoline on Family Island, then Sadness floating away. She times it... JOY (CONT’D) NOW! The tower tips forward. IMAGINARY BOYFRIENDS For Riley! Joy falls towards Family Island, bounces on the TRAMPOLINE, flying up towards Sadness. She intercepts Sadness midair... JOY Gotcha! SADNESS Joy? JOY Hang on! They launch towards Headquarters. Will they make it?",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS Anger, Fear and Disgust watch the screen, worried. FEAR Ohhh, I wish Joy was here! SPLAT! Joy and Sadness hit the back window and slide down, grabbing the window edge. The Emotions run to the window. DISGUST It’s Joy! ANGER Stand back! Arrrrgh! Anger throws a chair at the window. It bounces off. DISGUST (sarcastically) That worked. ANGER Well, what would you do, if you’re so smart?! He’s smoldering. Disgust’s eyes light up.INSIDE OUT 119. DISGUST I’d tell you, but you’re too dumb to understand. ANGER What?! DISGUST Of course your tiny brain is confused. Guess I’ll just have to dumb it down to your level. Sorry I don’t speak “moron” as well as you, but let me try: Duuuuhhhhh . Anger explodes, bursting into full blowtorch flames. Disgust, sporting a welding mask, picks him up and blows a hole in the window. Joy and Sadness climb through. Anger Fear and Disgust all talk at the same time, explaining: FEAR Oh, thank goodness you’re back. DISGUST Things are really messed up. ANGER We found this idea, and now Riley’s on a bus heading for Minnesota! Joy looks at the screen. ON THE SCREEN: Riley stares vacantly out the bus window.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. BUS DEPOT - NIGHT The bus starts to pull away.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS DISGUST Joy, you’ve got to fix this. Get up there. JOY Sadness, it’s up to you. SADNESS Me? Joy pushes Sadness towards the console.INSIDE OUT 120. ANGER/FEAR/DISGUST Sadness?!? SADNESS I can’t, Joy. JOY Yes you can. Riley needs you. Sadness looks at Joy. Really? Joy nods.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. BUS - CONTINUOUS The bus pulls out onto the street.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HEADQUARTERS Sadness approaches the console and takes charge. SADNESS Okay. She grips the Idea Bulb. The console is now completely black.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. SAN FRANCISCO STREET - NIGHT The bus is on the road.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HEADQUARTERS Sadness works... and ejects the Idea Bulb. The blackness retracts.,SENTI +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. BUS - NIGHT Feeling comes back to Riley: her expression changes from listless to sad. She stands. RILEY Wait! Stop! I wanna get off. The bus stops. Riley runs to the front and out the door.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. BUS STOP - NIGHT Riley runs away from the bus.INSIDE OUT 121.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HEADQUARTERS The Emotions watch the screen in anticipation.,SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. SAN FRANCISCO STREET - NIGHT Riley runs back towards home.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SAN FRANCISCO DINING ROOM - NIGHT Mom sits at the table, on the phone. Dad hovers. MOM (on phone) Alright. Thank you. We will. (to Dad) Her teacher hasn’t even seen Riley all day. DAD What? I can't believe this. MOM What was she wearing last? Do you even remember what-- The door opens. Riley walks in. They rush over to her. MOM (CONT’D) Riley! DAD Riley, there you are! Thank goodness! MOM Oh, we were worried sick! Where have you been? It’s so late...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS Sadness drives. Joy walks to her, holding the golden core memories. She hands them over to Sadness. The core memories turn BLUE. Sadness places one in the recall unit. THE MEMORY PLAYS ON SCREEN: Young Riley and young Meg walk side by side.INSIDE OUT 122.",FLASHBACK +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. SAN FRANCISCO DINING ROOM - CONTINUOUS Riley remembers.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS Sadness places another blue memory in the recall unit. MEMORIES PLAY ON SCREEN: Young Riley makes cookies with Mom and Dad. Riley runs around with underpants on her head, Dad chasing. Riley scores her first goal. Riley skates with Mom and Dad. Sadness places her hand on the console. It turns BLUE.",FLASHBACK +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SAN FRANCISCO DINING ROOM Riley cries. RILEY I know you don’t want me to but... I miss home. I miss Minnesota. Mom and Dad, concerned, listen quietly. RILEY (CONT’D) You need me to be happy, but... I want my old friends, and my hockey team... I wanna go home. Please don’t be mad. MOM Oh sweetie... DAD We’re not mad. You know what? I miss Minnesota too. I miss the woods where we took hikes. MOM And the back yard where you used to play. DAD Spring Lake, where you learned to skate. Riley cries harder. DAD (CONT’D) Come here.INSIDE OUT 123. He pulls Riley towards them. The three hug.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HEADQUARTERS Joy steps forward with one more gift for Sadness: the blue core memory. Sadness pulls Joy by the hand and places it on the console.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SAN FRANCISCO DINING ROOM Still in an embrace, Riley smiles through her tears.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS BING! Joy and Sadness hear the sound of a new memory being produced. It’s a NEW CORE MEMORY: BLUE AND GOLD, swirled together. A first. The Emotions react in awe. The memory travels down the track and into the holder. A lightline extends out the back of Headquarters. It is a new FAMILY ISLAND , bigger than before. Joy and Sadness turn back to the console together.",SENTI +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SAN FRANCISCO DINING ROOM Riley, Mom and Dad embrace.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS Watching the screen, Joy rests her head on Sadness. They’re a team.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS - DAYS LATER We see many new, multicolored core memories in the Core Memory Holder. The Emotions admire the new Islands of Personality. FEAR Hey, I’m liking this new view.INSIDE OUT 124. ANGER Friendship Island has expanded. Glad they finally opened that Friendly Arguments section. SADNESS I like Tragic Vampire Romance Island. DISGUST Fashion Island. Everyone shut up! FEAR Boy Band Island. Hope that's just a phase. JOY Say what you want, I think it’s all beautiful. WORKER FRITZ Alright! The Emotions turn to see workers at a new, larger console. WORKER FRITZ (CONT’D) There you go. Your new expanded console is up and running. The new console lights up. JOY/SADNESS/FEAR/ANGER/DISGUST Whoa! DISGUST Cool. Upgrade! JOY Ooohh. Fear leans on the console. BEEP! FEAR Hey! Whoa! Whoops, wait. Did I just do that? DISGUST (re: a warning light label) Hey guys? What’s “ pub-er-ty ?” JOY I don’t know. It’s probably not important.INSIDE OUT 125. ANGER Whoa. I have access to the entire Curse Word Library! This new console is the sh-- BEEP! FEAR Sorry. I did it again. My bad. DISGUST (pointing to screen) They’re getting to the rink!",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. HOCKEY RINK - DAY The same rink Riley left before. The Golden Gate gleams in the background.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOCKEY RINK A pep talk from Riley’s parents. We don’t see their faces. DAD Now when you get out there, you be aggressive! RILEY (embarrassed) I know, Dad. MOM -- but not too aggressive. RILEY You know, you guys don’t have to come to every game. REVEAL: Mom and Dad’s faces are painted blue and green. DAD Are you kidding? I’m not missing one! GO FOGHORNS! MOM GO RILEY! FOGHORNS ARE THE BEST! RILEY Okay, okay. I gotta go. Riley walks away, mortified, as Dad makes foghorn noises.INSIDE OUT 126.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS All the Emotions at the control panel. JOY Awww... FEAR They love us! ANGER Yeah, Mom and Dad are pretty cool. DISGUST Guys, of course they are. But we can’t SHOW IT!",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HOCKEY RINK Zoom in to Dad’s head...,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DAD’S HEADQUARTERS Dad’s Emotions cheer. They all have their faces painted. ON THE SCREEN: Mom beams at Dad. DAD’S FEAR She loved the face painting! DAD’S ANGER Ha! Told you it was a great idea! Dad turns to Mom. She smiles, and we zoom in to her head...",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MOM’S HEADQUARTERS All Mom’s Emotions are also painted. MOM’S ANGER Best idea he’s had in awhile. MOM’S SADNESS He’s a really good guy. They all sigh. Mom’s Anger tosses the MEMORY of the Brazilian helicopter pilot. Mom’s Fear retrieves it. MOM’S FEAR Just in case.INSIDE OUT 127.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HOCKEY RINK Riley walks towards the ice and bumps into A TEEN BOY. He drops his water bottle. She picks it up for him. RILEY Oh. Sorry! She smiles. ZOOM IN TO THE BOY’S HEAD.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BOY’S HEADQUARTERS A dirty, chaotic room. Stuff everywhere. GIRL ALARM GIRL! GIRL! GIRL! WARNING LIGHTS ARE BLARING. His Emotions run around in a panic, screaming. One of them is HUDDLED, CRYING.",SENTI +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOCKEY RINK The boy stands stunned, unable to speak. Riley hands him the water bottle. RILEY Uhh... Ooooo-kay . Bye! Riley skates out onto the ice, looking back over her shoulder... with a hint of a smile? HOCKEY TEAMMATE (O.S.) All set, Riley? She HIGH-FIVES a new teammate. They skate into position as Mom and Dad cheer from the stands.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEADQUARTERS Joy and Sadness stand side by side at the new console, flanked by the others. JOY You ready? SADNESS Yeah!INSIDE OUT 128. JOY Alright. Let’s play some hockey! We ZOOM OUT of Riley’s head.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOCKEY RINK Riley faces off. The puck drops. JOY (O.S.) All right Anger, take it! ANGER (O.S.) Give us that puck or you’re dead meat! Riley gets it! FEAR (O.S.) On our left! On our left! An opponent steals the puck. DISGUST (O.S.) Let’s just try not to get all smelly this time. SADNESS (O.S.) Hooh, Mom and Dad are watching us fail. ANGER (O.S.) Not today! Riley regains the puck and skates off with a smile. JOY (V.O.) We’ve been through a lot lately, that’s for sure. But we still love our girl. She has great new friends, a great new house... things couldn’t be better! After all, Riley’s 12 now. What could happen? THE END.INSIDE OUT 129.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BAGRAM AIR BASE, AFGHANISTAN11Through massive sun flare, a BLACKHAWK Chopper coming in fast. Landing hard on Bagram Air Base.LUTTRELL(vo)It’s something most of us have known all of our lives. What we all wanted. It’s in our blood. A team of medical personal and Navy officers descend on the chopper. An assortment of high-ranking GENERALS and COMMANDING OFFICERS there to meet the chopper. Tight shots. A bloody hand dangles. A tear filled eyeball, sliced feet.LUTTRELL (CONT’D)(vo)There’s a storm inside of us. I’ve heard many team guys speak of this. A burning. A river. A drive.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. OPERATING ROOM 22Clothes cut. Blood soaked Dog Tags cut. “Luttrell” in UA boxer shorts, IVs and fresh blood bags. Multiple Gunshots. Chunk of an ear missing. Heartbeat monitor. Weak pulse.LUTTRELL(vo)An unrelenting desire to push yourself harder and further than anyone could think possible.Chunks of bullet and shrapnel filling metal bowl. Tears streaming down cheeks, a hand scrawled map on a left thigh, focused eyes of surgeons. Admirals’ pace in the hallway.LUTTRELL (CONT’D)(vo)Pushing ourselves into those dark cold corners where the bad things live. Where the bad things fight. Heart monitor weak. Getting weaker. Compound fracture left shin. Bloody feet rinsed clean. Water flushing out bullet holes. Loose cracked tooth pulled out. Heart monitor getting weaker.Surgical pack working franticly to save Luttrell.Tight on HEART MONITOR: FLATLINE LUTTRELL CONT’DWe wanted that fight at the highest volume. The loud fight. The loudest, coldest, hottest, most unpleasant of the unpleasant fights. Pushing in on the flatline. Alarm screaming. Tight on Luttrell’s eyes starting to glaze over. Dying.BLACK.GRAPHIC:“FIVE DAYS EARLIER”",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HIGH ABOVE NORTHERN AFGHANISTAN - HINDU KUSH33SUNSET.Rugged and punishing. Endless and infinite. Steep stone mountains. Bottomless valleys. Cold and dry. As we fly across this stunning land, from the bottom of the FRAME, ENTER:A SPECIAL FORCE AIR INSERT TEAM.FOUR HELICOPTERS. Two MH-47s transport. Two security Apaches. IN THE CHOPPER:3A3ATIGHT ON MARCUS LUTTRELL. Healthy and very clear eyed.12 SEALs fully dressed for combat. Sitting side by side. Clearly ready for war.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MH-47 INSERT CHOPPER3B3BSeen from above. Cruising at 150 over the shoulder of a .50-cal TF-160 aviator door gunner.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CHOPPER - SUNSET44Riding low and fast. Inside: Two Night Stalker Pilots, Two Airmen, and 12 SEALs.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. HINDU KUSH - DUSK55The Choppers tearing across the Afghan mountains. 2.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. THE CHOPPER - DUSK66Luttrell checks his map against his wrist strapped GPS. Whistles quietly to himself. LUTTRELLI don’t see anything but steep. I could be wrong. Hope I’m wrong. If it’s anything but steep I’m not seeing it. DIETZJust put your feet where I put my feet. All day long. You’re gonna love it. SHANE PATTON plugged into an iPod. SLIPKNOT pounding into his head. He quietly sings along. Kristensen leans over to Axelson, the navigator, adjusts his upper right strap on his front pack.KRISTENSENI’m real interested in the pitch. If it ain’t fucking glorious, come back, try another route. Don’t waste your time trying to cross something that’s gonna knock the shit out of us.AXERoger that.Kristensen moves over to MIKE MURPHY.KRISTENSENShe does not need a Arabic horse.MURPHYHow do you know about that?KRISTENSENI know everything Murphy.MURPHYCheck.KRISTENSENMorab Tennessee Walking Horse cross stallion.MURPHYWhat? 3. KRISTENSENOriginal Silver. Lone Ranger’s Horse. MURPHYReally?KRISTENSENTennessee cross stallion. That’s a fucking horse.MURPHYYes sir.KRISTENSENLone Ranger’s horse of choice.MURPHYSounds excellent sir.KRISTENSENGlorious horse Murphy.Tight on Luttrell starring into the plunging sun.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. AFGHAN VILLAGE - DAY77INTERCUT AFGHAN VILLAGE. Intro Afghan warlord. AHMAD SHAH.35 years old. Tall, strong. Fierce. He moves through an Afghan village with a small pack of equally fierce Taliban warriors. 3A. LOCAL AFGHANS avoid eye contact. This Shah and crew feels like an old school western bad guy moving through a cow town.NOTHING like the SUICIDE BOMBERS of BAGDAD. These are real warriors. Strong-jawed. Thin but ripped muscles. Worn rich soulful faces, vivid eyes, color reds and blues. Strong boots. Military vests. Good radio equipment. Well-maintained weapons.Shah’s number two is TARAQ. Late twenties. Shah is vicious, TARAQ, is more vicious. Strong and very, very violent.A very worthy opponent.RIGHT now they are clearly pissed. Shah leads the way, walks with purpose.They are looking for a man. Someone has violated TALIBAN LAW, accused of aiding the Americans.Shah moves into a house. Women and children terrified. Trembling. Women pleading.SHAHWhere is he? SHAH Hagha Cherta Dey? The women scream. As Shah starts throwing teenage boys around the room. Slamming them viciously into walls. A 25-year-old man Gulab tries to reason with Shah. A YOUNG BOY watches. GULABPlease, we want no trouble.GULAB Mehrabani/lutfan, monga hes mushkil no ghowaroTaraq throws Gulab down hard. Turns, locks eyes with an older Afghan man(30s). Taraq moves quickly at him, kicking him in the face, his foot down hard on his throat.SHAHHave you spoken with the Americans?SHAH Aya taso Americayano sara khaberi keri dey? AFGHAN MANPlease! No!AFGHAN MAN Mehrabani/lutfan! Na!Gulab watches. Frustrated. Furious. TARAQYou lie!TARAQ Ta Dorogh wayee!AFGHAN MANPlease!AFGHAN MANMehrabani/lutfan! 4. He’s pressing down hard. Choking the man. The man’s family begs and screams. Shah studies the Afghan deep into his eyes. Decides he’s lying...Shah nods to Taraq.Taraq yanks the Afghan to his feet. As his children watch Taraq leads the pleading farmer outside. Into the woods.Taraq and his men throw the Afghan down over a fallen log. Face up.Two of Taraq’s men hold him by the beard as Taraq stands over him. Razor sharp machete up. Shah backlit. Ignoring the man’s pleading...as Taraq hacks down with brutal fury.Tight on Shah, tight on Taraq, blood dripping from his hand.BLACKGRAPHIC: BAGRAM AIR BASE - 14 HOURS EARLIER CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BAGRAM AIR BASE - DAWN88Sun just beginning to rise over the Base.Beautiful.Camera moves though the sleeping base. Guards man posts. Aircraft static on runways in Hangars’. Tent after tent soldiers’ sleep.We come to a small base within a base. 10 foot rebar framed dirt walls. Barbed wire. Heavy Iron gate. A fortress within a fortress.Graphic.SEAL TEAM 10 CAMP OUELLETTE, BAGRAM AIR BASE - SUNRISE8A8AWe move inside the SEAL compound. Several plywood buildings. Assorted trucks, Jeeps, heavy ATVs.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SEAL BUNK ROOMS99Marcus Luttrell sleeps. Peaceful. Tight shots. Luttrell’s room. A Texas flag. Family pictures. Mom, Dad, twin Brother Morgan. SEAL Trident. Wanted poster Osama bin Laden. Guns, knifes, grenades. 5. DANNY DIETZ sleeps. His walls covered with his art. Demons and Dragons and Serpents. Beautiful and haunting. Pictures of his wife, Patsy. His dogs. His parents.Matt Axelson sleeps. Curly red hair. Pictures of his family. American flag. Freddie Couples walking the bridge at St. Andrews. Map of Afghanistan.MIKE MURPHYRooms a mess. Clothes and gear everywhere. Grenades on a desk next to a copy of GATES OF FIRE. New York Rangers flag next to a SEAL Flag, 8 x 10 head shot of Ron Burgundy.Tight on Murphy. His eyes slowly open. Hold a moment. Murphy checks watch. 0500. Slow and smooth Murphy rises. Body strong. Not ripped. Effortless power.Murphy goes to his computer. Opens it and checks his mail.Tight on Murphy’s inbox.A picture of an Arabian Horse. Murphy studies the picture.MOVING DOWN HALLWAY9A9AMurphy now in shorts and a Navy T-shirt. Holding his laptop, eating a banana. Stops by Luttrell’s door. Opens it.Luttrell sleeps, Murphy sits on his bed. Nudges Luttrell.Luttrell opens an eye. He’s staring at the computer pic of an Arabian horse.MURPHYIs this doable?LUTTRELL Expensive.MURPHYHow much?LUTTRELLArabic. She’s got good taste.MURPHYHow much?LUTTRELLI’ll find out. Expensive.Murphy is up. Heads out the door. Moves into the hallway. Opens Dietz’s door. 6. MURPHY(quiet)Danny.Dietz. Eyes closed.DIETZI’m up.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GYM - CAMP OUELLETTE1010Dark, then lights on, revealing a decent cross fit style gym.Blackboard filled with the current workout leaders. Dietz and Murphy hold most of them.The two men start to stretch in silence.Luttrell wanders in. A giant bowl of cereal.LUTTRELLSince when does she want an Arabic horse?MURPHYSince I got an email this morning. Probably saw it on Oprah. LUTTRELLOprah rides Arabic horses?MURPHYI don’t know what Oprah does.LUTTRELLShe can afford them.MURPHYWhy? How much do they cost?LUTTRELLI don’t know. Oprah money.MURPHYFuck.LUTTRELLI thought you guys were doing this tomorrow.Murphy and Dietz strap on Body Armor. 7. LUTTRELL (CONT’D)Maybe I’m starting to become tele fucking pathic - non-verbal yoda or something. I could swear I just said outloud, that I thought this was happening tomorrow.Murphy stretching. MURPHYI think Red Wings a go. Tonight.LUTTRELLOh.(beat)Outstanding.SHANE PATTON wanders in.SHANE PATTONYou’re doing it now?The three men ignore Shane.SHANE PATTON (CONT’D)(to Luttrell)They’re going at it now?LUTTRELLLooks that way.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MATT AXELSON’S BUNK - MORNING1111Axe sleeps. His computer alarm goes off. Incoming voice chat.Slowly Axe reaches down for the computer on his floor.Axe opens the computer. Signs in.Incoming from his wife Cindy.“Are you up?”Axe types.“Yes my love.”Cindy.“What you doing?”Axe stares at a picture of he and Cindy. 8. “Looking at you.”CINDYHow do I look?AXELike Heaven.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. WEIGHT ROOM - MORNING1212Dietz and Murphy both warmed up clearly ready for some kind of competition.Luttrell sits on a weight bench. Takes off his watch. Dietz and Murphy under pull up bars. HEALY enters.HEALYThought you guys were doing this tomorrow...MURPHYReady?DIETZYup.LUTTRELLMark. Set. Go.Luttrell hits the stop watch.Murphy and Dietz leap to bars, 75 Pull-ups as fast as possible. Brief pauses to recover. 100 push ups. Dietz slightly ahead of Murphy. Sprints out of the gym. Murphy close behind.The two men charge up and over the gate. Body Armor on.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. BAGRAM - MONTAGE - MORNING1313Murphy and Dietz running hard racing each other on a two mile lap of the Air Base.Luttrell keeps time.Shane starts bench pressing.Luttrell eats cereal. AXE in bunk room. On the computer with Cindy.13A13A 9. “I won’t be able to talk for a couple of days.”“Gotta go to work?” 9A. “Got to pay the bills.”Murphy and Dietz sprinting. Dead even. Past Marines. Down a runway full of active aircraft and helicopters.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. WEIGHT ROOM - DAY1414Shane benching big. Luttrell munches cereal. Healy doing pushups. SHANE PATTONAm I going?HEALYNo ideaLUTTRELLI don’t know.SHANE PATTONYou know.LUTTRELLIf I say I don’t know. I don’t know.SHANE PATTONYou know.LUTTRELLIf you go you’ll go. If you don’t go, trust me you will go. Eventually. Comprende?SHANE PATTONSo, I’m not going?LUTTRELLI didn’t say that.SHANE PATTONYou said if you don’t go, you will eventually go.LUTTRELLYea, that’s not saying your not going.SHANE PATTONI’m not going.Shane back to bench pressing. Luttrell checks his watch, heads out towards the gate. 10. INT / EXT WEIGHT ROOM - DAY14A14AOther SEALs starting to gather. JAMES SUH, DAN HEALY, MIKE MCGREEVY, JAQUES FONTAN, JEFF LUCAS and JEFF TAYLOR 10A. Dietz and Murphy balls out sprinting. Murphy has him by a few feet coming back to Ouellette iron wall. Murphy throws open the gate, runs inside. Dietz a second behind.Luttrell looks at his watch.LUTTRELLMurphy by 1.1.Exhausted Dietz and Murphy sit in the dirt.LUTTRELL (CONT’D)Head shave?DIETZFuck.Axe walks up, shorts and flip flops.AXEWho won?LUTTRELLMurphy. Barely.AXEHead shave?Dietz looks pained. MURPHYMan...I got to think this one out. If I shave his head, I’m going to have to look at him. Really look at him. Ears, face, funny shaped head...I don’t know. Marcus? What do you think?LUTTRELLI don’t know boss...I don’t want to be looking at him that close either, but he has been running his mouth about beating you...a lot. Head shave is fair.MURPHYAxe? 11. AXEHell yea, I say shave him, and he can’t eat with us, make him eat with E3 Marines until it grows back. Shave the boy.MURPHYShane?SHANE PATTONWell, I could go both ways on this. He did lose but, he was close and you’re Mike Murphy and I would have expected a much bigger separation. Plus, we’re at war and there’s the whole Samson thing, so I’m not sure. I’ll plead the fifth on this one.Murphy looks stares at Shane.SHANE PATTON (CONT’D)But you’re the boss, boss. So I’m with you. I’ll shave his head, wax his balls if you give me the order. Sir, I’ll wax my own balls if you take me on Red Wings.Murphy shakes his head at Patton, looks over to Dietz.DANNYCome on Mike. MURPHYYea Danny this is probably not gonna go your way. Shane, get my razor.SHANE PATTONGetting razor, copy that.Erik Kristensen, officer in charge, from the deck of the Command Room.Shane stops. Turns around.KRISTENSENNot today.The SEALs stare up at their boss.KRISTENSEN (CONT’D)Red Wing’s a go. Today. 1800. 12. SHANE PATTONAm I going?KRISTENSEN(ignoring Shane)PLO in one hour.SHANE PATTONSir? Kristensen dead eyes Patton. Turns and heads back into TOC. Healy followsAXEShane’s going?MURPHY SHANEI don’t think so. Maybe.They all walk inside.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RED WINGS PLO (PATROL LEADER’S ORDER)1515Thirty SEALs plus support packed into the TOC (Tactical Operational Command). Makeshift control center. PowerPoint on flat screen. Operation REDWING is dissected.MURPHYOperation Red Wings. The target is Ahmad Shah and his, we are estimating ten men, “loyal amigos”. Including, this dude,Slide shifts to a color photo of “Taraq”.MURPHY (CONT’D)Only have a first name, Taraq. Seems to do most of the chief shit for Shah.SEALs study photos. MURPHY (CONT’D)We’re going in with a four man team. The recon team is Dietz, Comms. Axe, Nav. Luttrell, Medic. HEALYObjective of this mission is to positively identify Ahmad Shah. Shane’s head in his hands, pissed he is not going...a grainy photo of Ahmad Shah on a large color monitor. PowerPo",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int. 13. KRISTENSENThis is the best picture we have of him. It’s current. 13A.(MORE) We know Shah killed fourteen Marines last Tuesday in Kandahar. We just pulled this video off three different Tali web sights. It will in fact be a glorious day when Ahmad Shah and his good friend Taraq are no longer members of our human community. Clear video of Shah executing a Taliban woman. Two men hold her down. Shah fires an AK-47. The bullet kicking up dust as it blasts through her skull into the dirt. The SEALs study this footage. Dead serious.AXEGo back...freeze.Axe studies an image of Shah.AXE (CONT’D)No earlobes.MURPHYWhat’s that?AXEThe guys got no earlobes.Silence as the team studies the image.SHANEWhat are earlobes for anyway?DIETZPiercing and balance.SHANE Balance.DIETZI heard earlobes are key for head balance - equilibrium. Cut a guys ear off, he’s gonna suck on a drunk test, balance beam, tight rope...LUTTRELLFalse. Earlobes have no biological functions for humans. Fish can use earlobes like a valve to open or close the ear canal. 14.KRISTENSEN (CONT'D) SHANEWhy would a fish want to let water into his ear canal? Luttrell shoots him a look - “shut the fuck up” 14A. Murphy keeps things moving.MURPHYBad guy. Senior Taliban commander responsible for killing Marines in Eastern Afghanistan and sport killing civilians in the Hindu-Kush. Considered Tier One target rumored to be close to Bin Laden. Axe is going to go over our route in.AXEThe helo pilots are going to do two false inserts. Then drop us off at our primary insert, located here. Secondary insert located here. From our primary insert, our bearing will be zero three zero patrolling 1.5 kilometers to our designated lay up po",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int. We will be moving up the backside of this mountain which will offer us good concealment from the target but the terrain is gonna be rocky so watch your footing. I’m estimating it’s gonna take us about two hours to complete. MURPHYLuttrell - medicalLUTTRELLFirst things first, win the fight. There’s no medicine in a gunfight. It’s self aid, buddy aid, corpsman aide. Two weeks ago, Team 3 was near where you guys will be. Capelli got bit by a rattlesnake. and contrary to popular belief, there is poison oak, so watch the cock and balls cause that will suck. Drink lots of water, wear sunscreen, and Dietz bring your own chapstick. Dietz stands up, starts talking commsDIETZ Crypto will be wide band, segment 2-4. Murph’s got a SAT phone. Region is very steep so expect typical comms problems. We’ll be on two hour comms windows. 15. (MORE) If we miss two windows I’d say wake somebody up. Other than that, don’t sweat it.Murphy picks up a plastic AC-130 and holds it over the map.MURPHYAC-130 is with us? 15A.DIETZ (CONT'D) Dietz takes the plane from Murphy. Moves it over the map.DIETZCorrect. Just for the infil. All comms will be relayed through the AC-130, call sign Apollo. Suns up, she’s out. Some of the key pro-words - when we have a successful insert, Budweiser. When we’re halfway through infil, it’ll be Corona. At our observation point, Schlitz Malt Liquor. And if we positively identify Shah: touchdown. Danny chucks the toy plane.MURPHYReaction Force is the following:The 47’s will relocate to J-Bad overnight. Murphy uses toy plastic helicopters to explain the size and location of the QRF.KRISTENSENThat’s correct. You’ll have fifteen team guys, and about a dozen Marines standing by all night. When we hear Schlitz Malt Liquor, we’re heading back to Bagram for phase 2. QRF will stay here - we’re leaving you with 4 team guys, 20 marines, 2 Blackhawks and 2 Apaches. The Apaches stay with the Blackhawks. The toy Choppers circle on the map giving us a clear understanding of the playing field.KRISTENSEN (CONT’D)The movement is so we can get the 47’s back here and be ready to bring it for phase two once you get eyes on Shah. Remember - comms will most likely be intermittent and there are reports that non-combatants are being used as recon elements for the enemy. MURPHYRoger that.Luttrell spits chew. Danny doodles furious, mashing demons. Axe quietly studies the picture of Ahmad Shah. 16. JAG GOES OVER RULES OF ENGAGEMENTAXELotta moving parts.MURPHYWhat we do, when we do, what we do.KRISTENSENWe go in four hours. I’m pulling up tomorrow’s new guy presentation to 1800 tonight so that all may revel and partake.SHANE PATTONAre you serious?KRISTENSENYes. Glorious evening gentlemen. OMIT15A15AOMIT15B15B",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BAGRAM1616The four SEALs moving through the massive base. Long hair, bearded. Surfers with handguns stuck in waistbands. Sharp contrast to the hundreds of uniformed buzz-cutted Rangers and Marines. They move at us, holding trays loaded with food.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. OULLETTE SEAL COMPOUND - CAMO CANOPY1717LAST SUPPER. Murphy, Luttrell, Axe and Dietz. Eating. Having a fly catch and kill competition. DIETZ looks stressed.He’s got a paint tile sample page on the table in front of him. Studying paint samples.DIETZWe were gonna wait but she’s all into it and when she gets her head into something, that’s it. There’s no stopping her. 17. MURPHYSo just let her do it. It’s good for her. You got a handy man woman. That’s good. 17A. MURPHY kills a fly. Places the dead fly by his coffee cup next to three other dead flies.DIETZI don’t know.MURPHYDon’t know what?DIETZI don’t know.MURPHYWhat?AXEHe’s worried that he’s losing control over his castle.MURPHYReally.AXEAsk him.MURPHYAre you worried that you’re losing control over your castle?DIETZShut up Murph.MURPHYAre you?LUTTRELLHe’s having control issues cause he’s the one whose always made the “taste” issues in the family.DIETZShe’s got great taste. I trust her. MURPHYSo what’s the problem?DIETZIt’s not a problem. It’s just very ongoing. Know what I mean?Luttrell kills a fly. He’s got six dead ones. He and Murphy are competing. 18. MURPHYNot really. No. Marcus, you know what he means?LUTTRELLControl issues.MURPHYIs that right?DIETZNo.LUTTRELLYes.DIETZIt’s not control issues.MURPHYWhat is it?DIETZNew grass leads to new bushes by the window, leads to new windows, leads to new curtains, leads to new sofa, leads to new rug, leads to new floor...MURPHYGot it.LUTTRELLLoss of control. Got to let that go bro.DIETZIt’s like this weird journey that she’s on. Moving through the house one room to the n",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",ext.AXEWhere is she now?DIETZKitchen. I think.Murphy and Luttrell both kill flies at the same time. Marines with Buzz cuts in crisp uniform eating all around the SEALs. Stark contrast. 19. CUT TO:,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SEAL TV ROOM1818Tight on Shane Patton. Doing his best Napoleon Dynamite dance. He is not good. SEALs in lounge chairs. They watch, laugh and taunt. Music loud. Shane powers through. Finishes strong.Whistles and clapping from the SEALs. AXE stands up. Puts an arm around Patton.HEALYGod was that awful AXEOk, here’s the deal. That sucked, but I’m voting that we move him forward cause I can’t watch this shit without puking anymore so I say lest be done with it. All in favor?Luttrell and all SEALs put their hands up, except Murphy.AXE (CONT’D)Come on Mikey.MURPHYCan he say it?Other SEALs agree. Shouting out. Debating whether Shane can “say it”. Making bets.AXE knows what Murphy is thinking. Pauses. Looks at Shane.AXE(quiet to Shane)Can you say it?SHANE PATTONI think so.AXEThink so?SHANE PATTONI can say it. 20. AXEOk. Shut up. Shut the fuck up. He can say it. Shut up.The room silences. Patton, nervous, takes a deep breath. SHANE PATTON(weak, then strong)I’ve been around the world twice, talked to everyone once. I’ve seen two whales fuck, been to three world fairs, and I even know a man in Thailand with a wooden cock. I’ve pushed more peter, more sweeter, and more completer than any other peter-pusher around.Tight on the SEALs smiling, some mouthing the words along with Shane.SHANE PATTON (CONT’D)I am a hard-bodied, hairy-chested, rootin, tootin, shootin, parachutin, demolition double cap crimping Frogman.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAMP OUELLETTE SEAL COMPOUND - READY ROOM1919The entire SEAL TEAM jocks up. Gets ready. SHANE PATTON (vo)There ain’t nothing I can’t do. No sky too high, no sea too rough, no Muff too tough. I’ve learned a lot of lessons in my life. Never shoot a large caliber man with a small caliber bullet.FLASH BURST IMAGES of all relevant equip, men being prepped. M4s, night vision goggles, hand guns, knives, scopes checked. Under Armor, PowerBars, water bottles, grenades, extra ammo, radio’s prepped, extra batteries, Laptops. SHANE PATTON (CONT’D) (vo)I drive all kinds of trucks. 2x’s, 4x’s, 6x’s even those big mother fuckers that bend and go TSSHITT TSSHITT when you step on the brakes. 21. (MORE) Anything in life worth doing is worth overdoing. Moderation is for cowards.DIETZ checking his radio equipment.AXE going over his infil map.LUTTRELL double checking all medical supplies.SHANE PATTON (CONT’D) (vo)I’m a lover, I’m a fighter, I’m a UDT/SEAL Diver. I’ll wine, dine, intertwine and then sneak out the back door when the refueling is done.MURPHY watching all of it.SHANE PATTON (CONT’D)If your feeling froggy than you better jump because this Frogman has been there, done that and is going back for more.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CHOPPER PAD BAGRAM2020Sun setting over the Afghan desert. Thirty SEALs laying on the deck on their gear. Chilling out waiting for the 47’s. The guys laying around. Danny studies a piece of paper with color tile samples printed on it.MURPHYSeems to me like you’ve got to straighten this shit out.DANNYThere’s nothing to straighten out.AXEIf there’s nothing to straighten, why are you fighting?DANNYWe’re not fighting?AXEWell, what is it that you’re doing?DANNYWe’re more like disagreeing. 22.SHANE PATTON (CONT’D) AXEDisagreeing or arguing?DANNYProbably more like mildly arguing. Just because you’re Mr. Perfect marriage, don’t be judging us mortal marriages who occasionally have mild disagreements, sometimes even loving arguments.MURPHYIt’s a fucking stupid loving argument.DANNYIt’s not an argument.LUTTRELLIt is an argument. Sounded like a couple of bighorn rams smashing skulls.DANNYWhat the fuck is everyone listening to my shit for?LUTTRELLBro, you’re loud.DANNYYou’re louder than I am.LUTTRELLJust pick some tile and move the fuck on.DANNYI picked the tile. She doesn’t like it.LUTTRELLWhat does she fucking like?DANNY(reading from paper)“Rose Honey Dew”LUTTRELLSay what bro?DANNYShe likes rose honey dew...something. 23. LUTTRELLAre you fucking kidding me?DANNYThat’s what she likes.LUTTRELLYou gotta control that situation.AXERose tiles in the kitchen?DANNYCan we talk about something else?AXEYea let’s talk about what she’s gonna tile your bathroom in.DANNYI don’t wanna talk about that.MURPHY(Ron Burgandy impersonation)Danny? I’m gonna put it out there, if you like it, you can take it, if you don’t, send it right back. Dietz stares at Murphy. MURPHY (CONT’D)I wanna be on you.LUTTRELLI wanna be on you.MURPHY(pointing at Dietz)On you.Dietz smiles. Axe huge smile.Chopper engines grow louder. 47’s back lit, coming in.HEALYLet’s pack it up The SEALs start gearing up. Tight on guys, stoic.Choppers land. SEALs muster up and start boarding. 24.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CHOPPER2121Back to close up of Luttrell, back to real time. 24A. SERIES OF AIR TO AIR SHOTS:21A21AThe choppers flying north into the setting sun, into the Hindu Kush. Chopper pilot POV, pushing deep into the mountains.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CHOPPER DROP SITE - NIGHT2222Now approaching a steep hill top.CREW CHIEF(on radio)Good. Hold front, hold left, hold right, hold rear.The chopper is dangerously close to tree tops. Tucked into a tiny opening.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CHOPPER2323Tight on LUTTRELL. DIETZ. MURPHY. AXEThe team ready to move, up and at the door, when... from the cockpit. PILOT(on radio)Ropes. Ropes. Ropes.Fast rope dropped. Chopper jet engines screaming, the four Opp SEALs up. The remaining twenty will be relocated and stand by as QRF. Axe up and out first, then Danny, Murphy, out into the black night. Luttrell last one, hand on the rope, fist pounds Shane.LUTTRELLNext one Shane.SHANE PATTONHave fun you lucky bastard.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DROP SIGHT2424As the four SEALs drop fast, land smooth. Luttrell last.The Chopper pulls up fast and is gone in seconds leaving the four SEALs alone in the dead quiet, pitch black.NIGHT goggles lowered. The four quickly spread and drop into a STOP. LOOK. LISTEN. 25. SILENT. 25A. SEALs breathing.NIGHT VISION GOGGLES ON:Silent. Wind and the faint howling of wolves. Dietz quietly keys his mic.DIETZApollo 22, Spartan 01.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. AC-130 - NIGHT SKY2525The AC-130 banking 15,000 ft above the team.APOLLO RADIO MANSpartan 01 Apollo 22, good comms. Were with you for six hours. Have a nice walk.DIETZApollo 22 Spartan 01 copy.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HINDU KUSH2626NIGHT VISION GREENSTight on Murphy following Danny. Agile, despite the extra 70 pounds of comm weight back-strapped.Luttrell - Foot down on loose granite. Pitch brutal. Left foot buckles. Slate shears. Falls. Slides. Flips. Lands on feet.He’s back on his feet. Axe pauses. Looks back smiling. AXE(on radio)Having fun Marcus?MURPHY(on radio)You picked this route to torture us didn’t you?AXE(on radio)Negative.AXE (CONT’D)I picked it to torture Luttrell. 26. Luttrell, too big for this pitch. Slips again.LUTTRELLI’m gonna kill you.A series of shots tracking the SEAL’s rough hike to their lookout.Axe leads navigating with his GPS. At each of the four waypoints, Danny radios pro words: Budweiser, Corona, Heineken. INTERCUT WITH J-BAD TOC26A26AKristensen, Patton, Musselman and the QRF tracking the teams’ movement across the mountain range.SEALs reach lookout destination late, the sun is up.Sunrise.EXT: WAY POINT 4 - MOUNTAIN TOP 2,000 FT. ABOVE AFGAN 2727VILLAGE.The team finally makes it to their planned observation spot. Murphy is the first to have binoculars up and is looking down hill, way down hill at the Afghan village. 2,000 ft., very steep, cliff like. Below them.DANNY’S POV:100 stone and wood homes, well-constructed. Looks almost charming. A couple of dozen Afghan villagers in different parts of the village, kids playing, women cooking, two men working on a roof. Looks quite peaceful.Left: trying to see the rest of the village. Can’t get a good view, a mountain is blocking his view. Danny has the radio out and is calling in the arrival pro-word.DANNY(on radio)Beastmaster, this is Spartan 01, radio check.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. J-BAD TOC2828In the TOC, SGT HASSLERT takes the call from Dietz. Heavy static. Weak signal. 27. HASSLERTSpartan 01, this is Beastmaster. I have you weak but readableDANNYBeastmaster, this is Spartan 01. I pass Schlitz Malt liquor. How copy? Really weak signal.HASSLERTSpartan 01 this is Beastmaster. Say again your last - you are weak and unreadable. DANNYBeastmaster, this is Spartan 01. I pass Schlitz Malt Liquor, how copy. HASSLERTSpartan 01, this is Beastmaster. Good copy. Hasslert looks to Kristensen.HASSLERT (CONT’D)Sketchy comms, sir. Spartan 01 has arrived.Erik Kristensen sitting. Nods. Gets up. Checks the wall clock: 6:45 AMKRISTENSENOk.He stretches, cracks his back, looks to a couple of SEALs manning the TOC.KRISTENSEN (CONT’D)Later fellas. Night, night.Track out the door with Kristensen, as he, Shane, and Healy 28A28Astep out of the TOC into the bright Afghan sunshine.KRISTENSEN (CONT’D)Glorious day.Kristensen and all but four SEALs head to the waiting 47’s, start boarding.Kristensen looks to Musslemen, a SEAL who is staying with the QRF. 28. KRISTENSEN (CONT’D)All yours brother.MUSSLEMENRoger that Skipper.Kristensen boards his 47 and the two choppers lift off heading back to Bagram.Two Blackhawks and two Apaches standing by on the tarmac.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HINDU KUSH - SCHLITZ MALT LIQUOR WAYPOINT2929Axelson and Luttrell together, spotting scopes out, they study the village. LUTTRELLCan’t see half the village. MURPHYYea.They study the surrounding area.MURPHY (CONT’D)Let’s move down towards that peak, see if that’s not better.LUTTRELLSounds good.Luttrell looks back at Axe and Dietz. He soft whistles and rolls his index finger, points down towards the peak below them. Axe and Danny immediately get it. They start moving out.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. J-BAD TOC3030PETE MUSSLEMEN, one of the four SEALs left as part of the QRF in J-Bad, walks into the TOC. Looks to Hasslert.MUSSLEMENAre we good?HASSLERTYes sir. They arrived about half hour ago. Should be digging in nice and tight right about now.Musslemen checks the clock on the J-Bad TOC. 29. Tight on clock.7:15 AM",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HINDU KUSH 3131Moving, far from tucked in, over Murphy’s back as he moves up towards his new spot.Murphy, low crawling, gets close to the ledge.The four SEALs crawling out to the new lookout spot. Murphy’s got his binoculars out. NEW POV:A perfect, clear, unobstructed view of the entire Afghan village. MURPHYWe’re good.Danny, on radio, trying to call in that they’ve relocated. Can’t get through. DANNY(to Murphy)No joy. MURPHYKeep trying.As the team sets up, Dietz is looking up at the small mountain behind him that seems to be killing his radio.Series of shots:Murphy and Luttrell scopes up, start counting Taliban. At forty, Luttrell looks to Murphy.LUTTRELLThat’s more than 10.MURPHYYes.Murphy is focused on a group of four men off to the side of the village playing a game with stones. Seeing who can throw the farthest.DOWN IN VILLAGE 30. Shah and Taraq with three soldiers playing stone throwing game. Laughing. Shah throws his stone. The men argue over who threw further. HIDEMurphy locks his sight on Shah. Studying him.MURPHY (CONT’D)Marcus. Murphy hands the scope to Luttrell.MURPHY (CONT’D)Four guys on the right. Tall guy. Red scarf. No earlobes.Luttrell’s scope now trained on Shah.Luttrell and Murphy both checking wrist bands. Photo of Shah. Clear match.LUTTRELLBingo. MURPHYDo you have a shot? LUTTRELLJesus Mickey, with this little 556? I’d need to stalk at least a 1000 yards closer. MURPHYGotta call it in. Murphy turns to DietzMURPHY (CONT’D)Can you make the fucking radio work? Dietz tries to call it in - no luck. Luttrell following Shah’s face with scope. Finger on trigger.VILLAGEShah arguing with his soldiers over who threw further. Proclaims himself winner. Moves out of village into woods.HIDELuttrell’s POV: 30A. Shah disappears from sight.Murphy gets Axe’s attention.MURPHY (CONT’D)Axe, stay put. Keep eyes on, we’re gonna move back. Murphy, Luttrell and Dietz get up; moves away from the ridge line, start building their hides.ABOVE THE RIDGELINE -- 31A31AMarcus and Murphy talk as they work. 30B. LUTTRELLIf we’re home by the 15th, me and Morgan are gonna cut down all the trees behind the stable.MURPHYHow does that help me?LUTTRELLBrahms horse auction is, I think the 27th.MURPHYIs he selling Arabic horses? Kristensen says I should get her whatever Silver was. LUTTRELLSilver?MURPHYHi-Ho Silver. Lone Ranger’s horse.LUTTRELLYea that’s a badass horse. MURPHYShe doesn’t want a badass horse. She wants an Arabic horse.LUTTRELLDude, how’s she going to know the difference. Get her a Quarter Horse, tell her it’s an Arabic. If she busts you, tell her if it’s good enough for the Lone Ranger...MURPHYHow much for an Arabic?LUTTRELLProbably around 15 grand.MURPHYFuck.LUTTRELLHell of a wedding present.MURPHYYea.LUTTRELLIs the redhead a bridesmaid? 31. MURPHYMelissa?LUTTRELLThe redhead?MURPHYMelissa?LUTTRELLThe redhead from the Coldplay concert?MURPHYThat’s Melissa.LUTTRELLIs she coming? 31A. MURPHYShe’s a fucking bridesmaid.LUTTRELLI love her.MURPHYGet me a deal on the horse. I’ll get that done.LUTTRELLThat works.- Powerful scopes and cameras.- Luttrell and Axe draw detailed maps, diagrams, blueprints of every structure in the village.Luttrell photos Arab men with weapons moving through the town. CLEARLY A TALIBAN PRESENCE.- Dietz photographs windows, doors, detailed notes on hinges, wall thickness, structure, etc..- Murphy taking the drawings, photoshopping them on a Toughbook computer.Dietz eats a PowerBar. Axe watches him.AXEShouldn’t eat that shit.DIETZWhy?AXEToxic.DIETZYou eat em...AXENever.DIETZI’ve seen you eat PowerBars.AXENever. I don’t eat shit bars.DIETZ Shit bars? 32. AXEWhy you eating a shit bar?Dietz pauses. Pulls his eyes off his scope.DIETZI’m eating it because I’m hungry.AXEEat an apple.DIETZI know what I’m eating.AXENegative.Axe reading the list of ingredients commenting on each one.DIETZI know exactly what I’m eating. 33. LATER. 31B31B- Dietz sleeps.- Murphy eats an apple.- Axe up top on security.- Luttrell throws berries at a sleeping Dietz.- Axe studies the village. 34. POV AXE:Ahmad Shah moving through village. Taraq and two men with him, all armed.MURPHYDanny your on, everybody else shut her down.- Luttrell, Axe, and Murphy settle in to sleep. 34A. - Dietz, glasses up, studies the village. FADE OUT:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HINDU KUSH - MORNING3232Sun getting higher. Low fog. Murphy, Axe, Luttrell sleep. Danny on watch. Wedged into a tree stump. ON DANNY.Tired but awake. Alert. Quietly singing to himself.TIGHT ON DANNY. His eyes a micro shift of focus. He stills himself ever so slightly.DANNY’s POVHe’s looking down hill. Wide gentle slope of the mountain leading to a sharper drop. The fire lights up the village far below.Nothing moves.BACK to Danny. Eyes more focused. He slowly reaches down and kills the iPod. Silence. Danny studies the hill with increasing focus.POV.Nothing moves. The three SEALs sleep.Tight on Luttrell. Sleeping.THEN a very faint sound from down hill. Silence. Then another. Luttrell slowly opens his eyes. Listening. Another sound, a soft bell.Marcus shifts, looks down hill.Marcus’s POVLooking down hill. Nothing moving. The sounds becoming more present. Bells.Tight on Luttrell. Looking. 35. BACK TO HIS POVThe empty hill. More Bells. Then cresting the hill. First just the tips of the ears. Then the forehead, nose, face....A large male goat.Bell ringing gently from his neck.TIGHT ON MARCUSStudying the goat.As another goat appears. Then another...then another...then twenty...A herd of goats moving up the hill right at them.Marcus is wide awake, eyes scanning the hill scanning the goats when... A human head crests the hill. A young Afghan BOY, ten years old. Luttrell reaches for his Mark 12, looks over to Axe still sleeping. Then to Murph still sleeping. Then back to Danny.Danny’s already on scope. Gun aimed at the approaching kid when...Two more Afghan MEN crest the hill - an old man and a teenager.The hill is full of goats. More than a hundred with the three Afghans moving straight at the SEALs.The goat bells and baying of the animals creating serious noise. Murph and Axe both waking up.Weapons coming up as they silently take in this bizarre situation.Back to Marcus as the first goat passes by. Then another.Tight on lead Afghan boy...THE GOAT BOY.He’s heading dangerously close to Luttrell’s hide singing quietly to himself.Tight on Luttrell. Gun up and trained on the goat boy as he gets closer...closer...and then in a one in a million...this fucking goat boy takes one more step and comes down square on Luttrell’s head. 36. Luttrell moves, the kid screams, Luttrell’s up, gun up...screaming. LUTTRELLGet the fuck down.Axe, Danny, and Murphy. Guns up moving in fast on the terrified goat men...DANNY Down Down Down.The kid screams and starts running downhill towards the village. AXE sprints on him fast, takes the kid down, hand over mouth.Kid bites and struggles wild.Goats running in fear as the three Afghans are roughly thrown down. Searched, a military style Motorola walkie talkie taken from the old man, flex-cuffed and gagged...When it’s done the four SEALs stand over them. Murphy looking at Luttrell.MURPHYFuck.Murphy looks to Dietz.MURPHY (CONT’D)(re: radio)Can you get a call out or what?Dietz reaches for his radio.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. J-BAD TOC 3333In the radio room. Musselman and Comms guys by their radios. SILENT. Clearly Spartan 01 is not getting through.BACK ON THE MOUNTAIN3434The goats spread out, grazing, bells ringing loud. a large dog, mouth foaming, growls and bark at the team.Luttrell raises his Mark 12 at the dog when it gets too close.Murphy is trying to interrogate the older man with a translation box. He speaks into it and it’s supposed to translate into Pashto. 37. They have separated the older man from the boys. Murphy and Luttrell have them off to the side.. Axe stands watch over the boy.MURPHY(speaking into the Phrase-O-Later)Are you looking for Americans? A robotic-like voice used for making out the question in Arabic.The old man stares at Murphy with a combination of hatred and confusion.MURPHY (CONT’D)Do the Taliban know we are up here?Death stare from the old man.Murphy getting frustrated. Louder.MURPHY (CONT’D)Do they know?The old man stares, finally says something quiet. Too quiet for the translating machine. Murphy puts the mic closer.MURPHY (CONT’D)Say again. Are you Taliban?The old man rants on as the machine struggles to translate his slang Pashtun.TRANSLATION MACHINEDo not drink with many blood rooms fire and knives...MURPHYThis fuckin thing’s not working...The machine starts translating what Murphy is saying. MURPHY (CONT’D)Shut the fuck up ! Murphy throws the machine on the ground.The dog makes another move at Luttrell. Fangs mashing. Luttrell raises his gun. The dog backs down.OMIT3535 38.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BACK ON THE MOUNTAIN3636Danny continues to try his radio.DANNYSpartan 01, Spartan base...Spartan 01, Spartan base...Nothing.Murphy standing just off the group calls Luttrell over.MURPHYMarcus.Leaving Axe on security. Luttrell moves up the hill fifty feet with Murphy.MURPHY (CONT’D)What do you think?LUTTRELLMurphy’s God Awful law. Not you Mikey. The other prick. The God of screw-ups. MURPHYYea.LUTTRELLSoft Compromise bro.MURPHYYea. I’m aware of that.Murphy digs into his pack, pulls out his SATELLITE PHONE. Checks numbers on his wrist pad. Dials up J-Bad TOC (Command Center).MURPHY (CONT’D)(a touch frustrated: to Dietz)I’m now going to be that guy calling on a fucking unsecure Sat line because your radio is not functioning.DIETZMove that mountain, we’re good. Talk to the mountain, sir. 39. Loses the signal twice. Third try he gets through. Horrible connection.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. J-BAD TOC3737A phone rings, answered by a young Marine, SGT. HASSLERT.HASSLERTJ-Bad TOC, SERGEANT HASSLERT.MURPHYSergeant can you hear me, this is Spartan 01, can you here me?Horrible delays, echoes and static.HASSLERTHello?MURPHYThis is Spartan 01, do you hear me?HASSLERTI hear you.MURPHYThis is not a secure line and I need to speak to the CO immediately.HASSLERTThe CO?MURPHYThat’s correct.HASSLERTWhich CO sir?MURPHYCommander Kristensen.HASSLERTCommander Kristensen is not here sir.MURPHYWhat do you mean he’s not there?HASSLERTCommander Kristensen left this morning. 40. Murphy realizing he’s made a mistake.MURPHYRight. Fuck. He’s back at BAGRAM.HASSLERTThat’s correct sir.STATIC BADMURPHYHello?HASSLERTHello?MURPHYI‘m here, I need to speak right now with the commander.HASSLERTCommander is in BAGRAM.MURPHYI know that can you please transfer this call to BAGRAM OUELLETTE TOC.HASSLERTRoger that. Stand by.MURPHY Standing by.Silence Murphy looks down at the goat herders. Moves over to Danny with the radio. Holding up his SAT phone.MURPHY (CONT’D)(re: SAT phone)Handing them our goddamned position.Tight on Murphy, the realization of how fucked they are is starting to settle in. MURPHY (CONT’D)What’s the fucking problem?DANNYDon’t know.MURPHYDoes it need new fucking batteries? 41. DANNYNo, it’s fine but they won’t fucking answer me.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. OUELLETTE TOC3838It’s quiet. Among the SEALs present: Patton, James Suh, Dan Healy. A phone in the SEAL TOC rings answered by PATTON SHANE PATTONOuellette TOC Petty Officer Patton..MURPHYPatton, this is Murphy.Really Bad connection.SHANE PATTONYou’re looking for Mike Murphy?MURPHYThis is Mike Murphy.SHANE PATTONMike Murphy?MURPHYYes correct, this is Mike Murphy.A horrible connection.Patton is confused. He knows that Murphy and his team are way deep on their opp.SHANE PATTONMike?MURPHYIs this Shane?SHANE PATTONIt’s Shane. What’s up Mike? This connection sucks.MURPHYAre you not receiving our transmissions?SHANE PATTONRadio calls? Not in a while.Patton yells over to the Comms guys. 42. SHANE PATTON (CONT’D)Are you all hearing anything from SPARTAN 1.COMMS GUYWhen? We’ve been communicating.SHANE PATTON(back on the phone)They say they are communicating with you.MURPHYSay again.SHANE PATTONComms says that you are good. Copy?MURPHYIn the last twenty minutes?SHANE PATTON(back to comms guy)You talked in the last twenty minutes? COMMS GUYNegative.SHANE PATTON(into phone)Negative Murph.MURPHYI need the skipper now.SHANE PATTONHe’s sleeping sir.MURPHYWake him up now.Murphy’s voice is electronically garbled.SHANE PATTONDid you say wake him up sir?MURPHYRight the fuck now!SHANE PATTONRoger that. 43.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BAGRAM TOC.3939SHANE PATTON barefooted jogs out of the TOC moves through a series of plywood barracks. Knocks on a door.SHANE PATTONSkipper. Skipper.He knocks harder. SHANE PATTON (CONT’D)SKIPPER!From inside.KRISTENSEN(oc)What?SHANE PATTONSir sorry sir. I’ve got Lieutenant Murphy on the phone in the TOC. Says he needs to talk to you. Now.A moment, then Kristensen’s door flies open. Kristensen in his underwear, flip flops, moving out, clearly just waking up.Track with them as Kristensen moves back into the TOC.39A39AReaches for the phone.KRISTENSEN(into phone)Mike?Silence Static.KRISTENSEN (CONT'D)Mike...? Mike...? Try him back.PATTON reads Murphy’s SAT phone number off the board.Dials. Waits. Nothing. Tries again nothing.KRISTENSEN (CONT'D)Is it dead?SHANE PATTONYes sir.KRISTENSENWhat’d he want? 44. SHANE PATTONNo idea sir.KRISTENSENDid he say anything?SHANE PATTONJust that he needed to speak to you.KRISTENSENAnything wrong?SHANE PATTONDidn’t say sir.Stay with Kristensen a bit concerned. Looking at the map of the Valley. TIGHT ON KRISTENSENThinking.....",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HINDU KUSH MOUNTAIN4040Murphy trying his IRIDIUM SAT phone one more time.MURPHYCan someone explain to me why they both crash at the same time?LUTTRELLMurphy’s law.AXEMurphy’s lawNow a last resort. Murphy keys his personal radio. An MBITR walkie talkie mounted on the side of his chest.MURPHY (CONT’D)Spartan 01 to anyone. Spartan 01 to anyone listening. Over.LUTTRELLWe could light these goats on fire and smoke signal our way out of here.DANNYI could go down to the village and ask to borrow a phone.Murphy just stares at the goat herders. 45. MURPHY(quietly to himself)Fuck.LUTTRELLYou’d get some interesting tile ideas down there bro. Afghan Dirt Brown. Goat skin blond, she’ll dig that a hell of a lot more than what is it Honey creme...?The goat noise is now really loud. Dogs barking and Axe is getting focused. Doing the math.The kid bolts. Hands cuffed behind his back, he’s still fast as shit.AXEFuck me.He charges again after the kid. Tackles him. Drags him back.AXE breathing hard. Looking at Murphy.MURPHYI’m thinking three ways this plays out. All eyes on Murphy. His brain churning.MURPHY (CONT’D)We let em go, we’re gonna fight. So we can 1) Tie em up. Move out. Probably take them 15 minutes to get out. 2) Let em go. We hike out. Roll dice. DIETZThree?AXEThree, soft Compromise. Terminate the compromise.Axe stares at Murphy. Third choice is obvious.Murphy looks up to the mountain top a mile behind them. MURPHYCan we get a signal from that mountain? 46. DANNYI thought about that. Probably. I don’t fucking know.More dog barking, goat baying, bells ringing. The kids are staring rage into the eyes of the Americans.DANNY (CONT’D)We gotta do something boss.MURPHYYea.Murphy walks back down to Luttrell and Axe.MURPHY (CONT’D)What do you think?LUTTRELLThey don’t seem to like us very much. MURPHYYea.A pause. Reality setting in.AXEShah’s down there. We let them go, Shaw disappears. Mission fails. MURPHYWhat? Kill them.Axe stares at Murphy. Murphy staring at Axe. Realizing how serious he is.AXEWe are compromised Mike. Marcus spits out some chew. Looking down, he shakes his head. A pained grin plasters his face.LUTTRELLShit. 47. MURPHYDanny?Danny takes a long look at the goat herders. Finally...DANNYI don’t give a shit what you decide. I’m not a lawyer. Just tell me what to do Murph. You’re the big bucks, earn em’.Murphy turns to Marcus.MURPHYMarcus?LUTTRELLI don’t know Mikey.Luttrell takes his time. The goats sound like they are howling. The vibe on the mountain is becoming deathly serious.LUTTRELL (CONT'D)I don’t know. I don’t like it. We kill them. Yea ok. We kill them. Bury them. They get found. Then what... AXEThen what?LUTTRELLI’m just saying. It ain’t gonna be private. Gonna be out there for the whole fucking world. CNN -- SEALs kill goat farmers. I don’t want that legacy, bro. I’m not killing goat farmers. Not feeling that. 48. AXEI’m not either, but theOld man’s Tali and these kids can shoot better than you can.LUTTRELL Let’s just tie ‘em up and get the fuck out of here.AXEWe tie them up, we have no control over when they get found; get free. I will die before I let them dictate when we die. I will not end up showing your body -- your head -- on television. On the Computer. No way, they do not get that vote.LUTTRELLThen let’s just get the fuck out of here.AXEI will do this, I will kill them right now. They will not harm you or me or my wife or your wife or any of our unborn children. No. These people are death and I will not fucking bow to this. MURPHYYou want to kill, Axe? Really? That’s your position?AXEI want to be playing golf with Freddie Couples on Pebble Beach, but I’m having a little trouble getting a tee time.LUTTRELLIf we kill these kids, it’s International news. CNN doesn’t care about Rules of Engagement. SEALs kill kids. That’s the story. Forever.Tight on the guys taking this in. Murphy paces, staring intensely at one of the goat kids.MURPHY Axe what’s your call? 49. Axe stares at Murphy.AXE(sad grin)My final answer? 49A. MURPHYYour final answer.AXEKill them.This hits hard.MURPHYDanny?Dietz stares at the tied up kids.DANNYIt’s your call bro.MURPHYYou don’t have an opinion?DANNYYea I have an opinion. Two opinions. One is that for the record I don’t give a fuck what anyone thinks about what the fuck we do up here. We do what we do. What we have to do. That’s it. That’s our business.MURPHYWhat’s two?DANNYTwo is, this is the Navy and you’re the boss and your job is to be the boss and my job is to do what I’m fucking told.MURPHYOk.DANNYSo you tell me what to do and it will be done.Murphy looks to Marcus.MURPHY Marcus what’s your call?Luttrell seems to get that with Danny out, Murphy’s for letting them go, Axe wants them dead - he’s the tie-breaker. 50. LUTTRELL(slowly shaking his head)No. I’d rather fight them straight up. I don’t want to kill these kids.ON MURPHY.Thinking. He looks around the area. Looking for a burial spot. Stabbing at the stone earth with his M4. Clearly no soft earth anywhere close.MURPHY(quiet)Fuck me.Murphy stares down at the Afghan village. Then long and hard at the three Afghans. Finally turns back to goat herders. DANNYLook at them. They fucking hate us. We don’t know how many Hajji’s they have down there. We can’t let them go.LUTTRELLSo now you have an opinion? I thought you were standing by waiting for your orders?AXEThis opp is a soup sandwich. Been so from the beginning. The pitch. The rope. Worst comms that I’ve ever seen. Soft intel, we are not wearing vests, have no heavy weapons, are weak in numbers.... It’s a cursed opp.MURPHYStarting to feel like a cursed opp.LUTTRELLIt’s not a cursed opp. There are no fucking curses. Just Afghanistan. That’s all. Everyday man. Devil’s asshole. AXEShah just killed twenty marines last week and we’re on him. We’ve come this far and these people here are him. They are a part of him. We let them go. 51. (MORE) We’re letting him go and why in the fucking world does he have the right to do that to us?Axe is starring at LUTTRELL. 51A.AXE (CONT'D) AXE.Seriously Marcus. Why does he have the right to do that to us?LUTTRELLI don’t see it that way.MURPHYSo what is your fucking call bro?LUTTRELLLet them go. Shut it down.Silence.So if Murphy was taking a vote it seems like it’s one vote for killing them, one vote for letting them go, Danny is neutral.This is all on MURPHY.Murphy turns away from them, looking down the steep pitched mountain. The village far below.Murphy thinks. Looks at the young kids. The old man.MURPHYHere’s what we’re gonna do. Pack up. Everything. We’re gonna let ‘em go and we’re gonna make the peak. When we make the peak were gonna make Comms. We’re calling QRF and we’re getting out.Silence as the guys take in the plan. Luttrell lets out a huge breath.MURPHY (CONT’D)That’s what we’re going to do.DANNYRoger that.LUTTRELLYes sir. MURPHY Let’s move it.Quick Shots.The guys quickly breaking down their gear. The goat boy watching confused. 52. The older Goat herders. Defiant. Steel-eyed. 52A.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SEAL TOC. BAGRAM.4141Kristensen, Patton with Petty Officer Dan Healy, James Suh and some COMMS guys.The Comms guys trying to get Spartan 01 back on line.COMMS GUYSpartan 01, Spartan 01, over.Kristensen is on the phone, communicating with J-Bad TOCKRISTENSENWhen was your last contact with Spartan 01?",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. J-BAD TOC.4242The two Blackhawks standing by with the two Apaches.The Apache pilots are firing up their engines.Musslemen comes out of a pilot station.MUSSLEMENWhere are you guys going?APACHE PILOTWe just got called North. By an Army 372, evidently they took some small fire. MUSSLEMENWe’re QRF, bro.APACHE PILOTThat’s what we thought. BAGRAM is now QRF. MUSSLEMENThe 47s?APACHE PILOTCorrect.MUSSLEMENAre we not the QRF now?APACHE PILOTThat’s my understanding.Mussleman is a bit confused... 53. Apache pilots climb into their two birds.Take off.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MOUNTAIN 434310 MINUTES LATER:Gear packed the four SEALs stand over the Afghans.MURPHY CONT’DEverybody good?Quick nods from the team as Murphy’s flip knife comes out. He quickly cuts through the flex cuffs. Freeing the Afghans.MURPHYYou three just won the lottery. Speak well of us. An odd moment as the Afghans stare at the SEALs. Not fully understanding that they are free to leave.MURPHY (CONT’D)Go!The little goat boy stares at Murphy. A beat then gets it. Turning fast he takes off sprinting down the hill. The old man holds a beat. Says something quietly to the team.Sounds fairly ominous.Then he too turns and slowly, deliberately starts making his way down the long steep mountain.Murphy looks at the team. MURPHY (CONT’D)Let’s move it.The four SEALs, full gear, start moving up the mountain.There is no trail. Just steep rocks, fallen trees, and a brutal pitch. THE YOUNG GOAT BOY. 43A43ARUNNING DOWN THE HILL. 54. Leaping over rocks. Fallen trees. The kid’s movements are beautiful. Mountain agility in his DNA. Virtually FLYING down the mountain.UP TOP.43B43BSlow going for the SEALs. Murphy leading. Danny, loaded up with COMMS, second. Luttrell breathing hard. Axe bringing up the rear.On AXE Constantly checking behind him. His left foot catches on some loose granite. Gives out. Axe rolls his ankle hard. Slips, falls hard sliding fast tumbling and smashing hard into a fallen tree stump. Sprained right ankle and bruised left ribs.Murphy stops, looking back as Luttrell moves down to Axe. Axe struggling back on his feet.LUTTRELL.You ok?AXEFucking Afghanistan.LUTTRELL.Yea. I’m the one who’s supposed to be falling.AXEI’m fine.He takes a step. White flash of burst pain tears through him. He buckles. Clearly not alright.THE GOAT KID43C43CRunning hard approaching the village.UP TOP.43D43DLuttrell reaches for him. Axe pulls away.AXE (CONT'D)I’m good. Let’s go.Axe digs his foot in. Grinds through the pain and starts back up the hill. 55. AXE (CONT'D)Maybe we should just hike down to the village, ask to borrow a phone.Tight on Murphy’s small smile as he digs it up the hill. The group now moving even slower cause of Axe’s ankle.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. THE VILLAGE.4444Quiet. A couple of small fires. Some cooking. A group of young boys playing with sticks. Women cooking as - The young GOAT BOY comes tearing, full sprint into the village.TIGHT ON THE GOAT BOY. Eyes wide.Screaming for Shah.Villagers start to gather. Shah approaches the boys. Breathing hard, they point up the mountain.A couple of Taliban hear this. Take off into the woods.TRACKING with the two Taliban. As they sprint deeper into the woods. Into the Taliban camp.Taliban soldiers sleeping. The two find Shah and Taraq. Tell them about the Americans.Shah quickly on his walkie talkie, old school but deathly effective. Rounding up his fighters.Quick shots of the Taliban army. Feels like 150 men. Arming themselves. AK’s, RPG’s, grenades, a lot of ammo. Radio gear.Quiet, cool, professional. These Afghan soldiers are loading up big time...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. UP MOUNTAIN.4545The SEALs cresting the hill. MURPHYFuck.He’s looking up at a larger hill in front of them. They have just ascended a false summit. Still blocked in by another very steep mountain.MURPHY (CONT'D)Danny? 56. Dietz is already into the radio, as Luttrell and Axe spread out, digging in, guns pointed down hill.DANNY(on radio)Anvil 1 this is Spartan 01, over.Nothing.MURPHYGreat.Comms still clearly dead. Murphy weighing his options. They are high above the village. Murphy pulls out binoculars. Scanning the village and mountain.All three SEALs on glass. SCANNING.SEALS POVNothing moving. From their vantage the town seems quiet. Business as usual.They cannot see the Taliban off in the woods. They are OBLIVIOUS to the magnitude of the threat.CUT TO:TWENTY MINUTES LATER.4646Danny still working the radio. Axe has tightened his boot. Murphy and Luttrell have spread out on the hill. Staring down at the village.Murphy’s got his SAT phone out. Trying to get a signal. Can’t.He’s looking with disgust at the mountain behind him, knowing that it’s blocking his signal.MURPHY(to mountain)Move Bitch.Luttrell’s fifteen feet to his left.LUTTRELLWhat do you want to do?MURPHYGo home, get in bed, and watch Anchorman. 57. LUTTRELLCheck.MURPHYI wanna be on you.LUTTRELLRoger that. Should I spread the word?MURPHYNot just yet. Let’s hold up for an hour and see just how big of a can of hell we’ve opened.LUTTRELLWhat do you think?MURPHYWe did the right thing. We let our love light shine. God ought to be smiling down on us. Isn’t that how it works? Good things happen to good people?LUTTRELLYou think they’re coming after us?MURPHYLike a pack of wild dogs.MURPHY keys his radio. MURPHY (CONT’D)What say you Axe?AXE(on radio)I’m fine.Murphy looks up behind him to the large cliff. MURPHY(to Axe)You good to go?AXENo problems boss.MURPHYHere’s the deal. Lay low here. Soon as the sun sets we move. 58. (MORE) If we can’t get comms from that top we’re probably gonna have to walk home anyway, so get some rest. Axe you’re first security. We move in about sixty minutes.THIRTY MINUTES LATER.46A46AMurphy, Danny, and Marcus. Hats low. Eyes closed. Danny on the glass.It’s quiet. Sun getting low. Probably two hours of sunlight left.ON AXE.Calmly checking down hill, whistling very quietly to himself.Tight on Luttrell resting.Danny. Eyes closed. One arm around his radio.Murphy. Eyes open. Staring up at the sky.Back to Axe. Focused down range. Down the mountain. Something appears to move. Axe misses it. Hold a beat. More movement.Just catches Axe’s peripheral... Axe shifts his gaze. Focusing. THENMore movement. Axe sees it, raises his gun eye to the scope. Gently scanning the area of movement. Stops whistling.AXE’S POV:No movement.Axe slowly pans his M-4 across the hill. Suddenly A FLASH OF SOMETHING HUMAN.A HUMAN. He pans a bit more to the right. Then two more.AXE pans way to the right. Almost as high as the SEALs are and he see’s more movement. They are almost surrounded.TIGHT ON LUTTRELL eyes still closed. 59.MURPHY (CONT'D) MURPHY (CONT'D)(oc)Sssst! Sssst!Luttrell lifts up his hat and looks left.Sees Axe, rigid, in firing position, his rifle aimed straight up the mountain.MURPHY (CONT'D)(to Danny)Try and call it in.Danny desperate to get the radio to work.Luttrell fixes his Mark 12 into firing position looks through scope down hill.LUTTRELL’S POV.Lined along the top are at least a dozen heavily armed Taliban warriors, each one of them with an AK pointing downward. Some carrying rocket propelled grenades.LUTTRELL looks left.More Taliban coming down hill to flank them.Luttrell looks right.More Taliban.The SEALs are FUCKED.MURPHY (CONT'D)How the fuck fast are these little bastards?All four SEALs guns up.Marcus in the middle, Axe and Danny up to his left. Murphy twenty feet off to his right. Marcus slowly belly crawls towards Murphy.MURPHY (CONT'D)What are you thinking?LUTTRELLI’m thinking that we’re about fixing to get into a pretty good gunfight.MURPHYYea. 60. LUTTRELLLooks like I voted wrong.MURPHYNegative. We’ve been given the opportunity to reach out and make some hell fucking strong contact with our friends from the other side. Job well done.LUTTRELLHoo-yah to that sir.ON DANNY AND AXELooking up the hill which is now swarming with Taliban. Dozens of soldiers flowing down hill flanking them. DANNYDo they see us?AXEDunno.BACK TO MARCUS.His back pressed up against a tree, inventorying his ammo. Grenades. Knife.Danny, Axe, Murphy all doing the same. Readying for war.Axe and Danny sneak quick looks at the pictures of their wives taped inside their helmets. The trap tightening around all of them. All four focused up hill.A TREE TWENTY FEET IN FRONT OF MARCUS.A flash of a turban. Glint of an AK Barrel pointed in his general direction.Luttrell tightens the grip of his rifle slowly starts pointing it in the direction of the man behind the tree.Luttrell eyes on glass, still as marble. Aimed at the tree.Marcus looks over his shoulder at Murphy whose gun is also trained on the tree. Marcus eyes back on the scope.SCOPE POV: 61. A fierce-eyed Taliban warrior peering straight into the scope. Black eyes and thick black beard. The barrel of his AK pointed dead on Luttrell.Hold. THEN.Luttrell fires once. Blowing the man’s head off.An odd brief moment of silence as the head shot Afghan stumbles, still standing, still clutching his AK-47. He takes three more steps towards Luttrell.Stops.Luttrell shoots again removes what’s left of the fighter’s head.The Afghan starts to fall and as he hits the ground, all HELL BREAKS LOOSE.From above and half way down both flanks the Taliban open fire. Screaming at each other, communicating through violent, loud bursts of Pashto, the Taliban moving fast down the hill. Agile and fearless, not weighted down with US-style gear, they are able to leap boulders, fallen trees.Taraq in the middle of the pack on the top of the SEALs. UP TOP - Shah calmly giving orders into his radio comms.ON MURPHY.Taliban moving down the hill on both sides. Shooting as they move.A solid line of at least fifty Taliban in firing positions on top of the hill above them.The SEALs are close to being surrounded.MURPHY checks his rear.MURPHY POVA cliff. More of a series of cliffs. Multiple death falls. First one is at least 300 feet.Murphy calls it.MURPHYPush right flank. 62. Axe the farthest right starts shooting and moving right INTO the wall of the Taliban flanking his right.Luttrell follows staying low, shooting, Danny firing with one arm. Desperate to get the radio up.DANNYSpartan 01 reporting major enemy contact. We need help. Spartan 01 reporting major enemy contact. Request immediate QRF! Spartan 01 requesting immediate QRF.Murphy’s doing the same with his SAT phone. He’s moving right trying to dial up the TOC. Not getting through.Danny’s left two fingers HIT. Dangling bloody and mangled.He tries to put them back into his hand. Jams his ring finger back into its socket. His pinkie is beyond repair.DANNY (CONT’D)Marcus!Luttrell turns, Danny holds up his fucked up hand.LUTTRELLWrap it up bro.DANNYRoger that.Taliban gunfire is picking up. Axe the deepest right kills two Taliban. Two more immediately fill their positions.MURPHYDanny did you get the call through?DANNYI made the call. Don’t know if it went through. You?MURPHYI couldn’t get a line.DANNYFuck.Marcus is pushing right behind Axe trying to break the right Taliban flank.Charging the Ambush. 63. MURPHYKeep pushing right. Kill ‘em all.The four SEALs fighting well as a team. Crawling, shooting and covering as they start making progress killing their way into the right side of the Taliban ambush.The Taliban close enough to see clearly.Axe shot through the left shoulder. Ignoring it he keeps firing. His long scope making him very accurate. As he shoots deep into the left flank.TALIBAN POV:From behind at least 12 Tabliban fighters pushing deeper into the right side.Two more Taliban hit. The remaining start taking solid covering positions, firing down at the four SEALs.Axe being the closest takes the majority of the firepower.Decent cover from a granite boulder which is getting hacked to pieces by the incoming AK fire.Razor sharp stone shrapnel chunks slicing into Axe’s face and neck. Blood runs down his face drips off his chin. Luttrell getting equally shot up. Returning fire. His cover rock getting shot up bad. Chunks of granite tearing into his face and neck. FURTHER to the left, Danny and Murphy shooting, trying to get closer to Luttrell and Axe.Danny takes another round, blowing clear through his right thigh shattering his right femur. Blood, muscle chunks and bone tear through his pants.DANNYGoddammitt.Pissed he keeps moving. Firing. Ignoring his two gunshots. Hand and Leg.Danny moves up with Murphy behind some decent cover.MURPHYCan you fight?DANNYRoger that. 64. MURPHYWant me to take the radio?DANNYNegative.Murphy looks up towards Axe who is far right.MURPHY(yelling)AXE?!AXESir!MURPHYCan we break that flank? Hold this, we’re gonna push left! Axe gets shot through the top of his shoulder the bullet tearing down through his shoulder and burning deep inside his chest.Axe keeps firing, hitting a Taliban in the knee. The Taliban fires back at Axe missing but sending sharp rock chips shearing up off the granite into Axe’s face. Shredding his right ear, cutting into his eyeballs.Half blind. Watery out of focus images as sweat mixed with blood. Axe struggles to see. When his vision clears up enough to focus:AXE POV.Two Tali fighters. Moving fast out of cover, right at AXE. Directly at the Americans. SEAL style. Attacking the counter attack.The Taliban are close to the half blind Axe. Axe fires blind. Misses. The Taliban almost on him. Then:One of the Tali hit with a round from Luttrell, killed. The other, wounded, falls on Axe. Vicious hand-to-hand fight.Luttrell runs up to help Axe. Takes the remaining Taliban soldier out with a point-blank headshot. From the right, a BELT FED MACHINE GUN opens up on their position.Marcus and Axe start moving left. Both shot during the move - Marcus in his right butt-cheek, Axe in his right thigh. 65.",FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TOC. BAGRAM4747Comms guy at radio. Checking wall clock. See’s Kristensen, Shane, and some of the other Team 10 guys. COMMS GUYSpartan 01 is about to miss a comms second window. 65A. KRISTENSENHow long?COMMS GUY2 hours 15 minutes.Tight on Kristensen. Thinking. Checking the clock. KRISTENSENCall me if they miss two. COMMS GUYRoger that.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ON THE MOUNTAIN 4848CHAOS.A massive barrage of gunfire erupting from the right Taliban flank.AXERight is no good.Murphy looks left. He can see twenty Taliban moving into firing positions.MURPHYFuck me.The first RPG comes from the left side. Hitting just short of Danny and Murphy. Blasting them backwards. Covering them with dirt and rock.Luttrell swings his gun left and starts firing into the left Taliban position.LUTTRELLMikey?MURPHYYea?LUTTRELLYou ok?MURPHYWe’re good.A bullet slams in Murphy’s lower stomach.MURPHY (CONT’D)This is no good. 66. LUTTRELLRoger that.MURPHYCan we break that right flank?LUTTRELLNegative. We got to go left.MURPHYNegative.From downhill, two RPG’s fire at their position.Dietz takes a shot in his upper-right chest. A massive double RPG explosion. Tears away chunks of granite. Shrapnel cutting deep into all four SEALs. They are now clearly under attack from all three sides.LUTTRELLWe can take ‘em Mikey but I’m thinking we’re gonna need a new spot.Tight on Murphy.MURPHYRoger that.He turns behind him giving that 50 ft. cliff a second look.The Taliban gunfire is relentless now. Coming from all three sides.Luttrell, Danny and Axe returning constant fire. Reloading mags. Firing away. Marcus hit for the first time in his right ass cheek.Tight on Murphy:MURPHY (CONT’D)We gotta fall back.Luttrell looks at the cliff behind them.LUTTRELLYou mean fall off. 67. MURPHYRoger that. Fall off. Danny can you move?DANNYNo problem.MURPHYAxe?AXEGood to go.As the four shot up SEALs turn and start to move fast towards the edge of the cliff. The pitch causing them to run and start falling immediately. Danny’s legs giving out, buckling as he hurls himself up and over the ledge.Marcus turns to Murphy.Luttrell, Murphy and Axe do the same. For a second they look like four country boys cliff jumping into a lake. Except for the blood streaming from necks and guts and legs, the bullet tracers flying all around them... They fly off the cliff and it looks kind of beautiful. Freeing...until.IMPACT. BOTTOM OF 1ST CLIFF48A48ABone crushing. Concussive. Violent beyond words. Human bodies smashing into rock. Tearing through trees. Bouncing. Broken bones and smashed faces. Helmets fly off. The SEALs crash and bounce and flip. Finally settling hard on a reasonably flat part of the cliff. 300 yards below. SILENCE. BOTTOM OF 1ST CLIFF48B48BTight on Luttrell. Face down. The first to move.Face lifts. Nose clearly broken. Luttrell looks to his left.Murphy struggling to his knees. Broken teeth. Face shredded. To the right, Danny and Axe. MURPHYHey Marcus.LUTTRELLYes sir.MURPHYThat sucked. 68. LUTTRELLYes sir.MURPHYI mean that really sucked.LUTTRELLYes sir.Voices screaming up the mountain.TOP OF 1ST CLIFF48C48CTaraq is at the jump point looking down the steep cliff. Feels unsurvivable. Several fierce lieutenants flanking Shah. SHAHGo. Dozens of Taliban start making their way down the steep cliff.AT THE BOTTOM OF 1ST CLIFF48D48DMurphy, Marcus Axe and Dietz struggling to their feet.MURPHYFuck.Luttrell sees the blood pouring from Murphy’s gut. LUTTRELLLet me see it.Pulling up Murphy’s shirt revealing a decent gut shot. Marcus looks for his med kit.LUTTRELL (CONT’D)Lost my med kit.MURPHYWhere’s your gun?Luttrell looks down. To his left, then right. Spots his gun ten feet away in the dirt. 69. LUTTRELLGod’s looking out for us.MURPHYIf this is looking out for us I don’t want to see him pissed.LUTTRELLWe’re doing good Mikey we just gotta...Luttrell interrupted by a series of severe incoming RPG’s. Blasting all around them. Luttrell and Murphy dive behind some fallen trees. Looking up.MURPHYWe just got to get off this hill.HALFWAY DOWN 1ST CLIFF.48E48EShah’s Taliban are slowly moving down the cliff. Not nearly as fast as the SEALs fall. But they are definitely coming.ON LUTTRELL and MURPHY. LOG HIDE.48F48FReturning fire. Picking off a couple of Taliban but revealing their position. More incoming RPG’s tearing into the cover trees.Trees start burning.A metal hook - RPG debris - spears into Luttrell’s right side.He keeps firing when from the left...A LOUD CRASHING. Two bodies falling hard.Axe and Danny. Falling hard like Murphy and Luttrell. Slamming, flipping, landing 50 ft to the right of the tree hide.Axe shot up getting to his feet. The Taliban shooting down at him.MURPHY (CONT’D)Axe! Here! Move it buddy. Run!Axe sees Murphy behind the trees. Charges to the hide. 70. AXEThis sucks.No hesitation - Axe slams a fresh magazine into his M4 starts firing up the hill. Marcus is looking back to Danny. Danny is dead still. No movement.Axe provides cover as Luttrell and Murphy, dodging RPG’s and a hailstorm of AK fire, grabbing an alive but seriously fucked up Danny.Picking Danny up they start hauling him back to the tree for cover.TIGHT on Danny as a Bullet slams through his right rib cageDANNY(eyes tight, through mashed teeth)Goddamn this sucks.Luttrell and Murphy slam into the tree hide propping Danny up.The four SEALs back together ready to fight. Marcus trying to treat Danny; pulling out his Burst Kit Danny recovering staring down at his blood-soaked hand, dazed, looks to MarcusDANNY (CONT’D)Marcus, I’m shot.LUTTRELLWe are all shot bro, can you fight? Danny stares back down at his bleeding, mangled hand, then at his gun. DANNY(muttering to himself)Mess up my drawing hand, that pisses me off.Danny raises his gun uphill, takes aim at a Taliban fighter jumping from rock to rock. Danny fires killing the Taliban. Re-aims, fires, kills a second. Re-aims, fires, kills a third. Looks to Marcus. DANNY (CONT’D)I can fight. 71. The SEALs now packed into a burning LOG HIDE fighting as best as they can from inferior position.UP HILL.48G48GTaliban starting to re-mass. Dialing in on the SEALs position.Thirty AK-47’s firing down on the SEALs.IN THE LOG HIDE.48H48HThe SEALs getting sprayed. A ceiling of AK fire. The SEALs flat on their backs.SEAL POV.AK tracers streak over head.MURPHY has his face next to Dietz.DANNY (CONT'D)I tried ‘em at least three times boss.MURPHYNothing?DANNYNothing.Murphy and Dietz both take rounds. Danny in the foot.Three of Murphy’s right toes blow off. His boot leaking blood.Murphy returning fire. Hot brass shell casings falling into his shirt.MURPHYDammit!Murphy getting the brass out of his shirt.MURPHY (CONT’D)Goddamnitt!Danny screaming in pain. Eyes pouring tears.MURPHY (CONT'D)Danny? 72. DIETZThis really sucks man. Really fucking sucks. Fucking burning inside bro.Axe and Luttrell trying to fire over the logs. Luttrell hurls a grenade.Taliban with RPG’s moving into firing position.AXEWe gotta move!As the first RPG blows into the side of the log hide. Wood daggers and burning embers explode and rip through clothes and skin.MURPHYMove left! Left!Axe and Luttrell start moving out.Dietz struggling to get up, radio pulling him backwards. Murphy reaches back for Dietz.MURPHY (CONT’D)Give me a hand Danny.Danny dazed stares up at Murphy.MURPHY (CONT'D)Come on buddy! We got to move.A second RPG demolishes the hide. Fully exposing Murphy and Dietz.Murphy yanks Dietz to his feet.MURPHY (CONT'D)Right now bro.DIETZI’m with you.Murphy fires up the hill. 73. Dietz grinds it out following Luttrell.Murphy lays out more cover fire, then turns and moves after the three SEALs.SIDE OF MOUNTAIN. Ravine. 48J48JTight shots of the four SEALs scrambling for their lives. Bleeding, spit, sweat, snot, tears as they claw their way across the burning mountain.This is a sequence. Watching the men run. Legs buckling. Knee caps smashing on rock. Slipping falling helping each other. Incoming rounds tearing past them. Daytime trace fire.The SEALs charge across the side of the mountain.Breathing is hysteric. High-pitched wheezing and gagging. They are literally running cross a burning mountain for their lives.Luttrell first to stop.Tight on Luttrell.LUTTRELLGotta fucking rest.Axe collapses next to him, then Murphy, then Dietz. All four SEALs gasping and choking for air.A moment of desperate attempts to get air.AXENeed some water.MURPHYWe got to get to the village. Got to.LUTTRELLGot to.MURPHYFuck.Dietz is by far the worst. Trying to breath. Blood loss starting to weaken him. Murphy pulls out his sat phone, tries to get a signal. 74. Tight on Each SEAL. Burning. Sucking air. Luttrell stares at Dietz. Hold this for a couple of beats. A brief silence. A pause.LUTTRELLThis is bad....",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. SEAL TOC BAGRAM.4949Kristensen watching clock. Drinking coffee.KRISTENSENThat’s the second window.COMMS GUYCorrect.Clear tension in the TOC.A half dozen SEALs gathered in the TOC.Kristensen picks up phone. Dials the large force special opps TOC (Base control)Intercut with Kristensen and CO of JOC. Kristensen letting CO know that he’s missed two windows of contact with Spartan 01.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MOUNTAIN - GUNFIGHT.5050Back tight on four SEALs. Still silent, trying to recover, Then.Sounds of the Taliban yelling. Communicating as they start to get closer.Luttrell looks over to Dietz. Whispering. LUTTRELLHow you feeling Danny? DIETZShot me up pretty good bro.LUTTRELLYou’re good Danny.Axe, Murphy, Luttrell, counting mags and grenades.Trying to compose themselves. Luttrell packing dirt into Danny’s gun shot wounds. 75. Looks back to Murphy.Everyone whispering. Trying to stay as quiet as possible. The Taliban has lost them.LUTTRELL (CONT’D)Pack ‘em with dirt. Tight.Murphy literally balling up dirt and jamming it into his guts. Trying to plug the blood flow.CLIFF ABOVE ROCK QUARRY50A50AWith Taraq and his men as they move through the mountain. Searching for the SEALs.SEALs HIDING IN ROCK QUARRY50B50BDead quiet. Alert. Luttrell moves Axe checking his wounds.LUTTRELL (CONT’D)You’re okay.Danny blurts out. Loud voice.DIETZHow’d they get on us so fast Mikey?Murphy and Axe on him. Hands around his mouth. AXEShhhhhh. Danny Shhhhhh.Silence. The SEALs wait, tense. CLIFF ABOVE ROCK QUARRY50C50CTaraq reacts to the sound of Danny’s voice.Signals to his men. They start moving in on the SEALsSEALs IN THE ROCK QUARRY:50D50DAxe slowly removing his hand from Danny’s mouth.Danny looking up wide eyed at Murphy. DIETZMike? MURPHYYou got to be quiet Danny. 76. DIETZ(whispering)I know. I just can’t get over how fast they are.MURPHYYea.DIETZFaster than we are.MURPHYThey might be.DIETZMike how did they get on us so fast?MURPHYDon’t know. Don’t get it.Dietz is starting to lose it.DIETZGot on us pretty fast. I was talking to my mom, she didn’t say anything about it. Matty you see them?AXEI didn’t see until you did Danny.DIETZSo much fucking red man. Really vivid reds.Taliban voices growing louder. Luttrell looks to Murphy.LUTTRELLWe got to move Mike.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. 2ND CLIFF50E50EThe only option for movement is down. Another 80 ft. drop.The rocks above Axelson start to shear. Incoming rounds. Above them silhouetted Taliban fighters.The team once again surrounded.Murphy starring down the cliff. 77. MURPHYAxe, how shot up are you?Axe looking down at himself. Inventorying his bullet wounds.AXEI think three times. I’m hit three... I don’t know what this is.Blood oozing from the back of his head. Behind his right ear.MURPHYAre you good to move?AXEMove where?MURPHYWe’re going down.Axe looks downhill.AXE’s POVAnother massive drop. Sharp Granite, trees, and a brutal pitch.AXEHoo-yah to that Murph.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CLIFF ABOVE ROCK QUARRY5151Over the back of Taraq, fighters on both sides. Slow mo as they move fast through, in front of them the ravine hiding the SEALs.Tight on Taraq.Smelling blood. Rage and hatred filled eyes.The Taliban fighters, like Apache warriors, picking up speed. Guns up.OMIT5252",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ROCK QUARRY HIDE5353Murphy looks to Marcus.MURPHYMarcus, you good? 78. LUTTRELLYes sir.MURPHYDanny?Incoming rounds starting to pick up intensity. The granite starting to vaporize all around them.Danny clicking back into a primal warrior mode. Up on his knees firing back.Marcus reaching for Danny pulling him down back into cover.LUTTRELLI got him.Murphy looks over the rock hide.MURPHY’S POV.Taraq with six fighters charging out of the tree line. All AK’s blasting.MURPHYGo! Go! Go! Move!Murphy pulling off the clip of a FRAG GRENADE. Hurls it at the charging Taliban as:Axe leaps off the cliff.53A53AMurphy turns. Leaps.The grenade DETONATES. Killing two Taliban.Shah continues to charge.Luttrell hoists Dietz up and over his shoulder.Turning towards the cliff. He turns to fire a last burst at Taraq.Marcus digs his back foot into the loose slate, ready to jump when:Taraq FIRES.Danny shot through the neck.Bullet passes through Danny’s neck tearing through the side of Luttrell’s neck.Luttrell screams in pain spinning, dropping Danny. 79. LUTTRELL and DIETZ separate. Danny falling onto the rock. Luttrell falling backwards off the cliff.ON LUTTRELL FALLING.53B53BAnother brutal fall.SMASHING BACKWARDS DOWN THE CLIFF.Luttrell tries grabbing for dirt, tree, or rock. Anything to slow his fall.He slams through trees snapping thick branches. Bouncing off rock.Luttrell disappears into the lower tree, brush line below.UP TOP.53C53CDANNY DIETZOn his back. M4 by his side.Taraq and his fighters move in. More Taliban clearing the tree line behind them.Taraq looks down at Dietz’s body.Turns and looks down the cliff.Taraq reaches down, picks up Dietz’s M4. Looks it over.Reaches back down. Takes one of Danny’s Grenades.DOWNHILL.53D53DLuttrell on his side struggling to get to his knees. Murph twenty feet away with Axe below him.MURPHY (CONT’D)Where’s Danny?CLIFF ABOVE ROCK QUARRY53E53ETaraq pulls the pin on Dietz’s grenade. Hurls it down hill in the direction of the three remaining SEALs.DOWNHILL.53F53FHis grenade comes in short. Blowing rock chunks and dirt over the three SEALs. 80. MURPHY (CONT’D)Where the fuck is Danny?",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BAGRAM TOC 5454Tight on the watch clock. ZULU time.Kristensen staring at it. Tapping his fingers on the table.KRISTENSENTry them again.Comms guy in the back of the room keys his radio mic.COMMS GUYSpartan 01, this is Anvil 1, do you copy? Spartan 01 do you copy?Radio Silence.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BELOW ROCK QUARRY CLIFF5555Luttrell looking over to Murphy.MURPHYWe got to get him.More grenades. RPG’s. Noise is deafening.AXEWhat?MURPHYWe got to get him.The three guys trying to communicate. All talking over each other.AXEWhere’s Danny? I can’t see him. MURPHYHow do you know he’s dead?LUTTRELLDanny’s dead.MURPHYWhere?LUTTRELLHis fucking head blew off? 81. AXEDo you have Danny?LUTTRELLIn my fucking arms.AXEWe got to get down.Deafening EXPLOSIONS.LUTTRELLWe got to get up there and get him.AXEWe got to get down now.MURPHYDo you know where he is?AXE MOVES CLOSER.AXEIs Danny hit?MURPHYYes.AXEWhere is he hit?LUTTRELLIn the head.AXEWhere is he?LUTTRELLUp on top.AXEWe got to get him.More explosions.MURPHYLet’s move right. Take the flank right. See if we can get back up there.LUTTRELLWe’ll get Danny. Get him down with us. Get off this hill. Take them on the flat ground. 82. CLIFF ABOVE ROCK QUARRY55A55ATaraq now with twenty fighters. Firing down hill. Throwing grenades. Ordering his men down the sides of the cliff.AXE55B55BI think we can take them on the flat ground.LUTTRELLLet’s move. How much ammo do we have.Guys checking magazines.AXEI got seventy rounds. Three grenades.MURPHYFifty rounds. One grenade.LUTTRELLI got three full mags. Five Grenades.MURPHYLet’s suck it up that fucking hill.LUTTRELLRoger that.AXERoger that.MURPHYMove.The three SEALs, guns up, firing up hill. As they attempt to get back up to Danny.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DANNY’S POSITION (CLIFF ABOVE QUARRY)5656He’s not dead. Close. Shah, Taraq and his men staring over him as he struggles back to his knees. Staring up at Taraq through blood soaked eyes, broken, dying. Defiant. Danny refusing to go gently...His right hand fumbling for his flip knife in his front pocket. Taraq just stares at Danny’s broken mangled fingers trying to open his knife. Drops it. 83. Danny looks down past his knife. The “Tile” samples page has fallen out of his pocket. Blood stained. Danny stares at the paper.Taraq slowly lifts his foot, pushes against Dietz’s chest. Pushes him back down flat on his back..Tight on Dietz dying, staring up at Taraq. Dietz slowly raises his blood soaked right hand up to Taraq.BELOW ROCK QUARRY CLIFF56A56AMurphy is out in front. Clawing his way into the left side of the descending Taliban flank.Luttrell and Axe trying to lay down cover fire, shooting up at Shah’s soldiers as they move down the right side of the Mountain.Even the Taliban are having a slow go of it on account of the radical pitch.TIGHT WITH MURPHY.A leader desperately trying to make his way straight into the teeth of the enemy to recover one of his men.A torrent of incoming gunfire blocking his advances.Luttrell twenty feet to his right trying to do the same.Axe staying below. Firing up the hill. HITS two TALIBAN as they move down the hill towards Murphy and Luttrell.ON LUTTRELL.The incoming fire has him pinned against a rock.He is desperate to find a way back up the hill. Peering around each side of the giant boulder.TWENTY FEET to his left Murphy is doing the same.They start moving and covering for each other. One shoots while the other moves fast to a higher covering rock. This is a desperate, clawing uphill mountain scramble. Two men, like animals brutally determined to reclaim their fallen brother.Tight on their hands, eyes, feet, sweat, blood and tears as they crawl their way, inch by inch back up this brutal rock mountain. 84. They are able to ascend about thirty feet before they run out of cover.MURPHY and LUTTRELL side by side.Bullets exploding all around them. Murphy’s got SAT phone out again trying to get a signal. He’s got no line of sight. Can’t make the call.LUTTRELLI don’t know Mikey.MURPHYThere’s just so fucking many of them.LUTTRELLI don’t think we can get him.MURPHYFuck.LUTTRELLWe got to get down.MURPHYYea.LUTTRELLGot to get to flat ground.Tight on Murphy taking in the entire situation. Taliban all around them. His gun shots. Axe. Down hill fighting. Covering them.Murphy studies the terrain. A jagged rock peak sticking out in the clear about fifty feet to his left.MURPHYI know.LUTTRELLWe can’t get him Mikey.MURPHYWe can get him.LUTTRELLWe’re gonna die if we don’t get off this mountain.MURPHYWe’re gonna get him. 85. Murphy’s fixated on the exposed rock area fifty feet above him. He looks down hill to Axe. Desperately trying to keep the Taliban from getting at Luttrell and Murphy.MURPHY (CONT'D)I’m gonna get us some help Marcus.AXEMike, they’re coming straight above you and to your right. Murphy, SAT phone in hand, looks below to Marcus.MURPHYI’m gonna get this call out. LUTTRELLGood luck on that one brother. MURPHYMarcus, look at me.Luttrell turns locks eyes with Murphy.MURPHY (CONT’D)I’m gonna make the call. Marcus looks past Murphy to the clear rock face above him. Luttrell gets what Murphy is saying, what he’s about to do. LUTTRELLI’m sorry Mike.MURPHYFor what bro?Marcus takes a beat, looks away, then back at Murphy.LUTTRELLThat we haven’t killed more of ‘em.MURPHYOh we’re gonna kill more of them. Bet on that Marcus. We’re gonna kill a lot more of them. LUTTRELLRoger that.Murphy digs into his pack, has three remaining mags, hands them to Luttrell. Luttrell slides them into his vest. Murphy checks his M4, SAT phone in his left hand, M4 in his right. 86. He turns to Marcus, tears in both of their eyes. MURPHYNever out of the fight Marcus.LUTTRELLNever.Murphy turns, pushes up and simply stands. Completely exposed. He starts running uphill to the exposed rock, hitting send on the SAT phone. Luttrell and Axe lay down cover as Murph charges up the hill, taking repeated rounds. Legs, arms, guts, Murphy makes it to the clearing, the SAT connection locks in. Murphy sits on a rock oblivious to the incoming rounds.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TOC - J-BAD5757In the TOC a SAT phone rings. Hasslert, sitting by the communications equipment, stares at it, picks it up. HASSLERTJ-Bad TOC -- ON THE MOUNTAIN, MURPHY’S CLEAR ROCK FACE.MURPHYSir this is Lieutenant Mike Murphy. Spartan 01. We need immediate air support, immediate air support.Hasslert freezes for a microsecond. Then. HASSLERTRoger Murphy. Can I have your ten digit grid. Hasslert hears gunfire and Murphy impaired breathing.MURPHY(vo on phone)We need help now! Need immediate CAS. HASSLERTRoger that, I need your ten digit grid.MURPHY(vo on phone)We are headed down the ravine toward the Chichakel village. 87. Hasslert immediately on his computer firing on the secure intercut comms link, “micro chat”.Tight on Screen.As he types TIC!Troops in contact!HASSLERTMurphy can you get me the grids? MURPHYPlease hurry. Sir. Thank you.In the TOC men start looking over as Hasslert types in the call for help. HASSLERTJesus, I think we need the QRF.Tight on the computer screen, ‘Troops in Contact’ ‘Murphy in Trouble’. Tight on Erik Kristensen, eyes wide...reading the call for help. He grabs the phone.KRISTENSENLet’s move guys. Let’s really move!",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MOUNTAIN - MURPHY’S CLEARING5858Back to Murphy, SAT phone dead. He turns faces up hill as two bullets rip into his chest. He keeps firing. Murphy starts moving up hill firing into the Taliban mass. It’s a suicide march...Luttrell falls back to Axe as Murphy, multiple gun shots keeps firing. Murphy falls to his knees, screaming in pain...as Taraq and his soldiers move in. Murphy slams his final magazine, blood pouring through his NYFD patch, running down both arms. Murphy raises his M4, one last full auto burst, hits three Taliban, as a final shot slams through the front of Murphy’s face blowing him backwards, completely flipping him head over heels landing on his face. 88. Eyes still open Murphy’s last vision is his Iridium SAT phone. He can die knowing that he was able to make the call.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. J-BAD AIRBASE 58A58AMarines and SEALs scramble collecting weapons, sprinting to the Blackhawks, Air Force pilots climbing into the Blackhawk, firing engines. Track with Navy SEALs. Pete Musslemen stuffing magazines into his vest, charging for a Blackhawk.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BAGRAM AIRBASE5959Tracking with Erik Kristensen, Dan Healy, James Suh as SEALs charge towards waiting 47’s.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. 47'S 6060Nightstalker pilots and flight crew working feverishly to fire up the powerful Chinook engines. It's clearly all hands on deck as the helicopters are packed with SEALs armed to the teeth. KRISTENSENI said let’s move!Track with Kristensen on the Chinook up to the pilot.The nightstalker pilot and Kristensen frantically confirming location waypoint of where they think the recon team should logically be. CUT WIDE: As the two Chinooks loaded with SEALs lift.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. J-BAD RUNWAY 6161The Blackhawk about to take off, when HASSLERT sprints across the runway, charging to the lead Blackhawk, shaking his head, eyes locked on Blackhawk pilot screaming, HASSLERTNO GO, NO GO, NO GO!",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LEAD BLACKHAWK 61A61ADoor flying open, Pete Musslemen heads out. 89. MUSSLEMENWhat’s the fucking problem?Hasslert charging toward Musslemen.HASSLERTYou’re grounded.MUSSLEMENWhat are you fucking talking about?HASSLERTYou’re grounded, you have no Apache support. Blackhawks can’t go in without air cover. Musslemen looking around realizing the Apaches are not there. MUSSLEMENWhere the fuck are the Apaches?HASSLERTWe are trying to figure that out.MUSSLEMENWhere are the fucking Apaches?!!CUT TO:OMIT6262",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CHINOOK 476363Kristensen’s lead 47. Kristensen is up with the Nightstalker pilot. In the back of the chopper, packed, almost overflowing with SEALs, the men check weapons. The Airforce Nightstalker pilots checking their 50 caliber side guns. Everyone silent and intense.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. J-BAD AIRSTRIP6464Musslemen out of his Blackhawk in the face of Hasslert 90. MUSSLEMEN(screaming)Where are they?HASSLERT They’re coming back.MUSSLEMENWhen?HASSLERTOn their way now!MUSSLEMENWhen will they fucking be here?HASSLERT15 minutes.MUSSLEMENAre you fucking kidding me?SLAM CUT:,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ROCKS BENEATH 2ND CLIFF 6565Marcus scrambling back with Axe, jammed behind rocks, taking heavy, heavy fire. Marcus digs in side by side with Axe. Both men shot up, look like hell. AXEWhere’s Murphy?Luttrell doesn’t answer.AXE (CONT’D)Where’s Mike?LUTTRELLUp top.AXEWhere up fucking top?LUTTRELLHe’s getting the QRF.The incoming gunfire stopping. An eerie silence coming over the hill. Just random Taliban voices. Calm. Distant. 91. AXEWhat the fuck is going on?LUTTRELLI don’t know.AXEWhere exactly is Mikey?LUTTRELLI don’t know.More tears pouring down Axe and Luttrell’s faces.LUTTRELL (CONT’D)We gotta get down.AXEDid he make the call?LUTTRELLI don’t know....we got to get off this hill Axe.AXEDo you think he made the call?Axe and Marcus staring into each other.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. AFGHAN SKIES6666The two Chinook 47’s, hauling ass. Back ramp open, Kristensen standing over it. He looks ready to jump right now. Kristensen looks down at the steep mountains, back up to the following 47.KRISTENSEN(on radio)What’s the problem? INTERCUT with Musslemen on the grounded Blackhawk in J-Bad. MUSSLEMEN(radio)The Apaches were pulled.KRISTENSEN(radio)Why? 92. MUSSLEMEN(radio)Some army troops in contact. KRISTENSEN(radio)Where are they?MUSSLEMENThey’re saying 10 minutes out.Kristensen moving up to the pilots of his 47. Plugs into the 47 comms.KRISTENSENWhat’s the deal with the Apaches? The Blackhawks are grounded at J-Bad.PILOTRoger that. Blackhawks need the air support. KRISTENSENThey should have boots on ground right the fuck now.PILOTRoger that.KRISTENSENWhat the fuck is the problem?PILOTNot enough air assets in theatre, that’s the fucking problem. KRISTENSENWhat’s our fucking ETA? PILOT15 minutes.KRISTENSENWhere are the Apaches? PILOT25 minutes.KRISTENSENCan you put us down without the Apaches? 93. PILOTNot supposed to.KRISTENSENWill you put us down?Pilot pauses...looks to Kristensen.PILOTWe’ll do whatever we have to do to get you with your men.KRISTENSENThank you.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ON GROUND6767Luttrell and Axe trying to quietly climb their way down the mountain. Still a couple of hundred feet above the village. They are climbing, falling 10-20 ft. falls.UP MOUNTAIN:67A67ATaraq tracking them. Shah, higher up communicating on radio.OMIT67B67B",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HINDU KUSH SKY6868The two 47’s. The 2nd 47 flies past Kristensen, taking the lead. PILOTS(misc comms)1st 47 will fly over LZ make sure it’s clear. Kristensen’s 47 will be 1st to hover.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. J-BAD AIRBASE6969The two Apaches show up. Tearing over the airfield. Hellfire missile arrays and 40 mm front mounted getting guns. 94. The Blackhawks finally take off following the Apaches.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ON MOUNTAIN 7070Tracking tight with Taraq. His worn sandaled feet slowly stepping down the mountain. He’s following blood drops.Tight on beaded stone necklace with seven American Dog Tags hanging from it like human scalps.Tight on a blood soaked dog tag:“Danny Dietz”We move across the faces of several of these Afghan warriors They feel more like Comanche Indians than anything else. Fierce and focused, guns up, they hunt Americans. FURTHER DOWN: 3RD CLIFF EDGE ABOVE VILLAGE70A70ALuttrell and Axe at a major cliff edge, looking back up...guns pointed up mountain. We pull wide and see just how close Taraq now is to Luttrell and Axe, 100 ft. away, max. Closing in.On Luttrell - hearing Taraq and his men, whispering to Axe. LUTTRELLCome here Axe. Let me see you.Axe nods, blood slow running from his head shot down the back of the neck. Axe touches the wound.AXEDid they really shoot me in the head?LUTTRELLYea buddy.A moment of silence.AXEIt’s funny man. I thought it would feel worse you know.LUTTRELLYea. 95. AXEMikey and Danny are really dead right?LUTTRELLYea.AXEAre we dead?LUTTRELLNegative.AXEWe’re fucking good right?Axe stares at Luttrell. Marcus looks at his dying friend.AXE (CONT’D)Marcus?LUTTRELLWe’re real good Axe. Real good. Mikey made the call. We just got to stay alive for fifteen minutes max.AXEMikey made the call right?LUTTRELLFuck yea he did.AXEThey’re coming.LUTTRELLComing strong man.AXEGood. That’s good.LUTTRELLI don’t want em to get us with an RPG, Axe. AXEIf I fucking die you make sure Cindy knows how much I love her. LUTTRELLShe knows. 96. AXEYou tell her I died with my brothers. With a fucking full heart.LUTTRELLWe ain’t dying Axe.LUTTRELL (CONT’D)Can you get to that rock over there?Axe looks behind him.LUTTRELL (CONT’D)With the dead black tree?AXEYea I can do that.LUTTRELLYou get there. I’m gonna move right. Cover each other.AXEDid Mikey make the call?LUTTRELLFifteen minutes brother. Stay strong Axe.AXEI’ll do it.LUTTRELLStay quiet.A nod from Axe and the two men split up.Axe moves to his left, Luttrell to his right. Tight on Axe. Shot up. Blood pouring from head wound. Tough. Grinding it out. Staying low. Deep breathing. Grunting as he crosses the mountain. Gun fire erupts around him. Turning, spots half a dozen Taliban on him.Axe pushes deeper into the woods. A hunted animal running out of options.LUTTRELLThe same. Moving quiet in the other direction. 97. This is all very silent. Tense....Taraq like a hunting dog, dead quiet, Luttrell and Axe, the hunted, desperately trying to stay quiet. On Luttrell - trying to move towards a large rock...His right foot digging in for traction, dislodges a small pebble... on that pebble picking up momentum, hitting smaller pebbles, dislodging more little rocks... A mini avalanche, hitting a bigger rock.Tight on Luttrell.Looking down at the small rock slide, hearing its noise....LUTTRELL (CONT’D)Shit.And they open fire again, bullets firing all around Luttrell, both Luttrell and Axe return fire. This is much closer gun fighting...grenades and RPG’s at close quarters. Men behind rocks, guns blazing.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LEAD 47 - AIRBORNE 7171Over the head of the lead pilot as he comes flying up towards the mountain.ON LUTTRELL: MOUNTAIN ABOVE VILLAGE7272Mid gunfight he looks up as that big 47 flies up high over them, over the top of the mountain.On Axe and Luttrell spotting the QRF.LUTTRELLKeep fighting Axe.Axe is fighting. Shot up but recharged by the 47.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LEAD 477373Too high to see the gunfight down below the pilot is focusing on the landing area on top of the mountain. He does a 1st fly by over the top. Looks clear.LEAD 47 PILOT(on radio)Looks good. Looks quiet. 98. 2ND 47 PILOTRoger that we’re good to drop. The second 47 pulls up over the LZ.Ramp down, fast rope out. The SEALs, lead by Kristensen, up ready to fast rope out....The TF 160 gunners alert, scanning behind their 50 Cal. Machine guns.The 47 pulls up, high hover, 80 ft. drop. Tight on KristensenHis hands around the fast rope....KRISTENSENLet’s do this. Patton, you’re first move!Shane Patton, can’t help but grin, he’s on his feet moving towards the open door.KRISTENSEN (CONT’D)You good?SHANE PATTONCouldn’t be more good.KRISTENSENGlorious opportunity here, Mr. Patton. SHANE PATTONYes sir. Kristensen has one foot out of the chopper when... Movement on the ground. 50 Cal gunner catches the reflection of something metallic, a small detonation from the ground. Then terrifying sights of incoming ordinance. 50 CAL GUNNERRPG!Tight on Kristensen and Patton looking down as the RPG round flies into the chopper right past them, literally into the 47. 99.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. A MOMENT OF SILENCE, THEN...7474The Chinook explodes.Ripping apart, tilting, rotor blades immediately tearing into treetops then thick tree trunks - like massive buzz saws - the chopper turns and burns. 99A. Rocks and trees churn, bodies break and burn and die as the big Chinook 47 rips apart exploding and tumbling down the mountain. DOWN RANGE:ON LUTTRELL - peering up at the explosion. 74A74ALuttrell watches wide-eyed as his teammates smash and burn.ON THE FIRST 47:74B74BBanks hard as the Taliban fire more RPG’s and small arms fire up at it-",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. 47 - AIRBORNE 7575Argument breaking out between SEAL Lt. and Airforce Pilot.SEAL LT.You got to put us down now!PILOTNo fucking way.SEAL LT.Now!As the SEALs on the chopper start breaking out the windows firing their M-4’s out the window, Airforce gunmen open up the 50 cals. Massive fire power blasting out from the choppers.MOUNTAIN ABOVE VILLAGE - LATE DAY7676Marcus looking cross mountain at Axe who has managed to transverse one hundred feet of the mountain and is leading a small pack of Shah’s men away from Luttrell.Axe starts taking heavy fire. Shot twice through the throat. Falling backwards. Trying to get up. Back to his weapon.AXE DYING.Marcus watching helpless from across the mountain. Trying to cover Axe as the Taliban move in on him.Not all of them have followed Axe because as Marcus turns back an RPG blows ten feet in front of him. Shrapnel and rock smashing into the side of his head. His Helmet tears off his head. 100. Tight on Marcus rolling backwards. Falling. Tumbling further down the mountain. Tight on his helmet, Texas flag painted bold across it. Rolling and smashing down the mountain.He comes to a hard stop slamming the back of his exposed head into a rock.Tight on Marcus. Close to unconscious. Very dazed, Very confused.MARCUS POV.Distorted visuals. Triple vision. No sound except emerging high pitched ringing. Marcus is deaf. He stares up at this apoplectic mountain in dazed wonder.OMIT76A76A",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. 47 - AIRBORNE 7777The SEAL Lt. screaming at the Airforce Pilot.SEAL LT.Open the ramp.PILOTNegative. SEAL LT.Open the goddamned ramp.The Lt. has to be restrained, physically pulled back by two SEALs. Everyone screaming at each other.Co-Pilot on radio putting out distress signal calling in the downed 47 to Bagram.CO PILOTWe have a downed 47, repeat a downed 47. 101.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BAGRAM - CJSOTF7878This is the big command center. Not just SEALs, everybody- Army, Navy, Airforce, Marines. Shots of a massive response mobilization.AWACS, C-130s, Choppers filling with Delta, Green Berets, DEV Group. Aircraft taking off. F18 fighter jets vectoring towards downed chopper.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LOWER MOUNTAIN7979Marcus, hearing utterly fucked....getting closer to the village. Picking his way down hill.CUT TO:OMIT8080",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. AIRBORNE 4780A80AThe chopper slow banking a mile off the crash sight.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. BLACKHAWK QRF - AIRBORNE 8181The two Apaches pulling ahead of the Blackhawks. Passing the 47.,FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. APACHES8282Pilots star warred up. Flying straight at the burning mountain top.OMIT82A82A 102. OMIT8383ON THE MOUNTAIN:83A83ATaraq and his men hear the incoming Apaches.Shah orders his men to take cover. The Taliban quickly becoming invisible from the sky.DOWN HILL:83B83BMarcus deaf to the incoming Apaches. Has no idea how close they are. As he falls, gets up, off balance stumbles off a 30 ft drop.This time not so lucky with his landing, comes down hard, shatters his right shin, bone tears through his skin, compound fracture.Screaming in pain, Luttrell crawls into a rock crevasse. Hiding, he attempts to clear his head.We play all of Luttrell’s audio perspective here as deaf. Abstract surges of sound. He’s basically deaf.The Apaches fly high over head. Missing Luttrell. Disappearing over mountain tops as they keep moving to avoid enemy ground fire.Struggling to silence his hysterical breathing, Luttrell hides as Taraq and his men move all around him. Luttrell sees shadows of the fighters. He silently starts covering himself with rocks and dirt.Luttrell well hidden. We slowly push in on him as his head starts to nod forward. He lifts it. Fighting the powerful urge for sleep. It falls again. He lifts it. Leaning his head back against the crevasse wall.Taraq and his men back on the hunt. Searching rock to rock.Tight on Luttrell. Head back. Breathing slower. As Luttrell falls to sleep.FADE TO BLACK. 103. SILENT.OVER BLACKA84A84The faint singing of morning birds. Growing louder.SLOW FADE UP.WIDELooking out at entire Hindu Kush Mountain range as the sun slowly rises behind the tallest peak.STUNNING SUNRISE.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LUTTRELL’S HIDE8484TIGHT ON MARCUS. Looks DEAD. EYES TWITCH. SLOWLY OPEN.LUTTRELL wakes up. Disoriented. First thing he notices is the bird sitting up on a rock above him. He hears it. Sort of. Faded. Loud then silent. His hearing has partially returned.LUTTRELL very slowly clears himself from the dirt and rock hide.Inventories himself, his weapons. Two magazines, two grenades. No food. No water.Bleeding has stopped from his gunshot. Leg is fucked up. Shin bone busting out.Luttrell sits down. Examining his leg. Probing the bone. Rips off his pants exposing his broken leg in UA shorts. Tears welling he bites down on his lips as he resets the broken bone. Jamming it back inside his skin.Tucking back the bone. Luttrell packs the puncture wound with dirt. Starts massaging his dead legs. Forcing blood back into them. Deep powerful breathing as he starts to will his body back into life. 104.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LUTTRELL’S HIDE8585Luttrell slowly moves out of the hide scanning the area for any sign of Taraq or Shah.Luttrell sees nothing. The village is close. Couple of hundred yards.LUTTRELL moves out. Slowly picking his way down towards the village.At fifty yards Luttrell pulls up. Takes cover behind some rocks. Stares down at the village through his M4 scope.LUTTRELL’S POVEarly morning. Women light fires. Buckets of water.Tight on Luttrell’s blistered, cracked bone dry lips as he stares through his scope at the water.We can feel his desperate thirst.He stares at the water. Then voices pull his scope left.LUTTRELL’s POV.The two goat boys moving through the village.Tight on Luttrell. LUTTRELL(whispering)Motherfuckers.He’s got the kids in his scope. Dead to rights. Luttrell’s finger on the trigger. The older teenage goat herder’s face fills his scope...Then more voices.Luttrell pans right.TALIBAN Five men. Armed. 105. Moving through the village. Passing the boys.Tight on Marcus.His finger slowly off the trigger.Luttrell lowers his weapon. Looks to his left.LUTTRELL’S POV.A faint dirt trail below him leading away from the village.Slowly and silently Luttrell moves out towards that trail.Away from the village.TRACKING with Luttrell. Slow going. He starts to put distance between himself and the village.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. BAGRAM - CJSOTF8686The main control center.The recovery of the dead chopper team and speculation over the fate of the four man recon team.ARMY INTEL GUYWe can confirm that there are no survivors from the 47 and we think we have recovered the bodies of Murphy and Dietz.Army Captains stare in furious silence.ARMY INTEL GUY (CONT’D)Axelson and Luttrell still unaccounted for.OMIT8787Unarmed predator drones circling the area. As Special Ops 87A87Amove in and secure the area around the downed chopper.5 MILES BELOW:OMIT 87B87B 106. OMIT8888OMIT 88A88AOMIT8989 107. OMIT 89A89A,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. WOODS9090Luttrell hobbles and falls and crawls through the woods.Falling, getting up. Refusing to stop. A desperate search for water.OMIT90A90AIn the WOODS.90B90BTracking with Luttrell.He’s running out of gas. Falling, crawling...grinding it out.He falls. On his hands and knees. Stops, head down. Hears something. Lifts his head. Looks off to his left.A WOLF.Male, large and powerful.The wolf studies Luttrell.Luttrell studies the wolf. 108. No menace just mutual curiosity.Luttrell picks himself up.Studies the wolf closely.Water drips off the side of the Wolf’s face.His coat seems wet.Luttrell turns. Listens.HEARS the SOUND of falling water.TRACK with Luttrell towards the sound of the water.Luttrell moves to 20 ft. waterfall, pouring into a beautiful clear pool of crystal clear fresh water.Luttrell tries to slide down the steep cliff sides of the water pool.Too excited, moving too fast, Luttrell slips, falling, tumbling. He falls fast into the water.UNDERWATER.Luttrell cuts through the water. Like a baptism as the cool water surrounds him. Luttrell stays under water. Eyes closed. Feeling it.Finally comes up. SURFACES.Swims to the shore on his hands and knees. LUTTRELL drinks. And drinks......Slurping like a broken animal.Grabbing for hunks of water plants. Luttrell eats. Shoving the plants into his mouth. Desperate for any kind of energy.TIGHT on LUTTRELL.Slowly freezes. Senses something.Slowly looks up.LUTTRELL’S POV:Three Afghan men. One man we recognize as Gulab. 109. A young Afghan boy.NOT Taraq’s crew.Three different men.One holds a machete. Staring down at this broken SEAL.Luttrell stares back at these men.A moment of silence. Then.Luttrell reaches for a grenade.Pulls the pin.Holds the armed grenade.The Afghan men appear non pulsed.LUTTRELLStay back.The men just stare with curiosity.Luttrell holds up his grenade.LUTTRELL (CONT’D)I don’t care. You understand? I don’t care. I will kill us all.Finally one of the Afghans. A 30 year old male GULAB, the leader, strong rugged handsome, steps forward. Hands up in peace.GULABNot Taliban.Luttrell studies Gulab. Looks deep into his eyes.Luttrell looks from Gulab to the other Afghan men. Their faces seem kind. Nothing like the death looks we have seen from the Taliban.GULAB (CONT’D)Come.Gulab slowly stepping to and reaching for Luttrell.Voices heard from deeper into the woods.Taraq and his crew getting closer.One of Gulab’s men says something quiet to Gulab. 110. Gulab reaches his hand out to Luttrell...Luttrell looks deep into Gulab’s eyes.Armed grenade in one hand, Luttrell slowly reaches his right bleeding hand out.Tight on two hands grabbing each other.As they pull him up, out of the stream, voices of Taraq and his men suddenly much closer.Gulab whispers something to one of his men.Luttrell is quickly pushed down into a crevasse between two rocks.A young Afghan boy sits on top of Luttrell hiding him further.Luttrell eyes wide, clutching his grenade.The young boy gently patting Luttrell’s back, trying to calm him.YOUNG BOY(whispering)Shuuuu....shuuuuuAs Taraq with three Taliban fighters crest the cliff looking down at the pond.At Gulab and his three men. A young boy sitting on a rock.A stare off as the armed Taliban look down at the unarmed Gulab and his Villagers.TARAQ(not particularly friendly)From what Village are you?TARAQ Da kom kali yee?GULABPeace be with you my brother we are from Kandish.GULABPa khair zma wrora, mong da Kandish you. TARAQAnd are you in Kandish true believers and correct in your thinking?TARAQAya Tasey da kandish khalgh rekhteney musalmanan yastey ao da sahee fikrono khawandan ye?GULABWe are my brother.GULABAw baley zamaa rora. 111. TARAQAnd have you or any of your brothers seen the Americans moving through these woods?TARAQAya ta ya sta wronoo americayan garzedal de largo taraf ta da Amrecayano ledely?GULABYou are the only people we have seen.GULABTasey yawazaney khalk ye che mong waledaley.Taraq studies Gulab. Looks closely.TARAQ’s POVLuttrell’s blood on his right hand. A drop drips into the water.TARAQIs something wrong with your hand?TARAQAya sta lass Khog dey?Gulab holds Taraq’s gaze. Doesn’t look at the blood.GULABWe have been cutting trees all day my friend. Usually there is much more blood.GULABDosta, Monga tola wraz waney ghosawoo, Zyatara wakht zmong lawsoona weeney kege.In the CREVASSE.Luttrell is freaking out. Hyperventilating.The young boy keeps gently patting his back.Taraq studies Gulab on more beat.TARAQIf you see the Americans. Tell us or we will take your heads.TARAQKa taso americayan woledel. Mong ta malomat rakey ao ka na mong ba staso sarona ghos kro.GULABI understand.GULABZa pohegam.TARAQPeace be with you my brother.TARAQZma wrora Allah de pa man ke lara.GULABAnd may peace be with you as well my brother.GULABAllah de ta hum pa aman ke lare. 112. Taraq and his men take off. Hold on Gulab and his men a couple of beats. 112A. Gulab signals to one man who quickly and silently moves up the little cliff. Signals that it is clear.Gulab quickly moves to a very confused Luttrell, pulling him out of the crevasse.LUTTRELLWhy are you helping me?GULABNo Taliban.On Luttrell as the Afghans quickly move him into the woods, The little Afghan boy continues patting Luttrell’s leg for comfort.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BAGRAM AIR BASE. CJSOTF9191Frantic activity as rescue teams are tracked. SEALs, Rangers, Green Berets, Marines. Small tracking teams inserted all throughout the area. Each assigned to different villages. Tight on a map as we see the KANDISH village.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. GULAB’S VILLAGE9292Luttrell with Gulab and the Afghans being led into the small village. He’s walking weak with an arm on Gulab’s shoulder, the grenade still tight in right hand.Luttrell’s POV:The Village. Men women, children, animals all staring at this Giant broken American. An alien entering their world. Marcus staring back in equal confusion. Locking eyes with a 90 year old woman. The young boy by his side points to the woman. Has a conversation with her. Pointing to Marcus’s Texas leg.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GULAB’S HOUSE9393Luttrell laid down on a mattress.GULABWe get Americans for you. 113. LUTTRELLDo you know where to find the Americans?GULABYes, we know.LUTTRELLPen? Paper? Please.A pen and note paper are produced. Luttrell scribbles a note. Identifying himself, asking for assistance. Gulab takes the note, gives it to his father, a fifty-eight-year-old Afghan mountain man, strong muscle.The trekker pockets the note, heads out of the village, 93A93Adisappears up into the mountain. Stay with Luttrell and Gulab. Luttrell looks from Gulab to 93B93Bthe little boy, slowly puts pin back in grenade. Then from outside, loud voices ARGUING.Track with Gulab outside to the edge of the village.93C93CTaraq with five men. He looks pissed.TARAQWe want the American.TARAQMong Americaye ghawaro.GULABPlease leave our village.GULABMehrabani okey zamonga kali perigadeyTARAQThis village has supported the Americans.TARAQDa dey kali khalgo Americayano sara marasta kari da.GULABWe want no trouble with you, please leave.GULABMong taso sara hes moshkel na ghawaro, mehrabani/lutfan da dey zaya larr shey.Taraq studies Gulab a beat, then without warning smashes him in the side of the face. Gulab takes a knee. Looks up.Taraq hits him again.Pure humiliation.Tight on Gulab, tears water, as he summons his courage and stands tall, defiant, eyes blazing back at Taraq. 114.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LUTTRELL’S ROOM9494Luttrell’s room as Taraq and his men come smashing through the door.Luttrell weak, tries to get up, is smashed down to the floor by Taraq. Luttrell tries to fight back. He is too weak, he is kicked and pounded viscously by Taraq and his men. Grenade just out of reach. Luttrell is flipped on his back. Arms and legs held down as Taraq gets on top of him, knife out.TARAQWhat base are you from?Luttrell’s head held back, neck exposed, Taraq moves in with the blade. TARAQ (CONT’D)What unit are you from?When the door is kicked open.Gulab AK-47 aimed at Taraq, two armed villagers behind him. From the windows, an old man with a shotgun. Screaming and chaos. Eight armed Afghans in a small room. Screaming at each other. Guns up. Taraq freezes. Out the window he sees five more of Gulab’s villagers - guns up.GULABEnough.GULABbas.Taraq slowly stands.TARAQYou are making a mistake.TARAQ Tasey ghalatey kawey.GULABYou will not harm this man in my home.GULABTa ba zama pa koor ki dey sara ta hes na waye.TARAQThen let us take him.TARAQNo bya zey che we neso.GULABHe is my guest. You will leave our village.GULAB hagha zama milma day. Taso zmong da kali wozey. 115. TARAQWe will come back.TARAQ Mong ba bia razo.GULABThen you will fight my entire tribe.GULABBya ba zma tola qabila staey khilaf jange kawe. A tense stand off, Taraq staring at Gulab. He and his men slowly release Luttrell...move out past Gulab.TARAQFor an American you will all die. Do you understand that? TARAQDa yao Americayee da para ba taso toll mrey. Aya taso powhegey GULABStay away from this village.GULABDa dey kali na larey osey.They stare inches apart. Taraq smiles, orders his men out.Taraq stops, turns back, faces the entire village.TARAQYou have all made your choice, you have declared your side and for this all men, women, children will be slaughtered. All of you.TARAQTaso tolo khapal fareeq aw khawakha malooma kra, da dey pa waja ba tol nareena, khazena aw moshoman mrey. Tasey tol.Tight on Gulab trembling trying his best to show no fear.Tight shots of Gulab’s villagers; farmers with guns, all of them trembling.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. MOUNTAINS 9595The old men with the note from Luttrell treks hard and fast over the mountains.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. WOODS - OUTSIDE VILLAGE 9696Taraq on cell phone as he climbs up a small hill overlooking Gulab’s village. Taraq’s calling in more men, waiting.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. GULAB’S VILLAGE9797Gulab and three of his tribesmen having a heated conversation, argument over Luttrell. Feels similar to the SEALs debating the ROE on the mountain top. 116. Women in packs watch from a distance. 116A.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GULAB’S HOUSE9898The little boy squatting on floor next to Luttrell, won’t take his eyes off him.An odd staring contest.MARCUSWhat’s your name?The boy just stares.MARCUS (CONT’D)Name?Nothing.Luttrell looks down at his gunshot wounds, still seeping blood. He looks to the young boy.LUTTRELLHey.The boy looks at Luttrell.LUTTRELL (CONT’D)Come. Come.Luttrell gestures for the boy to come over. LUTTRELL (CONT’D)Knife.The boy is confused. Just stares at Luttrell.LUTTRELL (CONT’D)Knife.Luttrell finds a little piece of wood on the cave floor, picks it up. Makes a cutting move with it. LUTTRELL (CONT’D)Knife.LITTLE BOYKnife.LUTTRELLGo get knife. 117.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. WOODS - OUTSIDE VILLAGE9999Shah, with five more heavily armed Taliban, join Taraq in the woods. Brief conversation in Arabic -- Taraq briefs Shah on situation. Now ten in total, they stare down at Gulab’s village.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GULAB’S HOUSE100100The little boy has brought back a small live duck. Presents it to Luttrell.LUTTRELL(confused)What is that?The kid silently holds the duck out to Luttrell.LUTTRELL (CONT’D)I said knife.LITTLE BOYKnife.LUTTRELLThat’s not a knife.LITTLE BOYNot a knife.LUTTRELLThat’s a fucking duck.LITTLE BOYThat’s a fucking duck.LUTTRELLI need a knife!LITTLE BOYKnife!LUTTRELLFor my leg!LITTLE BOYFor my leg!Gulab enters looking down at Luttrell.LUTTRELLPlease. I need a knife. 118. Gulab staring down at Luttrell. Moves to the back of the house, comes back with a large knife.Gruesome bullet removing sequence. Blood. Screaming digging scraping out bullets and shrapnel from Luttrell’s back and legs. Gulab digs with a knife. Pours water on the wounds. The little boy holds Luttrell’s hands and whispers to him.Luttrell passes out.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. HINDU KUSH - NIGHT101101Under the full moon the trekker moves across a mountain top.Gulab and his villagers stand watch over their village. 101A101ALuttrell sleeps. His fever burning.101B101BSUNRISE,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HILLS ABOVE GULAB’S VILLAGE102102Taraq and Shah, now with fifty men. Heavily armed. AKS and RPGS, Shah gives orders. The men break into three groups. Moving out to flank the village.Gulab’s villagers still on watch. The town feels locked down like an old western.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BAGRAM - CJSOTF103103Secure phone rings. Marine answers it. MARINEWe’ve got a report of a letter asking for assistance. COMMANDERFrom who?MARINEMarcus Luttrell. Sir, they did a hand writing comparison and its does appear to be Luttrell.COMMANDERWhere is he?MARINEKANDISH Village. 119. COMMANDERGo get him son.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. C-130 - AIRBORNE 103A103AThe “HAND OF GOD”. A high altitude attack aircraft capable of striking targets from 25,000 feet.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. COCKPIT104104C-130 pilots getting instructions to move into the Kandish Village area. Gunmen settling into fire positions.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GULAB’S HOUSE105105Luttrell wakes. A small fire. Gulab and the little boy staring at Luttrell.Luttrell struggles to sit up.Gulab hands him water. Luttrell drinks in massive gulps. Choking.Gulab takes water bottle from Marcus. GULAB(arabic)Slow.Gulab hands Luttrell a bowl of cooked Lamb.Luttrell starts inhaling the meat. Fist fulls. As he starts choking.GULAB (CONT’D)(arabic)Slow.Luttrell nods. Trying to slow down. Trying to show a semblance of control.Gulab points to the Texas flag on Marcus’s vest. GULAB (CONT’D)America?MARCUSTexas.GULABAmerica? 120. MARCUSYes. America. Texas is America, Yes.LITTLE BOYTex.MARCUSTexas.LITTLE BOYTexas.Luttrell eyes the water bottle. LUTTRELLMore water. Please.Gulab hands Marcus the bottle. Again he starts drinking in desperate, choking gulps. The little boy laughing at Luttrell’s ravenous thirst. Gulab a small smile.The little boy and Gulab just stare. As Luttrell finishes all the meat and drinks all the water.LUTTRELL (CONT’D)I don’t know why your doing this for me. Gulab and the little boy staring at Marcus.LUTTRELL (CONT’D)Thank you.The two men staring at each other as an incoming RPG slams into the house. Huge explosion. Frantic screaming from outside. Gulab up and out first. Luttrell struggles to stand. The little boy moving to Luttrell helping him up. Luttrell grabbing his vest and gun moving out just as a 2nd RPG detonates destroying the rest of Gulab’s house.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. VILLAGE106106TARAQ attacks with his men.Brutal fight. Hand to hand, gun on gun. Gulab shot, Marcus shot again. The Taliban is about to kill Marcus when the little boy calls out to Marcus. 121. The Taliban is on top of Luttrell, choking him, killing him. Luttrell’s hands clawing at the man, digging into earth, grasping for wood, a stone, anything...when...a KNIFE, is slapped into Luttrell’s hand. Luttrell looks up, the little boy. Staring at Luttrell. Marcus buries the knife into the neck of the fighter. Rolling out as the building in front of them detonates. Heavy machine gunfire tearing it up. Luttrell and Shah fall back. A woman charges out grabbing the little boy. Eye contact with Luttrell as he is carried away.Gulab and Marcus pinned down...Taraq moving in.Taraq is about to win.When off camera, Luttrell looking up at the empty sky, he hears something.THUMP THUMP THUMPSilent. Then.Giant explosions all around Luttrell. Taliban blowing up as if HAND of GOD was attacking.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. AC-130106A106AWe see gunners targeting. The 40mm firing with extreme precision.Luttrell looks up behind him.106B106BTwo American Apaches, flanking two Blackhawks. HIGHER106C106CC-130 gunship starts slow banking... Tight on pilots, gunmen, ammo, fingers on triggers...sights locked in...On the ground...106D106DAll gunships open fire, the ground around the village erupts. Taliban shredded. Taliban trying to run away. Shredded by the Apaches. The C-130.Taraq turns...starts to run away. Tight on Luttrell, gun up. Tight on Gulab, gun up... 122. POV: Both sights, Taraq’s head full frame. Both men take a breath...LUTTRELLGlorious Day. Gulab fires first.On Taraq, running towards us full frame as...Gulab’s bullet slams into the side of Taraq...spinning him around as...Luttrell’s bullet takes his head off...Taraq falling slow and hard. Dead. Tight on Luttrell and Gulab.Apaches circling over head as two Blackhawks land behind them.Air Force Search and Rescue Helicopter airmen charge out of the chopper towards Luttrell.CREW CHIEF Luttrell?LUTTRELLYes sir.CREW CHIEF It’s time to go home. The Airmen reach for Luttrell. Luttrell won’t let go of Gulab. They hold each other like life long brothers.The US Airmen separate Marcus from Gulab. Marcus is too weak to resist.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CHOPPER107107Luttrell loaded in the chopper, looks back at Gulab, reaches for him. Gulab takes his hand.LUTTRELLHe comes with me.Luttrell’s hand is gently separated from Gulab as Green Berets move into the village. Gulab steps back as the chopper takes off. Tight on Luttrell, weak eyes open, glassed up. 123. LUTTRELL (CONT’D)There is a randomness to life. A luck, a rhythm that is beyond my ability to understand. 123A.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CHOPPPER 108108Flying fast over the Afghan mountains.Luttrell beaten and broken, but clear-eyed...Staring down at the vast epic Afghan mountain range.LUTTRELLBrave men have fought and died building the proud tradition and fear of reputation that I am bound to uphold.The mighty Hindu Kush...As the sun sets...Back to opening. Doctor’s working franticly to save Luttrell.LUTTRELL (CONT’D)I died up on that mountain. There’s no question a part of me will forever be up on that mountain dead as my brothers died.Close on heart monitor.LUTTRELL (CONT’D)But, there is a part of me that lived. Because of my brothers, because of them, I am still alive, and I can never forget that no matter how much it hurts, how dark it gets, how far you fall... From flatline to a heartbeat.LUTTRELL(CONT’D)You are never out of the fight.LONE SURVIVOR. 124.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. EDGE OF CORN FIELDS - DAY A pocket watch. Open. Ticking. Swinging from a chain. Held by a young man named JOE in a clearing beside a Kansas corn field. Sky pregnant with rain. Waiting. He checks the watch, removes his earbud headphones, stands. Without much ceremony a BLOODIED MAN in a suit appears from thin air, kneeling before the young man. Hands and feet tied. Burlap sack over his head. Muffled screams, gagged. With no hesitation Joe raises a squat gun and blows the man apart with a single cough of a shot. LATER Joe loads the corpse into the flatbed of his truck. Cuts open the back of the body’s jacket, revealing FOUR bars of gold taped to the dead man’s back. Joe takes them.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. INDUSTRIAL PLANT - DAY Massive, in the middle of nowhere. Black smoke. JOE (V.O.) Time travel has not yet been invented. But twenty five years from now it will be. Once the technology exists, it will be relatively cheap and available to the public at large. And so. It will be instantly outlawed, used only in secret by the largest criminal organizations. And then only for a very specific purpose. Joe drives up and parks his truck, removes the wrapped corpse from the flatbed. JOE (V.O.) (CONT’D) It’s nearly impossible to dispose of a body in the future. I’m told. Tagging techniques, whatnot. So when these future criminal organizations in the future need someone gone, they use specialized assassins in our present, called loopers.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. INDUSTRIAL PLANT - DAY Cavernous and empty. Joe carries the body to an iron hatch, opens it, and dumps him in. JOE (V.O.) And so. Thirty years from now. My employers in the future nab the target, they zap him back to me, their looper. And I do the necessaries. So the target has vanished from the future, and I’ve just disposed of a body that technically does not exist. Clean. The body slides down a long chute. Vanishes in a little flare of angry red fire.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. DINER - DAY A sidecar roadside diner in the middle of nowhere. Joe’s truck in front.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DINER Nearly empty, Joe at a booth listening to headphones. A waitress sets down coffee. Her bright red name tag: BEATRIX. BEATRIX Bon jour, Joe. JOE Bon jour, Beatrix. BEATRIX How’s the French? JOE Slow. How’s the coffee? BEATRIX Burnt. Cream in the coffee. White clouds boil deep down.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. FARMLAND ROAD - DAY Joe’s truck zooms from the flat fields towards a mid sized city on the horizon.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PAWN SHOP - DAY Grungy, heavily fortified. Joe enters and puts his gun in a basket labeled “LOOPERS - BLUNDERBUSSES” Slips down a narrow passage, which ends at a steel wall with a protruding duct taped camera and microphone. JOE Two, Jedd.2. Joe fishes the two gold bars from his jacket. A small narrow slot slides open in the wall, and gnarled old hands take the gold bars. It slides shut again. In the background the front door to the pawn shop dings open. The slot slides open and Jedd’s hands push a wad of cash. Joe pockets it, and backs around Dale, another Looper. DALE Hey Joe. Be at the Belle tonight? JOE Yup. Dale hands four gold bars through the slot as Joe retrieves his gun and exits. DALE Four, Jedd.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JOE’S APARTMENT - AFTERNOON High ceilings, big clean windows overlooking a sooty city. Joe finishes smoothing out an oriental rug and scoots a coffee table in place over it. Puts a bebop LP on a turntable. LATER On the bed, shooting at the ceiling with his fingers. JOE Bon jour, mademoiselle. Bang!",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. CAR GARAGE - EVENING Suit-and-tie Joe pulls a tarp off a cherried-out 1992 Mazda Miata. Lingers over it. His baby.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CITY STREETS - EARLY EVENING Joe drives through the sooty city streets. A muted beep, and he fishes a matchbook sized screen from his pocket. JOE Yeah Seth? Yeah. Ok.3.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. STREET CORNER - EARLY EVENING A young looper named SETH on the side of the road, kneeling beside a motorcycle without wheels called a SLAT BIKE. He kicks it in frustration. A VAGRANT approaches and SETH pulls a gun, identical to Joe’s. SETH Walk around! Around, I’m not kidding. Wide around, ya shit. The vagrant crosses the street. Joe pulls up. JOE Seth. SETH Hi Joe. JOE That’s new. Seth kicks the bike. SETH Thanks. Goddamn thing. You going to the Belle?",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DRIVING THROUGH THE CITY STREETS Seth and Joe. JOE Slat Bikes are all junk. Stick with rubber on the road. SETH Yeah but Gat Men pull up in them, they get respect. JOE They get respect cause they run the town. How much did that thing set you back? How much? Seth holds a quarter idly in his palm. SETH I was gonna pull up in it. Tonight. Heads or tails, call it in the air. The coin lifts, floats several inches in the air, quivering.4. JOE Congratulations. You’re pulling up with me instead. Joe notices the floating quarter. JOE (CONT'D) And don’t, if we’re going in, don’t do that. SETH Chicks dig TKs. JOE It’s tacky, don’t do it. Seth catches the quarter, sullen. JOE (V.O.) (CONT’D) When the TK mutation started appearing in the general populace it was on every magazine - “Next Step in Evolution, what’s n",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","ext.” Everyone got tested. But turns out this was it, and now it’s just a bunch of assholes thinking they’re blowing your mind by floating quarters.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LA BELLE AURORE - NIGHT A shitty but bright nightclub in the heart of the city. Flashy people shiver behind a velvet rope, huge black cars, big rollers in odd suits swept in by the bouncers. All trying very hard to be big time. JOE (V.O.) Big heads. Small potatoes. Drives past, revving the engine.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. PARKING LOT Down the street. Joe tosses the keys to an attendant.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LA BELLE AURORE SIDE ENTRANCE A dingy stage door in back of the building. Joe and Seth ring a buzzer, smile for a camera, and the door opens.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COAT CHECK A long dark hallway leads to a tiny antechamber with a coat check room used for guns. BIG CRAIG leans out of it, and stops the two.5. BIG CRAIG No loopers in the club on Wednesdays, Joe. Gat men only. Seth backs towards the door, Joe stops him. JOE We’ll stick backstage, just meeting up. In and out. BIG CRAIG Packing your blunderbusses? JOE Hardly. Right Seth? SETH Hardly. I’m with Joe. Big Craig pats them down, waves them in.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BACKSTAGE A claustrophobic maze of twisty halls and passages. DANGEROUS MEN and half naked SHOW GIRLS weave through. Joe expertly navigates the turns, going someplace. Seth struggles to keep up. SETH So are we - hey - Joe has vanished. Seth stops meekly, butted by passing men.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BORDELLO ENTRANCE An ornate parlor, LACY WOMEN entertaining men. A velvet curtained doorway leads to back rooms. Joe lingers by the entrance, watching one girl in particular, SUZIE. Bold dark eye makeup. A BIG MAN leads her off through the curtains. Joe’s eyes drop. Pained. A fat MADAME doesn’t look up from her ledger. MADAME No loopers on Wednesday, Joe. Gat Men only. JOE So I’ve read. He ducks out.6.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BACKSTAGE Joe plods. Dale, the Looper from the pawn shop, passes fast. Curious, Joe follows. They pass Seth, who tails after them. SETH Hey, Joe. We leaving? Cuz, what- Joe? And Seth loses them again, butted back by passing men.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. STEEP STAIRS A starkly lit steep stairwell leads down. Five or six young loopers gather at the top. Joe and Dale join them. JOE What? DALE Zach. In there right now, with Abe. Dale makes a quarter float above his palm. Joe rolls his eyes. JOE For what? DALE He closed his loop. This lands heavily on Joe. JOE No shit? The door at the bottom of the stairs opens, and ZACH, another looper, steps out. An OLDER MAN’S HAND pats his shoulder then retracts into the door. The loopers watch him in awe. JOE (V.O.) (CONT'D) There’s a reason we’re called loopers.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ABANDONED LOT - DAY (FLASHBACK) Zach stands waiting, checking his wristwatch, gun in hand. Obviously performing a similar ritual to Joe’s. JOE (V.O.) Time travel in the future is so illegal, that when we sign up for this job we agree to a very specific proviso.7. Zach raises his gun. JOE (V.O.) (CONT'D) If our employers in the future get busted up by the law, their first priority is going to be erasing any trace of their relationship with us ever existing. A flash of light, and a HOG TIED MAN with a sack over his head kneels in front of Zach. Zach fires, and the man’s chest explodes. JOE (V.O.) (CONT'D) So. If they’re busted, and if we’re still alive 30 years from now, they’ll find our older self and zap him back to us, like any other job. Zach rips open the back of the corpse’s jacket, revealing several dozen gold bars taped to his back. JOE (V.O.) (CONT’D) This is called closing your loop. Zach freezes. Looks at the shape of the corpse’s face through the sack. JOE (V.O.) (CONT’D) And you get paid out a mythic amount of money, and you get a handshake and get released from your contract. Enjoy the next 30 years.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. STEEP STAIRS Zach reaches the top of the stairs, a grin on his face. JOE (V.O.) This job doesn’t tend to attract the most forward thinking people. ZACH So are we celebrating? At the bottom of the stairs, a skinny young thug in ratty jeans. This is KID BLUE. KID BLUE No loopers on fucking Wednesdays! The loopers collectively flip him off.8. ZACH Suck one, kid!",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LA BELLE AURORE CLUB - NIGHT Lurid and very loud mixture of a dance club and cabaret. One by one the LOOPERS emerge from side exits, sneaking in. Paupers at the feast.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. LA BELLE AURORE BATHROOM - NIGHT Joe and several other Loopers pass around an EYE DROPPER. Pupils slacken. The drug spins him into a slurred revelry.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. LA BELLE AURORE CLUB Joe staggers out on the dance floor. Miles high.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LA BELLE AURORE - NIGHT Joe and the loopers are kicked out by burly GAT MEN, followed by Kid Blue, pointing and yelling at them. The loopers laugh their asses off.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CITY STREETS - NIGHT Joe’s Miata screams through the abandoned city streets, racing with several other loopers in trucks and sports cars. IN THE CAR Jammed with Seth and Loopers, Joe at the wheel. Still so high. Suddenly one of the Loopers SHOUTS -- Joe slams the brakes",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. VAGRANT VILLAGE - NIGHT Screaming to a halt just shy of a malnourished BEGGAR KID. Caught in the headlights. Behind him, a miserable vagrant village in a field. IN THE CAR Joe stares at the kid, frozen. A moment. Then spins the wheel, peels out. The Loopers hoot and shout. Joe’s Miata screams along the dirt road bordering the vagrant village, whizzing past open fires and dirty huddled families. JOE’S FACE - serene and focused. Going somewhere.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SETH’S APARTMENT - DAWN Joe drops Seth off at his building with its bright red garage.9. JOE Sell that goddamn slat bike back. That’s a lot of stupid money. SETH I got stupid money. Seth holds his hand under fuzzy dice hanging from Joe’s mirror, and they spin. JOE Alright. Seth stumbles toward his door, checks his pants. SETH I think I did something. You know what? TKs are special. Fuck you. JOE Hey Seth. Seth slumps against the car. JOE (CONT'D) Alright, Zach. What’s his payout, 30? 40? If that? That’s not going to last you 30 years. And it won’t get you overseas. SETH Overseas... JOE So in five, ten years you’re back to riding the rails, or worse you’re like Kid Blue, working as a gat man, wagging your dick at loopers and roughing up shop clerks for payoff money. SETH Fuckin Kid Blue. JOE Save a little something. Alright? Cause that’ll be yours, and then you’ve got yours and that’s all that matters, your life is your own. SETH I gots mine you gots yours. I wish I was smart like you. Saint Joe. Seth pats Joe’s cheek, and waddles off towards his apartment.10.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JOE’S APARTMENT - MORNING An alarm wakes Joe, red-eyed.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JOE’S APARTMENT ENTRYWAY - MORNING In his bathrobe, Joe checks his apartment mailbox. A slip of folded paper inside, with “14:30” handwritten on it.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JOE’S APARTMENT Dressed now, Joe double-checks his french book for a phrase and heads out.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FARMLAND ROAD - DAY Joe’s truck zooms away from the city, into corn fields.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CORN FIELD Joe’s pocket watch at 2:29, ticking away. A hog-tied MAN with a sack on his head appears before Joe. Shoots the man in the chest, without hesitation.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DINER - DAY Joe sits at a booth, the waitress Beatrix brings his coffee. BEATRIX Bon jour Joe. JOE Ravi de te voir, Beatrix. BEATRIX Ooh la la.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PAWN SHOP BACK ROOM - DAY JEDD, 70s and knarled, sits in a tiny closet of a work room. Following a BUZZ, Joe appears on a fuzzy monitor, standing in the hall. JOE (OVER SPEAKER) Two, Jedd. Jedd opens a slot and takes two gold bars from Joe, then hands him out a small stack of cash. Marks in a notebook Joe’s name, the date and the number ‘2’. All the other transactions have the number ‘4’.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. JOE’S APARTMENT Joe smooths out the oriental rug.11.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LA BELLE AURORE CLUB - NIGHT Joe drinks with Dale, watches a group of Loopers celebrating at another table. DALE What’s that, fourth loop closed this month? Dale casually makes a fork float above his palm, lifting his eyebrows at passing ladies. JOE Fourth. On the stage, flinging her legs with a line of can-can dancers, is Suzie. The girl Joe watched in the bordello. As her dance ends Joe stands and goes backstage.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BACKSTAGE Suzie weaves towards her dressing room. Joe catches her. SUZIE Hey. JOE You working a shift tonight? SUZIE Yeah. (realizes) Yeah, but one of the gat men bought me out already. For the night. JOE Oh. SUZIE Sweetie. I gotta work. She leaves him watching her go. He turns - sees Kid Blue leaning in the shadows. He’s seen this whole exchange. The Kid smirks.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. LA BELLE AURORE CLUB Joe bursts back into the club with a vengeance.,FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. JOE’S APARTMENT - NIGHT - LATER Joe staggers in. Not doing so hot.12.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JOE’S BATHROOM - NIGHT Looks at himself in the mirror. Eyes red as candy. He pops open a hidden drawer next to his medicine cabinet, pulls out an eye dropper and puts one in each.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JOE’S APARTMENT - LATER THAT NIGHT A harsh POUNDING. Joe, flopped on the bed, stirs. Then wakes with a jump, shaky on his feet. Goes to the door. A screen shows nobody in the hall outside. Still punch-drunk, Joe listens. POUND POUND POUND. The window. Joe slides it open. Seth tumbles in off the fire escape. JOE Jesus, Seth. SETH They’re gonna be here any minute, are they here? JOE No, they’re not here. Who? SETH Christ. Joe. Christ. Joe’s eyes focus a bit, he tunes in to the situation. Turns the apartment lights off. SETH (CONT'D) (re: the lights) What are you doing? Right. Smart. JOE Seth, sit down here. CRASH! Seth knocks something over in the dark. Joe opens the fridge, pale light. Seth sits at the kitchen table. SETH Late to my own funeral. Mom always said... JOE Tell me now. SETH Christ, Joe. Late to my own goddamn funeral. Can you help me?13. JOE Seth, what did you do? SETH You can protect me a little, right? Just so they don’t... jeez. Oh jeez. This is like a nightmare. This is a nightmare. JOE (V.O.) I knew then what he did so I don’t know why I asked. JOE (CONT'D) What did you do? Seth lifts his eyes to Joe. SETH He was singing.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CORN FIELD - DAY (FLASHBACK) FLASH: a hog-tied man with a sack over his head appears. Singing. Seth, with his gun raised, hesitates. SETH (V.O.) Through the gag and mask, but I could hear the tune. Deep memories, my mom in a dark room, singing. Back warm and safe, when I coulda still been good. And once I knew it was him... Joe I couldn’t. I couldn’t. I had to see. Seth pulls the sack off the man’s head.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JOE’S APARTMENT SETH Joe I can’t even tell you. Looking in his eyes. I had to let him talk, then. I don’t even remember the words, but I remember believing every one of them, or not even believing, but submitting. I’ve never felt that small before. I’ve never felt that happy. He told me. I remember, there’s a new holy terror boss-man in the future, and he’s closing all the loops. The Rainmaker, they call him. He told me. 14. (MORE) Then he wanted a cigarette and I untied him, and he gives me this look. And he just starts running.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CORN FIELD - DAY (FLASHBACK) Seth standing with his gun in his limp arm, receding behind us as we run away. SETH (V.O.) And I had my blunderbuss so I know he’s got about fifteen strides till he’s out of my range. And they come and go, and I just watch him till he’s gone.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JOE’S APARTMENT Seth breaks down crying. JOE (V.O.) This is called letting your loop run. It’s not a good thing. SETH What do I do? You’re the only friend I got Joe you gotta help me JOE You fucking idiot coming here. Seth, sucker punched. JOE (CONT’D) You can’t be here, I’ll give you a little money but you gotta SETH Joe? A little - where am I gonna - JOE You hop a freight train, you beat it the hell out POUND POUND POUND. On the door this time. Seth makes a sound like he’s going to die, Joe closes the fridge, hisses JOE (CONT'D) Shut up. Don’t move. Goes to the door. Two GAT MEN and Kid Blue stand outside. KID BLUE Open up Joe! (to the gat man) Watch the window.15. SETH (CONT'D) Joe spins from the door. Considers briefly. JOE I can’t do anything for you Seth. Seth crumples to his knees, grasping Joe’s hand. SETH No! You gotta hide me! Joe, hide me, please Christ please Joe please hide me tell em something to buy time and I’ll leave please- POUND POUND POUND. JOE Hold on! Watching Seth, Joe’s face breaks in a moment of decision. He flips the lights on, and briskly pulls back his oriental rug. A FLOOR SAFE with a touch pad. He enters a code, opens it. Wide and deeper than you’d expect, lined with gold bars. Big enough for a man. Seth scrambles in. Joe takes one last look at Seth’s frightened, grateful face, framed by the gold bars, then closes the safe and smooths the oriental rug. POUND POUND POUND- Joe opens the door. Kid Blue storms in, his gun drawn, sweeping through the apartment with over-eager purpose. One gat man stays outside, the other casually sits at Joe’s kitchen table. Kid Blue gets in Joe’s face. KID BLUE That took awhile. JOE You think it’s easy looking this good? KID BLUE Tye’s going to watch your apartment while we go have a talk with Abe. Joe grabs a jacket. JOE There’s coffee in the tin. TYE Thank you.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. LA BELLE AURORE - DAWN - ESTABLISHING16.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. STEEP STAIRS Kid Blue leads Joe down the stairs and into the door at their base.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. WAITING ROOM Dingy with a few benches. In one wall three steep stairs lead to a high door. Kid Blue knocks. Muffled voice from within: ABE (O.S.) Two minutes. LATER Joe and Kid Blue on benches, facing each other. The Kid stares daggers and spins his gun. Joe tries his best not to engage. KID BLUE You know why they call that pea shooter a blunderbuss? Cuz it’s impossible to hit anything farther than 15 feet, and impossible to miss anything closer. A gun for fuck up turkeys. Not like a gat. A gat has range. Accuracy. His gun spinning gets fancier. His gun meaner looking than Joe’s blunderbuss, long and slim and chrome. JOE Alright, cut it out Kid. You’re gonna blow your foot off again. The Kid almost snaps back, but then grins. KID BLUE You’re right, it’d be real easy for it to accidentally go off. He clicks the safety off. Joe shifts uncomfortably. JOE C’mon. KID BLUE Don’t disrespect a gat man, Looper. Joe stifles a chuckle. In a flash, the Kid stands and pistol-whips him across the face. Joe falls back. The Kid raises his gun at Joe. Frozen in that tableau a moment, the Kid savors his victory. Lowers his gun.17. ABE (O.S.) What the hell is going on out there- The high door swings open fast, SMACKING Kid Blue hard on the side of the head. His gun goes off, firing into the wall. Out of nowhere three gat men burst into the room, guns drawn. ABE, a sallow man in his 50s, appears in the high doorway. KID BLUE S’alright, s’alright. Humiliated, the Kid tries to stand, but falls over again. After a moment everyone realizes what’s happened, and the tension breaks. ABE Alright. Joe. Joe climbs into the doorway. Kid Blue stands shakily. ABE (CONT'D) You didn’t shoot your other foot off, didja kid? The door closes, and the gat men laugh at the Kid.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ABE’S OFFICE Cluttered, with a big desk. Joe sits, Abe hands him a handkerchief for the ugly gash on his cheek. ABE My great grandfather always told my grandfather, men’s like spiders. It’s the little ones you gotta be careful of. JOE Dunno I agree with that. ABE Oh yeah? Well. What the fuck did my great grandfather know. JOE (V.O.) This man is from the future. He was sent back here by the mob, a one way ticket, to run the Loopers. That’s low effort even for Abe, so to pass the time he recruited some real muscle, the Gat Men. Now he runs the city. Any other city, that’d be impressive. Abe settles in his chair. Regards Joe.18. ABE How can you kids stand those chokers? This, the cravats. JOE Ties. ABE Ridiculous. You’re aware we don’t have a dress code. JOE (shrugs) Fashion. ABE You know, you don’t know, the movies you’re dressing like were copying other movies. Goddamn 20th century affectations, do something new. Put a glowing thing around your neck or use... rubberized.. (waves at Joe’s suit) Be new. JOE Okay. A beat of silence. JOE (CONT'D) Well it was nice chatting with you Abe. ABE I do like you, Joe. But we’re sure enough Seth paid you a visit we’re gonna hafta do something about this. JOE Seth? ABE You’re expecting we’re gonna break your fingers with a hammer or something awful, and I’m going to diffuse that tension right now, that isn’t going to happen. What’s going to happen is, I’m going to talk for a little, not even that long, then you’re gonna give up your friend. JOE My friend Seth? I’m confused.19. ABE Well then I’ll talk a little. You know you were the youngest looper I ever hired? You looked goddamn ridiculous they said, the blunderbuss up to here on you. But I remember they brought you in, I forget what it was for, JOE Watch shop. ABE That’s yeah, you had rolled one of our fronts, a watch shop. And they had you, your arms pinned, this kid. Like an animal. But you looked at me, your hair stuck to half your face so just this one eye looking at me. And I thought what’s this kid lived through, what he had taken away from him. What’s he lost. And I could see, like seeing it happen clear as seeing it, the bad path in front of you, the bad version of your life. Like a vision I saw it happen, you turning bad. So I cleaned you up and put a gun in your hand. I gave you something that was yours. JOE You know I’m grateful, Abe. Genuine. But Abe shakes his hands, not where he’s going. ABE I gave you something that was yours. And I remember that kid, and I think when you ask yourself you ask who would I sacrifice for what’s mine, I think Seth is deep and cozy inside that circle. Pause. Both their eyes go to a hammer sitting on the desk. ABE (CONT'D) That hammer’s there for something else later, that’s not, it’s a bad coincidence. JOE Okay. ABE Show you how much I know you, I’m not even gonna break you, just set you back a ways. 20. (MORE) We know you’ve been stashing half your bars. Which is smart. You give up Seth, or you give us half your stash. For Seth. Joe holds Abe’s gaze for a moment, then his eyes drop and it’s over. JOE Will you kill him? ABE No. Would be too cataclysmic a change to the future. What we’ll do is dangerous in that regard, but not as dangerous as killing him, and not by twice as having him run free. (beat) Joe I let him run more than a few days, the boys in the future get nervous, then bing! my replacement shows up. With a gun. So we’ll do what we have to do. Silence. JOE Floor safe, beneath the rug. 6742. One of the gat men quietly exits. ABE It’s the little ones that get you.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. WAITING ROOM Abe leads Joe out, past gat men and Kid Blue, smirking again. ABE Why don’t you kill an hour, Joe. On the house. After Joe exits, Abe and Kid exchange looks. ABE (CONT’D) Call the doc.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BORDELLO ENTRANCE Joe slumps in. Several girls, none of them Suzie. MADAME Suzie’s just getting off. Doubt she’s up for it. He pushes through the velvet curtained door.21. ABE (CONT'D)",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BLACK HALLWAY A large gat man pushes past Joe. At the end of the hall, Suzie leans in a doorway smoking a cigarette. Not sexy, just tired. She sees Joe, and is about to say no. But she sees Joe’s eyes, and doesn’t. Exhaling a plume of smoke, she withdraws into her doorway. Joe follows. Through her smoke.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SUZIE’S BEDROOM - LATER Suzie naked at the mirror. She goes to Joe, lying on the bed, distant. JOE I can’t remember my mother’s face. I remember her touching my hair. Like this. He takes Suzie’s hand strokes it over his hair. She smiles briefly, tired, then takes her hand away and puts drops in his eyes. JOE (CONT'D) Do you want to go overseas? SUZIE Do I want to go overseas? With you? Now? JOE Soon, maybe. SUZIE Baby that’s sweet. You’re a sweet boy. You gotta be careful, it’s easy to think you know someone once you been like this. What’s in here is services rendered. JOE Is that how it aughta be? SUZIE What, in nature? (beat) You know I get this a lot. Especially young guys. I must have wife eyes or something. His face clouds.22.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JOE’S APARTMENT - NIGHT Joe gets home. Empty, quiet. Everything in place. He goes to the rug, pulls it aside. Opens the safe. All the gold, and nothing else. One bar juts from the side, knocked out of place. He pushes it back, and when he lifts his fingers they have a bright smear of fresh red blood.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CITY OUTSKIRTS - NIGHT A hunched figure sprints through an abandoned lot towards a train yard. It is a 55 YEAR OLD SETH. He limps up to a razor-wire fence bordering the train yard. Surveys the sharp wire, rips the lining from his jacket and wraps first his left hand then his right. But stops. On the palm of his right hand, a WEATHERED SCAR. Clearly carved in the shape of an arrow, pointing down to his wrist. Old Seth squints at it, confused. He pulls back his sleeve, revealing his clean bare forearm. Then his face changes. Because his arm is no longer bare. Suddenly, out of nowhere, more intricate scarring has appeared down its length. The scars spell out clearly: “BE AT 75 WIRE STREET IN 15 MINUTES” Old Seth’s breath returns, jagged. He pulls his sleeve up and hoists himself up the fence, climbing fast. He reaches the top, gets a good grasp on the wire to hoist himself over... and stops again. His right hand is missing a finger. The ring finger is just gone, its stump worn with age. Old Seth stares. And now his middle finger is gone as well. A freight train whistle moans. The cars, open and inviting, leading out of town. Behind him, the city. Terror and indecision seizes his chest, so much so that it takes a moment for him to realize the sound of his breathing has changed to a ragged whistle.23. He lifts his hand, now with just two fingers, to his face... and the smooth scarred hole where his nose used to be.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CITY STREETS The train yard far in the distance. Old Seth RUNNING back into town. He looks down at his right hand, fingerless now but for his thumb. He speeds up, desperate. Cuts through an alley. And has no right hand, just a stump. OLD SETH No no no no no! A bell-like DING. Old Seth spins, sees a WEDDING BAND lying on the sidewalk. He picks it up with the four remaining fingers on his left hand, stuffs it in his pocket, sobbing. Bursts out of the alleyway, limping now, straight into the street and into the headlights of an oncoming car. The car screeches to a halt, and its harsh white light shows Old Seth’s missing right ear, and deep scars down his face. IN THE CAR Old Seth throws open the drivers side door and throws out the DRIVER. Jams on the gas. Speeding through the streets, hands slipping on the wheel. His pant leg crumples. Empty boot tangling with the pedals.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. WIRE STREET The car hits a pole. Out climbs what’s left of Old Seth, his face mangled, missing a foot, one arm gone to the elbow. Street sign - WIRE STREET. The numbers, 45. He runs. Howling, missing his tongue. Arm totally gone. Then falls as his leg goes to the knees. And he’s crawling, an animal form, bellowing wordlessly. Makes it to an iron street-side door. 75. And with his one arm, slams it. Slumps against it, heaving. After a long moment it swings open.24. With no hesitation, a BLAST from the darkened doorway, and Old Seth’s head mists open. He slumps to the pavement. Kid Blue steps from the doorway, drags the body inside. Deep in the dark doorway we glimpse a DOCTOR in a surgical frock smeared with bright red blood. The door SLAMS.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. JOE’S APARTMENT - MORNING Joe wakes with a start.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CORN FIELD Joe’s pocket watch at 2:29, ticking away. He takes his stance. Earbud headphones, the drone of French lessons. A hog-tied MAN with a sack on his head appears kneeling before Joe. Joe raises his gun without hesitation and shoots the man in the chest. Walks to the body, flips it. The man’s hands, tied and purplish. Joe hesitates. Puts his hand next to them. Similar. He flips the man onto his back, stares long and hard at the shape of the man’s face under the cloth sack. Tears it off. An older Asian man’s face, frozen in terror. Joe smirks, the spell broken. His face hardens.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PLANT - DAY Joe watches the Asian man’s body slide down the hatch and vanish in a puff of distant fire. BEGIN MONTAGE: 1. Joe in the club, drinking, watching more loopers celebrate. 2. Joe in the field, he shoots a hog-tied man. 3. Joe in his floor safe, setting more gold bars. 4. Joe in the field, BANG. 5. Joe in the club, watching Suzie with her red hair. 6. Joe in the field, BANG. 7. In the plant, a body sliding into the fire. 8. Joe in the field, BANG. BANG. BANG. His face more determined with each shot.25.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CORN FIELD - DAY Our montage comes to an end suddenly and all is silent. Joe in the corn field, in his stance, ready to draw. But nothing happens. Silence. Joe checks his watch, confused. 2:30 and change. Waits. Watching the blank space where the man is supposed to appear. Hand on his gun. Breathing shallow. Something is wrong. 2:32. An eternity. Then, there he is. But different. Not kneeling. On his side, so he flops over and has to straighten himself. The man’s hands are UNTIED. Holy shit. Joe raises his gun, scared. Time slows. Finger tightens on the trigger. Then he sees: the man has NO SACK ON HIS HEAD. And the face that stares back at Joe is his own. 57 YEAR OLD JOE. His eyes fixed on Joe. And for just one split second, Joe’s face slackens, and his finger eases on the trigger. It’s all the hesitation Old Joe needs. He throws his body into a spin. Joe snaps out of it, and PULLS THE TRIGGER. The shot catches Old Joe square in the back, and the impact blows him forward. But instead of blood beneath his torn jacket’s back, we see the layered gold bars spill out. They caught the blast. In what seems like one fluid motion Old Joe’s fingers grab one of the bars, he spins again, throwing handfuls of dirt and the bar back towards Joe. Joe flinches, again just for a moment, and when his eyes focus again and his arm steadies the gun it’s too late. Old Joe is on top of him, with a heavy blow knocking the gun aside, and with an even heavier one swinging down on Joe’s head, a fist and then THE CORN FIELD, HOURS LATER Joe wakes. Blood caked on his face. Headphones beside him, still squawking French lessons. Sits up.26. JOE Oh god. Gold bars scattered in the dirt. But no Old Joe. And no truck. Joe staggers to his feet, shaky. Head thick. But realizing. JOE (CONT'D) Late to my own funeral.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FARMLAND ROAD - LATE AFTERNOON Joe runs, shaky, towards town. Fishes his phone-device from his pocket, chucks it.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. JOE’S APARTMENT BUILDING - NIGHT Across the street, Joe huddles behind a car, breathing hard. Looks up at his lit window. Debating.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. JOE’S APARTMENT HALLWAY Joe walks silently towards his apartment door. It is ajar. He hesitates. Knows he shouldn’t.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JOE’S APARTMENT Holding his breath, Joe edges in. It’s ravaged, torn to pieces. The floor safe is open, about half the gold bars missing. But the apartment seems empty. Exhaling, Joe works quickly. Knocks a tile aside, pulls a wad of cash from the wall. A heavy jacket from the closet. Eyes dart around the room - what else? But too late -- footsteps in the hallway. Joe ducks into the bathroom just as Kid Blue and a TALL GAT MAN enter the apartment.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JOE’S BATHROOM Joe crouches. Outside, Kid Blue piles the man’s arms full of gold bars. KID BLUE (O.S.) That’s twenty four there. I’m keeping count. TALL GAT MAN (O.S.) Uh huh. KID BLUE (O.S.) Two more trips should do it. Joe gently lifts himself off his haunches.27.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JOE’S APARTMENT The Tall Gat Man exits, Kid Blue stays crouched over the floor safe hefting out bars, his back to the bathroom. In the distance, a GUNSHOT. Kid Blue’s head perks up. CREAK! From the bathroom. Quick as lightning, the Kid draws his gat and spins - but Joe is already upon him, full spr",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int. SLAM! Joe tackles the Kid backwards. But while Joe uses his momentum to leap over the OPEN FLOOR SAFE, the Kid tumbles back into it, vanishing inside with a painful thud. Joe scrambles to a stop, lifts the heavy safe trap door and SLAMS it down - just as the Kid’s hand grasps the open edge. With a sickening CRACK, the trap door closes on the Kid’s fingers. A bellowing howl, his fingers withdraw, and the safe door clicks shut. The ELECTRIC BOX rigged to the code pad to crack it clatters off, and whirrrr, CLICK. Locked. Joe, panting, goes on hands and knees to the safe door and shouts clear and earnest: JOE Kid listen Kid. I’m sorry. Tell Abe I’m going to fix this. Tell him keep my bars safe cause I swear to god I’m going to fix this, I’m going to find my loop and I’m gonna kill him. Tell Abe- CRACK CRACK! The wood paneled floor above the safe door splinters upwards with gunshots, and a chunk of Joe’s right ear explodes. More blood than you’d think spills down his neck, Joe falls back. Three more shots - CRACK CRACK CRACK! And now footsteps running down the hall. Joe on his feet, slipping in his own blood, sprints across the apartment. The TALL GAT MAN appears in the doorway, shooting blindly at Joe, chunks of wall and plaster exploding as Joe doesn’t stop but JUMPS OUT THE WINDOW.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. JOE’S APARTMENT WINDOW - NIGHT 5 floors up, Joe leaps out, hits the fire escape, bullets shattering the window. Blind with blood, ears ringing, Joe barrels down the fire escape. A confused blur of iron steps, slipping and scrambling down, but now the tall gat man is out the window and shooting down at him. Somehow Joe slips and rolls, grabs at thin air, falling - three stories at least, falling. When he hits the ground the world goes away.28. Old Joe",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CORN FIELD - DAY We abruptly CUT ON to a very familiar scene. Young Joe stands alone in the corn field, in his stance, ready to draw. But nothing happens. Silence. Joe checks his watch, confused. 2:30 and change. This is exactly the scene where Old Joe appears, being replayed before our eyes. But when Old Joe does APPEAR, it’s different: his hands are tied, his head covered with a sack. And something very different happens: Joe raises his gun and without hesitation PULLS THE TRIGGER. Old Joe’s chest explodes. He falls dead. Joe approaches the body, and slows. Sensing something. He pulls off the sack. The face of his older self. Old Joe. He flips him over. Gold bars CLINK beneath a bloody jacket. Joe has closed his loop.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LA BELLE AURORE CLUB - NIGHT The other LOOPERS buy Joe drinks and cheer him, celebrating.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. JOE’S APARTMENT - MORNING His belongings in boxes. Joe unloads the GOLD BARS from the trap door.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CARGO SHIP DECK - DAY Out at sea. Joe, bundled against the cold, leans on a railing, eagerly watching the horizon.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARIS APARTMENT - DAY Joe smoking in window of an empty apartment, half unpacked.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PARIS STREETS - DAY Joe walking the city streets, breathing deep. Alive.",SENTI +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARIS BODEGA - NIGHT Joe picks up a bottle of beer. Several FRENCH GANGSTERS in suits shake down the OWNER of the shop for money from the register. One holds a gun in the owner’s face. Joe ignores them, walks out.29.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARIS CLUB - NIGHT Loud and dark. Joe shotguns eye drops right out in the open, dances like a madman.",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARIS APARTMENT - DAY Joe’s apartment, unpacked and lived in. Joe smokes. In a NOOK behind a wall panel - stacks of CASH.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. PARIS STREETS - DAY Cloudy and cold. Joe wanders alone. Buffeted by strangers.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PARIS CLUB - NIGHT Music pumping, Joe deadened at a table, in another world. Beside him a YOUNG PUNK makes a glass float using his TK power, then shatters the glass. Red liquid goes everywhere.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARIS APARTMENT - DAY Joe takes money from the stacks in the nook, which have grown drastically low. LATER - sets a hypo down in the ashtray.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARIS BODEGA - DAY A GUN in the face of the shop’s OWNER. Held by Joe. Several years older now, in his mid thirties. Dressed in a suit, surrounded by fellow GANGSTERS. Now part of their gang.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PARIS STREETS - NIGHT A shoot-out between rival gangs. Joe’s guns blaze. A remorseless killer. Blasting away, cold and skillful. Smashing up shops that won’t pay protection. He’s muscle.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARIS GANG HEADQUARTERS A dingy dark hallway. Distant thumping bass indicates it’s maybe behind a club. The hall is lined with French Gangster, all similarly dressed. Reminiscent of the Gat Men. It takes us a moment to recognize Joe among them. In his EARLY 40s now. His face a hard weathered mask. A soldier. (Note - it is here we transition from the actor playing Young Joe to the one playing Old Joe.)30.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. PARIS STREETS - DAY Snow on the ground.,SENTI +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARIS CLUB - NIGHT Old Joe high as a kite, in an all out brawl. Punched to the ground. Laughing his ass off. A bar fight blossoms in slow motion all around. Old Joe looks up, sees the woman who will be his WIFE for the first time. Long red hair (reminiscent of but NOT Suzie.) In a green dress. She flees the fighting, towards the exit. “SORTIE.” Transfixed and high, Old Joe follows her. Puts his hand on her shoulder. She turns, looks him over. Flips him off. Leaves. Old Joe watches her go. In love.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARIS CAFE - DAY Old Joe hits on his future Wife, she tells him to fuck off.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. PARIS BEDROOM - DAY Old Joe in bed with his future Wife. They kiss.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. PARIS STREETS - DAY Old Joe shoots up a storefront with his gang.,FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARIS APARTMENT - DAY Old Joe’s future wife yells at him, holding his gun holsters accusingly. She throws them across the room. LATER - He holds her in bed, both of them troubled.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAR - DAY Old Joe driving. Deep in thought. His future Wife beside him, her hand on his. He hits the brakes.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FRENCH BEACH / HIGHWAY - CONTINUOUS The car screeches to a halt on a beach side road. Old Joe gets out, runs across the beach to the water, pulling his gun out of its holster. He fires it out to sea till its empty, then throws the gun into the ocean. He runs back to his Wife, standing on the beach. They kiss. They fall to the sand, and kiss.31.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. FRENCH COUNTRYSIDE - DAY A cottage in the country.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. FRENCH COTTAGE BEDROOM - NIGHT Old Joe sweats and shudders out his drug addiction. His Wife tends to him.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FRENCH COTTAGE - SUNSET - YEARS LATER Old Joe in his mid 50s, his Wife lying on a hammock with him, reading. Hands lazily entwined. A good life.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FRENCH COTTAGE KITCHEN - MORNING - A WEEK LATER The Wife cuts vegetables. Headlines (in French) scroll across a small floating screen, against images of destruction. “Gangland Terror Spreads, Who is The Rainmaker” She turns it off.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FRENCH BEDROOM - MORNING Lazy, dust motes hanging in the sunlight through the windows. Old Joe in bed, in his late 50s. His Wife walks through, says something inconsequential, puts her hand on his foot. Draws it away, fingers sliding off gently. And is gone. We stay with Old Joe. His deep breath. The sun warming the sheets. Running water from the kitchen. His eyes focus on his hand. Written in faded ink on the palm is a number we do not recognize: 07153902935. A long moment. With all the violence in the world, the cottage’s green front door is KICKED OPEN. Joe runs out of the bedroom half dressed, and GANGSTERS grab him, taking him down with a rifle butt to the head. His Wife is dragged from the kitchen screaming.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. COTTAGE - CONTINUOUS Dark cars parked out front. We watch the quiet facade for a moment too long, violence that we don’t want to think about happening inside. Then the door BURSTS open and Gangsters drag Joe out, sobbing thrashing and bleeding from his head.32.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BASEMENT - DAY Concrete, nondescript. The Gangsters carry Joe in, now hog tied. Put a sack over his head. Lead him towards a machine, an iron monstrosity with a hatch. One of the men taps his watch - hurry. Another man pulls a large lever, and the machine hums, warming up. Joe’s face, covered with the sack. Breathing. Remembering: flashes of his WIFE, screaming. Then Joe LUNGES and somehow his hands are loose, he PUNCHES one man, tears off the sack, PUNCHES another man, a flurry and then it’s over. He stands among a pile of broken men. Slowly takes stock. Looks at the exit. Looks at the faded number on his blood-smeared hand. A million things in his mind. But just one choice. The machine hums angrily. Ready.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. TIME MACHINE - CONTINUOUS Like an iron coffin. Old Joe climbs inside. Braces himself. Closes the hatch behind him. Flash and crack and he is sent.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CORN FIELD - DAY And appears in front of his younger self. The scene now plays out as it did the first time. Joe hesitates, Old Joe gets the upper hand, knocks him out. Old Joe looks around, gets his bearings. Stares at his younger self a moment. Then goes to the truck.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. HIGHWAY - DUSK Old Joe drives the truck into the city.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BODEGA - NIGHT Cramped. Old Joe walks in quickly, gets aspirin, wrapped sandwiches, bandages, big bottles of water. Removes his torn jacket, dumps it. At the register, the CLERK bags everything up. Old Joe pulls the blunderbuss on the clerk. OLD JOE And your jacket.33.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ALLEYWAY - NIGHT Wearing the clerk’s jacket, Old Joe takes four aspirin. Holds his head a minute, rocking gently.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. JOE’S APARTMENT - NIGHT On the street outside the building. Old Joe approaches, watching the window high above. Weighing his options. He scans the street. Spots an ARMORED VAN in the alleyway. Movement from behind it - Kid Blue and the Tall Gat Man loading their bars in the back. OLD JOE Shit. Old Joe turns to go, but STOPS when his eye catches movement between parked cars. It’s Joe. Young Joe, hid between the cars, looking up at the apartment building weighing his options. OLD JOE (CONT’D) (sotto) Don’t do it. Idiot. Don’t do it. After a moment Joe dashes across the street and into the building. Old Joe stays still a moment, watching him go. Ducks into shadows as Kid Blue and the Tall Gat Man step from the alleyway, wiping their hands. KID BLUE Two more trips. They enter the building. Old Joe takes a breath, then casually walks down the sidewalk, past the alleyway, scoping the Armored Van. A GAT MAN DRIVER in the driver’s seat.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ARMORED VAN The Gat Man Driver watches Old Joe disappear from view. Suspicious, he uncovers a GAT on the seat beside him. When he looks back up Old Joe stands in his headlights, blunderbuss raised. BANG! The windshield shatters, the Gat Man Driver is torn apart. Old Joe runs up, flings open the door, digs through the bloody mess frantically, finding the GAT.34.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. JOE’S APARTMENT Old Joe dashes out onto the street as gunfire cracks from the high apartment window. Sharp eyes will notice that Old Joe’s right ear is now clipped off, an old wound. He dashes towards the apartment door, gun in hand, but stops when the window five stories above shatters with gunfire. Old Joe backs up, and sees Joe scrambling down the fire escape as the TALL GAT MAN fires down at him. Old Joe takes expert aim with the gat, and fires three shots upwards. The Tall Gat Man’s gunfire stops. Joe slips on the fire escape, falls two stories and lands on the hood of a parked car. Old Joe goes to him, checks his pulse. Behind them the TALL GAT MAN hits the sidewalk with a SPLAT. Old Joe goes to the tall gat man’s remains, picks another gat out of them, and goes back to Joe’s inert body on the car hood. OLD JOE Stupid little shit. He lifts him in his arms.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CITY OUTSKIRTS - NIGHT Joe wakes slowly, pained. Lying alone in an abandoned lot on the outskirts of town. Slowly he takes stock of himself. Nothing broken. A tight bandage on his ear. A mournful train whistle, and he turns. Through a chain link fence, the train yard. He was put here for a reason. A man and a young boy in rags hop onto an empty cargo car, heading out of town. Joe watches the boy, his eyes angry. Stands shakily. And walks away from the train yard. Something like a HELICOPTER sweeps overhead, a spotlight zigzagging the area. Joe ducks into shadows, heading towards the city.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LA BELLE AURORE BACKSTAGE A swarm of activity, Gat Men rushing in and out.35. ABE (PRE-LAP) He ain’t dumb like the last, we gotta get lucky now. Cover the roads out of town. Sweep the streets, pull in his social circle, pound the pavement.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ABE’S DEN Map spread on a table. Gat men gathered around Abe. GAT MAN 3 He’ll hop a train. Fast and untraceable. ABE Maybe. Sweep the train yard. Every second that passes is bad, go.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ABE’S OFFICE Kid Blue slumps in a chair, holding a rag to a wound on his head. Eyes wet from crying. Abe storms in. ABE Stupid little shit. KID BLUE I can’t hear you Abe leans in next to his ear and shouts ABE Well that’s what happens when you fire a gat in a steel box you stupid little shit. KID BLUE I can fix this. I can find him. ABE Go home and let the grown ups work. Kid Blue.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CITY STREETS - NIGHT More helicopters sweep the streets, searchlights blazing. Cars with Gat Men circle slowly, shining spotlights themselves. Joe leaps from the shadows, ducks behind a dumpster. Barely avoiding the light. He won’t last long out here. JOE Where would I go if I were me.36. He sprints into an alleyway, but Gat Men are coming down the other side with flashlights. Goes back the way he came, turns a corner.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SETH’S APARTMENT Joe finds himself in front of a familiar BRIGHT RED GARAGE. Seth’s apartment. Three stories up, Seth’s darkened window. He looks up at it, hesitant but desperate.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PUBLIC LIBRARY - NIGHT A window shatters inward, punched through by a wrapped fist. A big reading hall, empty and dark. The broken window opens, Old Joe slides in. Weaves his way past the reading tables, finds what he’s looking for at a desk. A suspended sheet of thin plastic turns out to be a computer. Checking his hand, he inputs the number. Navigates menus and windows, information flashing, searching.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LA BELLE AURORE - NIGHT Gat Men in cars and helicopters patrol the streets. Kid Blue sits on the curb, smoking a cigarette. Seething at his bandaged hand. Deep in thought. His eyes lift. An idea.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SETH’S APARTMENT - NIGHT The familiar red garage. And three stories up, Seth’s lit window. Kid Blue pulls a small caliber gun from a holster concealed on his boot, enters the building.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PUBLIC LIBRARY - NIGHT Old Joe finishes printing several large documents that look like maps. He folds them up, pockets them. Dashes to the window, starts to heft himself up - And stops. On his hand, a smooth aged scar. Of an arrow. Pointing to his wrist. Old Joe’s breath catches. He pulls down his sleeve, revealing “B” then “E” Then “A then “T”... He bares his arm, reading the entire message.37.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SETH’S APARTMENT - NIGHT The peephole screen on the inside of Seth’s apartment door. Kid Blue manipulating a device, a shower of sparks blows the screen out momentarily, and the door swings open. Kid Blue storms in, his gun drawn, sweeping through the apartment with over-eager purpose. Empty. He deflates. Thinks. Goes to the peephole screen, touches it and a menu comes up. A little manipulating, and the image is rewinding. An empty hall, scanning back half an hour. Then: young Joe. Kid Blue stops scanning, hits ‘PLAY’. Joe feels around the door jam, retrieves a key, and enters the apartment. Kid Blue exhales. Well Joe was here. Taps the screen again, it goes back to a live feed, and he’s about to step away when his eye catches something. He pushes a square on the screen, and the view changes. To a live feed from a camera in the ceiling of the apartment. Excited, Kid rewinds this half an hour. On the screen: Joe enters the apartment. Rifles around a little, then sits at the table. Head in his hands. Staring into space. Then goes to a kitchen drawer, opens it, gets something. Goes to the front door, takes something off the wall, briskly exits. Kid Blue stops the screen. He goes and sits where Joe sat. Stares where Joe stared. The kitchen counter. A blender, sink. Can labeled “COFFEE.” Kid goes to the kitchen drawer Joe opened, pulls it open. It’s full of knives. Kid goes finally to the door, looks at the wall. A small rack for keys, several hanging and one empty hook. Kid Blue stares into space, trying to put these pieces together. Lights a cigarette.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. CORN FIELD - DAWN - ESTABLISHING The sun rises over a flat endless field of corn stalks.38.,SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CORN FIELD We push forward through the green stalks at a brisk pace. They part before us, endless, hypnotic.",SENTI +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BEDROOM - MORNING - FLASHBACK The same from the previous flashback. Old Joe in bed, half asleep. A woman’s arm under his neck. It slips away, and he kisses its wrist. Comfort, warmth. The woman, leaving. Her hand touches and slides off his foot, moving away.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DINER - EARLY MORNING Old Joe emerges from the corn fields bordering the sidecar roadside diner. Fumbles in his jacket, dry-swallows four aspirin. Regains his footing. Walks around the diner cautiously. Parked in back behind a dumpster, SETH’S SLAT BIKE.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DINER Joe sits at a booth. Old Joe enters, steps up slowly, sits. A moment of silence. Along with his ear, Joe’s hand and arm are now wrapped in bloodied bandages. Joe’s eyes go to Old Joe’s arm. Old Joe pulls his sleeve back and shows him the scar spelling “BEATRIX.” Beatrix the waitress steps up breezily. BEATRIX Coffee? OLD JOE Please. Black. And water. BEATRIX Anything else? OLD JOE (to Joe) Are we eating? JOE I ordered something. OLD JOE Steak and eggs, rare and scrambled. BEATRIX Two steak & eggs coming up.39. She goes. Another pause. OLD JOE We’re not going to talk about time travel. JOE ...ok. OLD JOE Must hurt. His arm. JOE Yeah. Didn’t know if you’d remember her OLD JOE I put it together. Clever. (beat) Do I get the scar when you’re cut, or when the knife is on its way down and it’s inevitable that you’re going to be cut? JOE I’m not cutting myself again to- OLD JOE I’m not asking you to. JOE It’s an interesting question, I’ve just lost a lot of blood today. OLD JOE You know there’s another girl here on weekends. JOE (realizes) Sue. OLD JOE Well. Have fun explaining who ‘Beatrix’ is for the next thirty years. Beatrix sets Old Joe’s black coffee next to Joe’s white. OLD JOE (CONT'D) How’s the French coming? JOE Good.40. OLD JOE (fast in French, subtitled) I know you have a gun between your legs. Joe’s face registers obvious incomprehension. OLD JOE (CONT'D) No? Well you’ll get there eventually. Obviously. JOE I don’t care what you’re here for, whatever you think you’re going to get from me. More time or whatever you want. I can’t let you walk away from this diner alive. Because the next 30 years of my life- OLD JOE I’m sorry to cut off - sorry to cut off this spiel you’ve been practicing all night, but I need you to need you to listen. Listen.JOE -are mine they’re not yours they’re not yours anymore you can say anything you want but you’re not walking outta here alive OLD JOE You know what the voice of god sounds like? See now good you’re confused now but you’re listening. I hope the voice of god sounds like an old man speaking French. Old men speaking French sound like primeval trees in a strong wind, just irrefutable. Wise, strong, gentle, all these things in harmony, complimentary. At once. Old men speaking French. Young men speaking French sound, without exception, like weenies. Fact. You ever hear a Frenchman under 40 try to sound threatening? It’s hilarious. English is a tight t- shirt, flatters the young. Rat a tat tat. French is a double breasted suit. Young man can put it on, but it always feels like he’s putting something on. Some things, you just need the years. It’s my favorite language. JOE I’ve got a life ahead of me that’s mine and I’m not giving it up for you or anybody41. OLD JOE Well you know what you have to do then why don’t you take your little gun out from between your knees and do it. One in the head, two in the heart. Boy. It’s all “anybody” and “never” and then you show up here and think you can talk me into dying. Well bullshit we both know you’re not going to kill me. Christ you ordered eggs. Old Joe downs two aspirin. Takes a breath. OLD JOE (CONT'D) I know why you couldn’t pull that trigger. When you’re tasked to do the unthinkable, your mind, it’ll do anything it can to stop you. Only way is you gotta know why you’re doing it, in your bones, so you can say it out loud to someone without apologizing. Or you gotta cut yourself off, go numb. But that’ll kill you, down the line. (beat) It’s hard to make eye contact with you. It’s too strange. JOE Your face looks backwards. OLD JOE Yeah, that helps actually. That little twist of unfamiliar. (beat) You’re not winning some pissing contest by looking me in the eye, you didn’t know what I looked like until yesterday, it makes sense that it’s easier for you. JOE I wasn’t trying to. Do you know what’s going to happen? Have you already done all this, right now, as me? OLD JOE No not - exactly - I don’t want to talk about time travel shit, because we’ll start talking about it and then we’ll be here all day making diagrams with straws. It doesn’t matter.42. OLD JOE The pepper is a sort of fog. See my memories start clear here, (at the right straw) but as they go back they get cloudier, until they’re totally obscured. It’s like a fog. Because my memories aren’t really memories, they’re one possible eventuality now, and they grow clearer or cloudier as they become more or less likely. But then they get to the present moment (the left straw) And they’re instantly clear again. Like a wall of fog moving forward with the present moment. I can remember what you do after you do it. He pushes the left straw slowly towards the right, and it pushes the pepper with it. JOE So you can OLD JOE And it hurts. JOE So when we’re apart you can remember what I do. After I do it. OLD JOE Uh huh. But Beatrix brings their food, two identical plates. Old Joe awkwardly clears away the pepper and straws. OLD JOE (CONT’D) This is a precise description of a fuzzy mechanism. Time travel fucks everything, my brain and body try to catch up. It’s messy. That’s why it’s dangerous. And it hurts. All I know I know two things for sure. I know what’s happening in my head. And I know that you’re still going to meet her. JOE Who? Old Joe takes a worn double of Joe’s POCKET WATCH from his pocket, clicks it open. We don’t see inside it, but he stares at it intently.44. JOE (CONT’D) This is a woman, what? I’m going to fall in love with? OLD JOE She’s gonna save your life. Old Joe makes eye contact with Joe, for maybe the first time, and holds it. Unexpectedly naked on his face is the deepest sort of grief. Deep and unrelenting. Joe can’t look at it, he breaks off his gaze. The grief is too much for Old Joe to swallow back down, so he turns it into anger. OLD JOE (CONT’D) For a long time at the beginning she thought we’d have a baby. She would have been a good mother. She wanted that so much. And now I’m saying sorry to a picture. JOE She’s. How is she, you said save my life. OLD JOE Your life. Let’s look. At your life. You’re a killer and a junkie. And a fucking child mentality, “My life,” “what’s mine.” Save your life, you’re asking how? The question is why. Why would someone waste themselves on you, give up the good life they had, sacrifice a good life to love you. JOE My life is my own, I don’t need it saved OLD JOE Shut your fucking child mouth. She’s going to clean you up and you’re going to take her love like a sponge and you’re both going to pretend that she’s saved you, you’re so self absorbed and stupid. (beat) Yesterday. Thirty years from now is yesterday. And I can remember it, it’s going to happen. Let me tell you what’s going to happen to this woman who saved your worthless life. A GREEN DOOR - Kicked in with all the violence in the world.45.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FRENCH COTTAGE - MORNING (FLASHBACK) His Wife spins, as Gangsters burst into the entryway. Old Joe in bed. It plays out again. He leaps to his feet, is tackled by the Gangsters. They drag Old Joe from the bedroom. Though the hall, Joe sees the woman struggling against two Gangsters, her dress torn and bloody. One approaches her with the knife. Old Joe screams, struggles, but cannot stop them from doing what they do to her.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DINER Joe is not sure where to put his eyes. OLD JOE Have you heard of the Rainmaker? JOE Seth said, that night. A new boss in the future, he said. OLD JOE The Rainmaker came out of nowhere and in the span of six months took total control of the five major syndicates. JOE That would take an army. OLD JOE But he didn’t have an army. Legend is he did it alone. Alone alone. Don’t know I believe the legend but he didn’t have an army. JOE How did he do it? OLD JOE That’s the question. And no one knows. Not only that, there’s no pictures of him. It’s insane. There’s stories he has a synthetic jaw. Things like that. But word spread quick about him through the ex-looper grapevine, even before his mass executions and vagrant purges and reign of terror, because the first thing he did was start closing loops. All of them. Exterminating the whole program. Cleaning house.46. Old Joe pulls the folded papers he printed at the library out of his jacket, puts them on the table. OLD JOE (CONT’D) Do you know what this is? This number. This number. On the back of his papers he scrawls the number: 07153902935. As he writes it, a phone starts ringing, bringing us into:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. OFFICE - DAY - FLASHBACK An 8th story office, under siege. Gangsters down in the street fire up at the windows with guns. Helicopters pass by. The office door is blocked shut with a filing cabinet. On the phone - the looper DALE, but in his mid 50s. Battered and terrified. Holding a piece of paper, reading off it, on the phone with Old Joe. The wall with the door in it EXPLODES inward.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FRENCH LIVING ROOM - CONTINUOUS - FLASHBACK The line goes dead. Old Joe hangs up. Looks at his hand, with the number. Standing in his cottage, before he was sent back. Through the window, his wife working in the garden. Old Joe closes his hand. OLD JOE (V.O.) This is a piece of identifying information on the Rainmaker. I can use it to find him, now, and stop him from killing my wife.",FLASHBACK +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DINER Old Joe showing the number to Joe. JOE None of this concerns me. We’re done we’re gonna walk outside now. OLD JOE This is going to happen JOE It happened to you, it doesn’t have to happen to me. (points: the pocket watch) You got her picture in there? Show it to me. Show me her picture. And when I see her for the first time I’ll walk away, and she won’t be with me. 47. (MORE) I guarantee the instant I look at her picture that fog in your brain will swallow up the memories of her and she’ll be gone. OLD JOE Gone. JOE She’ll be safe. And then we can all do what we have to do. A beat. Old Joe holding the pocket watch, gazing at it. Then he snaps it closed in his fist, drawing it back. OLD JOE No you don’t understand. We don’t have to give her up. I’m going to tell you why I’m here now. He puts his hand on the folded papers. OLD JOE (CONT'D) I’m gonna save her. A quick beat. Joe goes for his gun. But Old Joe is fast, he jams his foot into Joe’s crotch, crushing the hidden gun into him. Joe cries out, Old Joe grabs his hair and plants his face into the table. When Joe’s hands go to his face Old Joe grabs them and pulls. Foot in his crotch, pulling his arms tight over the table. OLD JOE (CONT'D) The Rainmaker is alive right now. Living here, somewhere in this county. And I can find him with this. I need you to lay low, stay out of my way and not get caught. I know how to fix this, I won’t stop till I finish it. I’m going to find him and kill him. Joe’s face loosens, his eyes on their coffee cups. JOE It’s been awhile since we’ve gotten a warm-up. Old Joe realizes, looks around. The diner is eerily quiet. Beatrix and the staff have all quietly left. Fled. Old Joe swings out of the booth, still holding Joe by the hair, dragging him like a doll. Joe’s blunderbuss clatters to the ground. Old Joe drags him to the window. They look out. Nothing in the parking lot. Too quiet.48. JOE (CONT'D) OLD JOE It’s been thirty years for me, so it’s hard to remember. When you stole Seth’s bike you stripped out the security tracker. Right? Joe’s fearful face says ‘no.’ Old Joe draws his gat. OLD JOE (CONT'D) Make it to the field, you can lose them in the field. Go east and hop a train Joe punches Old Joe square in the jaw, and he goes down. His papers and gun fall. The diner door EXPLODES. JOE I’ve got him! He’s here! A GAT MAN barrels in, his gat blazing. Joe scrambles but Old Joe gets the gat. With an expert shot Old Joe puts the Gat Man down, but there are two more behind him. Pinned behind a booth, Old Joe returns fire, glass breaking and chaos. Joe grabs at the papers, Old Joe grabs them first and yanks. Leaving Joe with a torn-off top sheet. Joe scrambles away, down the length of the diner behind the booths, back to their table, as the Gat Men and Old Joe have their fire fight. Joe’s blunderbuss on the ground beneath the table. He scoops it up. Turns, and fires at Old Joe. OLD JOE Shit. Joe’s blunderbuss hacks another shot, and the window behind Old Joe explodes. Old Joe makes his break, sprints for the broken window, jumps...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. BACK OF DINER - MORNING ...and hits the dusty parking lot running. Towards the corn.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FRONT OF DINER Kid Blue squats on his haunches with four more Gat Men, their guns trained on the diner door. Three Gat Men burst out, followed by Joe. DINER GAT MAN The back, he’s running! JOE Around back!49. They all run around back, where Old Joe is halfway to the corn but not there yet. The seven Gat Men and Kid Blue and Joe fire their guns after him while running but they’re too far away (and they’re running) so nothing hits. Joe blasts at the old man blindly, sprinting with all his might, eyes streaming tears in the dust. When Old Joe hits the wall of corn he seems to vanish. Four of the Gat Men follow him in, while the remaining pursuers slow to a stop, doubled over, panting. Defeated. It takes a few seconds for Kid Blue to realize that Joe is there with them. It takes another second for Joe to realize that the dynamic has changed. He turns and runs back towards the diner, Kid Blue and the Gat men in pursuit. One of the Gat Men fires. KID BLUE Alive! No, alive! Joe makes it to the Slat Bike, jumps on, hits the ignition. CLICK. JOE No fuck no fucking piece of shit CLICK CLICK. The Kid and the Gats closing in, and just the moment that Kid Blue lays his hands on the back of the bike the engine turns over with a ROAR. The back of the bike kicks up, heat and air blasts from the open slats beneath, blowing Kid Blue back on his ass. The bike HOVERS a few feet off the ground. Joe roars off into the corn. The Kid is on his feet running back to the Gat Men. KID BLUE The tracker! Get the tracker!",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CORN FIELD Joe riding at full speed through the thick corn stalks. He BAILS, snapping through corn stalks and rolling to a painful stop. The bike ZOOMS onward through the stalks, quickly out of sight. Pained, Joe lies still, breathing hard. Pulls Old Joe’s torn paper from his pocket. On one side, the number Old Joe scribbled: 1027363259 He flips it over. It’s a map. Mostly of empty farm land, bisected by a bold highway and scattered farm houses. One of them is CIRCLED IN BLACK.50. Sara",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FIELD - DAWN A bare field of churned chocolatey earth. Near its edge juts the dead stump of an old tree. A YOUNG WOMAN in work clothes named SARA chops away at the trunk with a large axe. Over and over, splintering it apart. Endless plains of corn surround the field. In the near distance, a two story farm house with an adjacent barn. Sara focused on her work as the sun rises.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CORN FIELD - EARLY MORNING Sara fiddles with a garbage can sized DEVICE, and with a crackle of mechanic thrusters it floats up and over the corn fields, spraying something chemical.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. FARM HOUSE KITCHEN - EARLY MORNING Sara makes coffee.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FARM HOUSE PORCH - EARLY MORNING She sits on a rocking chair, and mimes smoking an invisible cigarette. Our first good look at her face. Clear and beautiful, but it has been here for awhile. The morning light changes from steel blue to pale white. Rocking gently, fake smoking and drinking coffee. Not going anywhere.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FARM HOUSE BEDROOM - MORNING Blinds drawn, dark. A FIGURE lies in bed. Sara steps in, puts her hand on the sleeping figure’s foot. SARA C’mon baby. Time to get up.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. FARM HOUSE KITCHEN - MORNING Cooking eggs. The front door bangs. She looks up.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FARM HOUSE FOYER The screen door bangs in the wind. Sara inspects it. The latch is broken. She sighs. Then freezes.51. Through the screen door, some fifty yards across the front lawn, the dark figure of a MAN stands at the edge of the corn fields. Watching her. She watches right back for a long moment. Then grabs a shotgun mounted above the door and with no hesitation at all plows outside. The dark figure vanishes into the corn fields.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FARMHOUSE FRONT LAWN Sara storms down the porch and stalks across the lawn, shotgun extended. Not fucking around. Does not slow her pace until she is ten yards from the corn fields, where she plants herself and shouts: SARA Listen up fucker. I have shot and buried three vagrants in the past year. If you want to know the Christ’s honest truth I’m starting to get a taste for it. So I don’t care what hobo sob story you’ve got, I get a dozen a week and it cuts no cash with me. It’s me and my husband here, we’re broke and angry at our lot in this world and heavily armed. So take some corn and move on, but if you show your face again I will cut you the fuck in half. Silence. Just the wind in the corn. A long beat. Then Sara turns, walks briskly back. Moments later Joe’s face pokes through the corn stalks. He takes in the farm. The barn behind it. The fallow field. LATER Joe sits in the same spot, a few feet in the corn but with a clear sight line at the house. His gun on his knee. JOE’S FACE - Pale, sweating. Something’s wrong. He winces. Pinches his eyes. Headache. The sun pounds down. He looks at the piece of map. JOE C’mon. C’mere. C’mon. C’mon. C’mon.52.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. CITY - ESTABLISHING - DAY Helicopters sweep by.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ABE’S OFFICE Abe stands fuming, flanked by two Gat Men. Kid Blue sits like a kid in detention. ABE Well. You found him. And you russeled up a posse and went to git ‘em. Like a good little cowboy from one of your movie movies. Without telling me. KID BLUE I can do it again. ABE You can fuck up again? Really. You know what happens to me if I don’t get that old bastard? I got too much riding, Kid, I can’t afford a fuck-up playing cowboy. Put your gat on the table. Fighting tears now, Kid puts his gun on the desk. But he doesn’t take his hand off it. KID BLUE I wanted you to say I did good, that’s all I wanted. This is all I have. Abe puts his hand on the gat. Kids’ finger still on the trigger. A tense moment. Abe pulls the gun away, across the table. KID BLUE (CONT'D) Please just give me one more chance, I’ll bring him here alive and hold him and you can put a bullet in his brain yourself- Abe grabs the hammer. SLAMS it on Kid’s bad hand, crushing it. Kid howls, the Gat Men grab him.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. STEEP STAIRS Kid is literally dragged up the stairs by a Gat Man.,FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BACKSTAGE The Gat Man shoves Kid Blue through the twisty maze of backstage, past girls and Loopers and men.53. The Kid blubbers and bleeds. Humiliated. But he pulls himself halfway together. Make a show: KID BLUE I’m gonna make this good again. I will. I’m gonna be back.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ALLEYWAY - DAY Raining. The Gat Man pushes the Kid out the back entrance door, into the alley. The Kid instinctively turns towards the street. But the Gat Man steers him back, deeper into the alley. The Kid realizes what this means. Everything changes. KID BLUE Oh no. Oh no no no no He fights in vain to break from the Gat Man’s grip. Weeps, begs, clasps at whatever he can grab. The Gat Man turns a corner -- towards the alley’s dead end. KID BLUE (CONT'D) No! No! No no no no! Shrieking. Annoyed, the Gat Man throws the Kid hard to the concrete. The Gat Man pulls his gun, raises it without ceremony. BANG. The Gat Man’s face explodes. Staggers, his gun FIRES into the wall. He drops like a doll. Kid Blue lies in the rain, hyperventilating. His pant leg hiked up, showing his boot with its holster. In his mangled left hand, the small caliber PISTOL he keeps stashed. His pinkie on the trigger. KID BLUE (CONT'D) Oh. Cradling his crushed hand, dazed, he scampers off like a soaked rat.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FARM HOUSE - NIGHT Silent and still. Sara comes out onto the front porch. She gathers up a few things, turns out the porch light. Notices a floodlight still lit on the BARN across the yard. She turns the porch light back on. The dark corn fields, silent and vaguely threatening. She steps back in the house, emerging again with the shotgun.54.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FRONT LAWN - NIGHT Sara stalks towards the barn, shotgun in hand. Shadows loom across the yard. All is silent.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BARN - CONTINUOUS She reaches the barn. A hard pool of light from a mounted floodlight falls off to inky darkness. Hits a metal switch near the barn door and the light snaps off. In its absence the darkness swarms. She briskly walks back towards the house, but slows. Stops. Turns. In the darkness by the barn, crunch crunch. Crunch. And maybe a shape. Deep in the swarming dark. SARA Hey. Who’s there. Sara levels the shotgun at the darkness, and steps back. Quiet but definite - crunch crunch. And now, definitely a shape. A man. coming towards her. SARA (CONT'D) Stop right there. Stop!",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CORN FIELD - CONTINUOUS Joe slumped over unconscious where we left him, in the corn. Sara’s shout wakes him with a start. Sweating, pasty. Disoriented. Something is wrong with him. In a flash of panic he parts the corn stalks, sees Sarah backing away from the barn. The dark hulking figure of a man pursues her slowly but steadily. JOE Shit His hand goes to his holster but his gun has fallen out, he scrambles in the dirt for it.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FRONT LAWN Sara backing up still, shotgun leveled. The man, still in darkness, comes towards her. SARA You stop right there, you stop! She fires her gun in the air. The man pauses, but then continues towards her. She trips on a root, FALLS.55.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. 2ND STORY BEDROOM - NIGHT From a CHILD’S POV - We run across a darkened bedroom to the WINDOW. A child’s hand smacks the glass, and framed through the pane, through the unseen child’s eyes, this is what we see: Sara on the ground, fumbling the gun. In trouble. The DARK MAN, advancing towards her menacingly. At the last moment, from the corn fields, JOE runs into the light and steps directly between them, shouts, his gun raised at the Dark Man. And the Dark Man STOPS.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FRONT LAWN - CONTINUOUS Joe’s gun leveled, face set. But the porch light on the man’s face: it is not Old Joe. It is a man in his 30s, filthy, with down’s syndrome. A greasy sign around his neck: “PLEASE HELP MUWTE FOOD $ GOD BLESS YOU” Joe lowers his gun, face melting. SARA Jee sus. (to the MUTE VAGRANT) Hey, hey. I’m going to get you some food- But the man scampers off, leaving his sign. SARA (CONT'D) ...great.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SECOND STORY BEDROOM WINDOW The child, in darkness, watching. He recedes into the bedroom, his hand slipping off the glass.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FRONT LAWN Sara stands, picks up the sign, calls after the MUTE. SARA Hey you forgot your greasy goddamn hobo sign oh for godssakes. (turns to Joe) Alright, what are you? Joe turns away from her quickly, but doubles over, crumpling to a heap on the grass. Sara checks his face.56. SARA (CONT'D) Hey. Look at - hey. The fuck- ehh. Joe PUKES. She steps away. Takes a moment. Breathes.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FRONT PORCH - MOMENTS LATER She drags Joe up onto the porch, under the light. SARA Hey. Up here, at the light. Hey. Sara SLAPS HIM. Hard. His eyes snap open. He sees her face. She feels his head. Checks his eyes. Cherry red and veined, swollen under the lids. JOE (totally gone) My head... splitting apart... time eventualities, he said- SARA How long since you dropped? JOE Dropped Sara mimes an eye dropper. SARA Dropped, or what the kids call it. JOE A day. SARA One day. Wow. She leans back on her haunches, looks at him, deep in thought. Deciding what to do. Joe lies prone, shaking, sweating. JOE Thirsty. I can’t feel my legs SARA You’re withdrawing from a synthetic barbiturate. It’s a quick punch but it’s this bad a day in, without care you might not make it through the night. Sara looks at his shoes. Beneath the caked mud, fine leather. Her eyes linger on his gun. They turn cold.57. She stands quickly without a word, vanishing into the house. Joe lies still, breath shallow. Turns his head, hazy. JOE Thirsty. Thirsty. Soft footsteps approach. Small bare feet padding towards him through the front door. A young boy steps out onto the porch, 6 years old, named CID. Cid looks Joe over. His eyes linger on Joe’s gun. Then he kneels, his small hands feeling Joe’s sweaty face. Pushes a straw to Joe’s lips. Joe’s hands clasp around a plastic cup with a cartoon tiger, and he drinks. SARA (O.S.) (sharp) Cid. C’mere monkey. Cid goes back into the house, leaving his cup with Joe.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FARMHOUSE FOYER - CONTINUOUS Sara tries to pick Cid up but he dodges, walks up the stairs. CID Who’s that man? SARA Just a vagrant babe.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. FARMHOUSE UPPER HALL Sara leads him down the hall and into his bedroom. CID No he’s not. SARA Oh yeah? CID His shoes are too shiny. SARA Well aren’t you a smart monkey.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. CID’S BEDROOM He gets in bed. CID Is he sick? SARA Yup.58. CID Will he get better? SARA Yup. CID Promise? SARA Go to sleep. Okay. Night baby boy. Kisses him. CID Night Sara. Lingers over him in the pale light. Then goes.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HIGHWAY - NIGHT A darkened highway, the lights of the farm house distant. A small STAKE BED TRUCK rumbles up, stops on the soft shoulder. Sara at the wheel. Sits a second. Then climbs out. Roughly pulls Joe out of the flatbed. He lands in the dirt. Sara avoids looking at him, closes up the flatbed. Joe weakly grabs her ankle. She pries his hand off, and discovers CID’S CUP in the dirt beside him. Takes it angrily, strides back to the truck.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. STAKE BED TRUCK - CONTINUOUS Sara gets in, drops Cid’s cup on the seat beside her. Looks in her rear view mirror. Leaving a man to die. Looks down at Cid’s cup. For a long moment. SARA Ssssshhit.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BARN - NIGHT Sara lights a gas lamp. Threads a hose from a tank of water around the cot. Joe on a metal cot, covered with blankets. SARA Water. Drink it, all night, more than you think you want. Moves a metal bucket next to the bed. Adjusts the blankets. SARA (CONT'D) Aim for the bucket. And don’t chew your tongue off. In the morning we’re gonna talk.59. The last thing she does is handcuff his wrist to the cot and take his gun. On her way out she puts it on a bench beside the door, and turns out the floodlight.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CITY STREETS - MORNING Dawn breaks. Exhausted Gat Men dutifully patrol the streets with flashlights, stopping every passerby. On the outskirts of the city. Vagrant fires burn distant orange. A large drainage pipe drips into a brackish creek.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. DRAINAGE TUNNEL Underground. We move through it.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RUNOFF ROOM Cavernous space beneath a high street grating, damp and cold. Old Joe sits on the ground, methodically cleaning and loading his gun. He finishes. Places the gun on top of his folded, torn maps. Closes his eyes. Sees:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FRONT PORCH - NIGHT (OLD JOE MEMORY) A bank of fog clears, revealing Sara’s face looking down at us. She slaps us hard. SARA Hey.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. RUNOFF ROOM Old Joe touches his temple. Head aching. Remembering. OLD JOE The first time I saw her face.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. FRONT PORCH - NIGHT (OLD JOE MEMORY) Sara’s face. SLAP! SARA Hey.,FLASHBACK +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. RUNOFF ROOM OLD JOE No. No no. His POCKET WATCH sits open in front of him. He picks it up.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. FRONT PORCH - NIGHT (OLD JOE MEMORY) Sara’s face. SLAP!60.,FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. RUNOFF ROOM Old Joe holds his pocket watch tight like a talisman. Fingers dug deep in his head. OLD JOE No. The first time I saw her face.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARIS CLUB - NIGHT A fist comes straight at us. SMACK! We reel back, revealing: the Paris club, crowded and rowdy. A piece of Old Joe’s life that we’ve seen before. Joe (mid 40s) lies on the ground, lip bloodied, laughing hysterically at a YOUNG PUNK who has just hit him. A bar fight blossoms in slow motion all around. Joe looks up, sees the woman who will be his Wife for the first time. In her green dress. Whisps of fog drift into frame.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RUNOFF ROOM Inside Old Joe’s pocket watch, a picture. Of his WIFE. The sun breaks in through the grate above. Old Joe closes the pocket watch, holds in tight. Then he stands and picks up the gun and goes. CUT TO: A child stands in a massive doorway with blinding white light beaming through. JOE’S FACE - wrecked, but his eyes flutter. Blink.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BARN - MORNING Joe lies on the cot. Blinks. The barn doors, the morning sun rising through. If the child was there, he’s gone now.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FARMHOUSE KITCHEN - MORNING Cid draws at the kitchen table. Sara enters. SARA Morning monkey. CID The man’s up. Sara stiffens, looks out the window. CID (CONT'D) Is he staying here now?61. SARA No. A WALL OF LEAVES Fingers part the green, and Old Joe peers through the dense foliage.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SUBURBAN STREET - MORNING Old Joe hides in the trees across the street from a suburban track home. A young boy in a bright jacket runs out the front door and off down the street. Old Joe checks the folded map in his trembling hands. On it, this house is circled in black, exactly like Sara’s farm. Stuffing the map in his pocket, he pushes out through the trees.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BARN - MORNING Sara approaches the barn, her shotgun in hand. Joe sits on the ground just outside the open barn door, the metal cot behind him still handcuffed to his wrist. Methodically cleaning and loading his gun. SARA Toss it. Joe freezes. Then, half annoyed JOE I just finished cleaning - alright. Tosses it into the dirt. Sara lowers the shotgun slightly. SARA How do you feel? JOE I’m at thirty percent. SARA Take it slow and by the end of the week you’ll be at fifty. Good. She tosses him a key, he unlocks his handcuff. SARA (CONT'D) I took you in so you wouldn’t die, and now you’re not going to die. 62. (MORE) So take the morning to rest, then you need to get off my farm. JOE I can’t do that. SARA I’m sorry? JOE I need to stay here for a little while longer. SARA I am not cool with that. JOE Well I’m sorry. SARA Well I’m sorry too, you just lost your take the morning to rest privileges, get off my farm. JOE No. Sara raises the shotgun. SARA Get off my farm. JOE No. You couldn’t scare a retarded hobo with that thing. Literally. SARA This is a Remington 870, one blast could cut you the fuck in half. JOE And that’s, that’s telling. You’re holding a gun. I say I’m not afraid, so you describe the gun to me. But it’s not the gun I’m not afraid of. (beat) What are you gonna shoot in the air? Blow a hole in your barn? To scare me? Go ahead. But you couldn’t let me die, you won’t kill me. SARA So now I saved your life that makes me weak?63. SARA (CONT'D) JOE Look I’m not a threat to you or your boy. I need to be on your property but I’d prefer to not have any contact with you at all, I’ll stay in the fields. There’s just one thing you need to do for me, and you won’t have to deal with me again. He takes the map from his pocket, unfolds it. Tosses it over to her. JOE (CONT'D) Just, verify for me that’s your house on the map. So I know I’m in the right place. SARA What is this? JOE A map. SARA That’s my house. Why is it marked? JOE Doesn’t matter. Ok. I’ll be out of the barn in an hour, if you can spare it I’ll take the water jug with me. Does that well have water? I’ll fill it from there. Sara turns the map over. Sees the NUMBER that Old Joe wrote on the back. 07153902935. And everything changes. SARA What is this. She shows him the number. She is not asking what the number is - she knows. Joe is suddenly not so relaxed. SARA (CONT'D) What is this. JOE Does that mean something to you? For the first time in their conversation, Joe looks in her eyes. Sara stares daggers, searching. Very different than she was ten seconds ago. Joe scoots back64. JOE (CONT'D) Hey- And without hesitating Sara hefts the shotgun and SHOOTS HIM. BLAST! Rips his shirt open bloody, blows him back screaming.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PARK Old Joe STOPS in his tracks, children running around him. His hand goes to his temple.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. BARN - DAY (OLD JOE MEMORY) Fog clears from Sara blasting us with her shotgun.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PARK Old Joe’s hand runs from his temple to his neck. Feels a new but old scar, just a little divot behind his ear.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BARN Sara drags Joe in by the foot. She heaves the barn door closed. In the lamp lit dark Joe rolls and groans in the dirt. SARA Who are you? She shoves the shotgun barrel in his face, a rush of fury SARA (CONT'D) You’re right I’m not a killer but I am fine with how a blast of rock salt to your face won’t kill you. Who are you and what are you here for? Who are you? Joe breathes hard, bleeding in the dirt with a shotgun in his nose. But he forces calm. A beat. Then he starts talking. JOE Time travel hasn’t been invented yet. But in thirty years it will be.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PARK - DAY A suburban park. On its far end, a birthday party. The YOUNG BOY in the bright jacket we saw run out of the house earlier sits alone under a tree. Old Joe approaches him.65. OLD JOE Hi. Daniel, right? I’m Chad’s father. Aren’t you going to come over? We’re doing cake. DANIEL It’s ice cream cake and I can’t eat ice cream. Cause of the milk. OLD JOE Well you should join the party even if you don’t have cake. You have a birthday coming up? DANIEL In July. We were gonna go to the lake but I don’t think we are now. OLD JOE I’m sorry. Old Joe leaves, walks across the grass. Having trouble breathing.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BARN Sara sits. Joe weakly talks, the end of a long explanation. JOE I can’t go back to the city and find him cause Abe, the boss, all his men are going to search the streets 24/7 till they turn up me or... him. All I have is this map. And that he’s coming here. Sara stands. Paces away. Deep in thought. SARA A Looper. JOE Yeah. Did you know about Loopers, what we do SARA I’ve heard stories. So he’s coming here to murder me and my son because he thinks we might be this Rainmaker. And once he kills the Rainmaker, what happens? JOE I think... he thinks, the instant the rainmaker dies, he’ll never have been sent back, so he’ll just vanish, and be back with his wife.66.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SUBURBAN STREET The same track home Old Joe studied from the trees earlier. Daniel trots towards it, coming home from the birthday party.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. BARN SARA Who is he? The guy you let run? Just some random guy from the future? JOE Yeah. Someone. You know what these numbers mean.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SUBURBAN HOME BACK YARD - DAY Well tended by someone who loves growing things. Laurels, ivy on trellises, flowers and trees. Daniel comes through the side gate. Lifts the back door matt, revealing a dusty key.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BARN Sara takes a pen from a workbench. Shows Joe the numbers: 07153902935 She draws lines with the pen, thus: 07/15/39[02935] SARA This is my son Cid’s birthday. And this is the hospital he was born in. Joe’s face, taking this in.",FLASHBACK +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SUBURBAN HOME BACK YARD Old Joe. Sitting in a corner of the yard. Face set hard. Daniel stands, key in hand. Drops the matt. Slow motion. Turns. Sees Old Joe, standing now. Stillness between them. OLD JOE’S FACE. Struggling to be stone, and then it is. He draws his gun in one fluid motion and FIRES. We don’t hear the shot. We just hear the garden, the wind through the plants.67. And we just see Old Joe’s face. Struggling now to remain stone. Numb he puts his gun away and exits.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PARK Old Joe walks across the park. Map in his hand. Children play in the distance. Children’s voices all around. Old Joe spins, his breath up into his head. The map falls to the ground. The park around him, green and full of children. He keels over onto his knees and cries. Grabs the grass, holds it in his fingers, thick and green.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARIS APARTMENT - AFTERNOON The Wife stands at the edge of a bed. 35 and Full of life. Old Joe on the bed. Mid 40s. She unsnaps her GREEN DRESS and it falls, leaving her naked in the sunlight. LATER On the bed. Old Joe and the Wife. Faces close. Drifting into sleep. From a neighboring apartment, a BABY CRIES. Loud and insistent. Old Joe opens his eyes, joking-annoyed at the crying baby. “God you have to be kidding me.” Then he sees her face. Her smiling eyes, listening to the neighbor’s baby cry. Like she’s listening to music. She touches his hand.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. PARK Old Joe. Staring at the grass. On the map beside him: three circled houses around the city. And the torn corner.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BARN Sara holds the torn piece of map in her hands. Their house circled. SARA Would he do this? JOE Think about what doing this would fix. What he thinks it would fix. Sara caught that, and she did not like it.68. JOE (CONT'D) He’ll kill the other kids on that map and then come here last. Put off facing me. SARA If he comes here, can you stop him? She turns the paper over in her hands. SARA (CONT’D) Given this, if I erred on the side of caution and believed all of this, I’m asking. If I trusted you. Will you stop him before he gets to my son? JOE I’ve lost my life. I kill this man, I get it back. You can trust me.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FRONT PORCH - LATER They sit on the steps, Joe stripped to the waist. Sara picks salt chunks from his chest with tweezers and antiseptic. Joe surveys the surrounding land, cleaning his gun. JOE We’re surrounded by the corn, that leaves us blind. He can get within fifty yards of the house without a hawk spotting him. (beat) What makes sense is, we burn the fields, level them. Sara realizes he’s seriously asking. SARA No you cannot burn down my corn fields. JOE What kind of equipment’s in the barn? SARA Farm equipment. JOE Nothing that shoots. SARA No farm equipment that shoots. No.69. Joe finishes assembling his gun. Sara’s eyes flick to it. SARA (CONT’D) You use what you need, set up anywhere. But one thing, I don’t want you talking to Cid. I watch my son, you watch the corn. That’s the deal. JOE Good by me. He hisses as she applies antiseptic to a gash in his arm. SARA Hold still. Easy for things to get infected on a farm, start falling off. (sotto) Pussy. Caught off guard, Joe almost smiles. Then grimaces. JOE If I’m out here and you’re in the house we’re gonna need some way to communicate. SARA There’s a dinner bell down by the barn, ring that if someone’s coming, I’ll hear it. JOE Dinner bell. We need walkies, or buzzers. SARA Dunno what we’ve got but I’ll look. She spots Cid at the screen door, watching them. SARA (CONT'D) Cid. She goes to take him inside. JOE Got any ammo for that shotgun? That isn’t a seasoning?",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FARMHOUSE FOYER - CONTINUOUS Sara leads Cid back into the house. SARA How’s the maths coming?70. CID I wanna help the man. SARA Help him what? CID I could help him with my toys. SARA Baby. Listen. I need you to stay away from that man. Okay? Let him- hey Cid squirms out of her grasp, bats her away with a light but angry slap. She grabs his arm harder. SARA (CONT’D) Let him do his thing, but you stay with me. CID Is he not good? SARA Well we’re gonna see what he is. But you stick with me. Yeah?",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DRAINAGE TUNNEL - EVENING Old Joe’s little hide-out. He violently washes his hands in a trench of water. Slumps back, eyes blood red. Streaks of tears down his face. Reddish light fading to blue through the grating high above. Runs fingers across his forehead, spreading cooling water. His eyes close. His breathing shallows. In one hand he holds his pocket watch. He places the other on the gat. The map beneath it. Daniel’s map location CROSSED OUT. Two others remaining. And the missing corner, edge torn. CLOSE ON Old Joe’s face. Slipping to sleep. Then from nowhere a CHILD’S HAND enters frame and rests on his forehead. Old Joe’s eyes gasp open with terror",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PORCH - NIGHT but it’s Joe who wakes up with a start. Slumped against the steps, gun in hand. Cid’s hand on his forehead. Cid steps back quickly, puts his finger to his lips. Shhh.71.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FARMHOUSE FOYER - NIGHT Cid leads Joe inside, beckoning him to follow.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FARM HOUSE KITCHEN Dark. Cid leads Joe to the kitchen table. Laid out on it: an arrangement of toys. With the deliberateness of a man at work Cid clicks on a flashlight and sets it on the table. Works on several toys, cracking open cases, pulling out wires. Hands moving fast. Joe sits, watching Cid. CID Hand me that Phillips. Joe hands him the screwdriver. Cid keeps working. CID (CONT'D) Tell me if you hear her coming. JOE What are we doing here? CID Commundication. He pushes a button on a small plastic box in his hands, and an identical one next to Joe lights up. The way Joe looks at Cid changes slightly. CID (CONT'D) But I need to make it stronger. JOE How do you do that? CID Bigger battery. Joe idly fingers a toy. JOE Smart. CID Do you kill people? Joe half laughs. Cid keeps working, his face in shadows. After awhile: JOE Let’s say I kill people.72. CID With your gun? JOE Uh huh. Cid looks at him in the dark. Not scared at all. Then he goes back to fitting the backing on a toy. A long beat, Joe thinking. Broken by a PIERCING NOISE. They both jump - the toy truck Joe has idly played with is shrieking, sirens blaring. Joe fumbles with it, Cid reaches over and switches it off, they both freeze. And look up at the ceiling. Silence in the house. With a look of reproach beyond his years, Cid takes the truck from Joe and finishes up his work. JOE (CONT’D) How long have you and your mom been on the farm? CID She’s not my mom. My mom got killed when I was a baby. Someone bad, bad men killed her. Cid sets the two finished BUZZERS on the table. JOE I’m sorry. CID Sara doesn’t think I remember cause I was a baby. But I remember my mom. I couldn’t stop her getting killed. I don’t remember it all but I remember. I was a baby. I couldn’t do anything. I couldn’t stop it. Cause I was a baby. Cid is crying. Joe has never been more at a loss. JOE I’m sorry Takes the buzzers. Stands, fumbling. Retreating.73. JOE (CONT’D) You should talk to your mom about this. CID She’s not my mom. She’s a liar. With one last look back at Cid in the dark, Joe exits. SMASH CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CITY OUTSKIRTS STREET - NIGHT Old Joe. Running hard. Sirens, flashlights behind him. Being chased. Zig zags through an alleyway, a pursuing car smashing up behind him. Bursts out onto the street, nearly hit by another car. Shouts all around, a few shots. Surrounding. He runs.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ABE’S OFFICE A Gat Man briefing Abe, who hasn’t gotten much sleep lately. GAT MAN 1 -spotted him coming out of a sewer tunnel on the west end, he’s on the run ABE Every fucking car, every gat, every cop - get ‘em down there! Flood that fucker! Take him down!",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CITY STREETS - SEEN FROM HIGH IN THE AIR Cars, motorcycles, cop prowlers, all roar to life and blaze through the city streets in one direction. INT/",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HALF BUILT HIGHRISE Kid Blue, squatting in the 10th story of a half finished highrise, looks down on the activity in the streets. Spread on the floor are maps with notes. He’s been searching for Old Joe. And now his eyes are alight. He bolts for the stairs.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CITY OUTSKIRTS STREETS - NIGHT A small park on one block. With a playground. Swings, and a merry-go-round. Gat men sweep the park.74. After they pass, Old Joe’s face pops up under the merry-go- round. He crouches in a shallow space beneath it. He sees: Across from the park, a cheap APARTMENT BUILDING. He checks his map - the 2nd circled address. Kid number two. He waits.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FIELD - EARLY MORNING Sara chops the dead tree trunk in the field, greatly diminished but still formidable. Joe approaches. JOE Can’t you pull that out with a plow? SARA Uh huh. She keeps chopping. JOE I found a, in the barn I found some parts, and I made a, thing. Joe pushes one of Cid’s BUZZERS into her hands, which we now see is a colorful plastic frog toy with a light bulb nose. JOE (CONT'D) If you see anything, just push that, and, Joe pushes the button on his buzzer, and Sara’s lights up and vibrates. She regards the toy, then stares hard and cold at Joe. JOE (CONT'D) It’s important. SARA When? JOE Last night. He woke me up. Don’t tell him I told you though, he... Sara rolls her eyes, turns away. Starts chopping again. Joe doesn’t leave. SARA What? JOE You said you were his mom.75. SARA Uh huh. JOE He told me you’re not. This hits Sara hard. She resumes chopping to cover it. SARA He said that? JOE If he’s not your son who is he? SARA (sharp) He’s my son. (beat) I had Cid when I was twenty two. But I didn’t want to give up my life. In the city. The word “city” has weight for her. Implies volumes. SARA (CONT’D) So I dropped Cid with my mom, here. And my sister. And they saw how I was living and they took him. My sister raised him here, she loved him. He called her mom. JOE How’d she get killed? When Sara’s eyes hit him they’re daggers. JOE (CONT'D) Cid told me. You have to talk to him about it. Icy silence from Sara, and an odd stare. SARA I told you one thing, I told you to stay away from my son. JOE He asked about my gun. You think this is going to go away if you don’t talk to him about it but it’s just gonna grow SARA Stay out of it. Stay the fuck away from my son.76. She goes back to chopping. Joe lingers, then leaves. She hacks away.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FRONT PORCH - EARLY MORNING Sara sits with coffee, looking out at the fields. Deep in thought. She takes a drag from her pretend cigarette.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CHEAP APARTMENT BUILDING - EARLY MORNING A motel style building. Gat Men in cars pass occasionally with spotlights and radios, but the activity has calmed. Old Joe slips around a corner. Staying hid. Checks the address on the map. 12 Talbott Dr, #205. Makes a break for stairs leading to the 2nd level. But just at that moment a car pulls into the building’s lot. Old Joe ducks under the stairs. Holding his breath. The car parks. Door slams. Footsteps. A WOMAN. Slumping exhausted, up the stairs. And through the slatted steps Old Joe sees her face flash by. It is Suzie, the girl from Abe’s brothel. Old Joe’s face, pure disbelief. He recognizes her instantly. It can’t be. He gingerly steps half a foot out. Looking up he can see the apartment doors above. Suzie walks down the landing. Towards apartment 205. Jesus it can’t be. Then she passes it. Keeps walking. Old Joe’s eyes, relieved. She stops at the next door over, knocks. It opens, vaguely indistinct conversation between her and the girl that answers. SUZIE Sorry, I know I promised five, you know how it gets. GIRL NEIGHBOR Don’t worry sugar. She was no problem. Gat men searched through here, lookin for god knows... Suzie disappears into the apartment. Re-emerges, holding a sleeping 6 year old girl. She whispers goodbye to the neighbor and walks back to APARTMENT 205. She enters.77. Old Joe, frozen. Gun in his hand. Face numbly: “You have to be shitting me.” He climbs the stairs. On the 2nd story landing. To 205. Breath held, back against the wall. Peeks in the window. On the couch, Suzie holding her daughter. Head in her lap. Stroking her hair. Suzie’s back is to us, and with her long red hair down, she is eerily reminiscent of Old Joe’s wife. Old Joe watches them for a long time.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FARMHOUSE FRONT PORCH - DAY Joe sits, watching the corn. It rustles in the wind. Hand on his blunderbuss. Beside it, his frog buzzer. The tension is constant. And it’s a long, long day.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. FARMHOUSE HALLWAY - LATER Sara vacuums while Cid plays with toy trucks.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FARMHOUSE LAUNDRY ROOM - LATER In the basement, bare concrete. Sara empties the dryer.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CID’S BEDROOM - LATE AFTERNOON Sara sits on the floor with Cid, putting numbered tiles on a plastic multiplication table. SARA Where does 56 go? Good. 21. CID How long can you not sleep? SARA I don’t know, awhile. That’s a good question. Where’s it go. Good, there. 32. CID We should help Joe watch. SARA Joe? CID Cause he can’t stay awake all the time. SARA He isn’t our business.78. CID He’s keeping us safe SARA Baby. Let’s do this now. You have 32 there, I know you know this one. CID I want to help him. Sara is distracted by a distant bell-like DINGING. SARA Cid. 32. She goes to the window, looks out, nervous. But it’s just a loose LAUNDRY LINE down in the yard, whipping in the wind against its metal pole. In the distance, Joe paces the yard. Relieved, Sara returns to Cid. He sets the tile, petulant. SARA (CONT'D) No. Eight times three is what? CID Thirty two. SARA Eight times three is what? CID Thirty two. SARA I want you to count three eights. CID Eight. Sixteen. Thirty two. SARA Are you telling me you want alone time? CID No. SARA Okay. Why don’t you put that where it belongs? Deliberately, Cid lifts the tile and sets it straight back down on the same spot. SARA (CONT'D) Alone time.79. Then like a knife in a fist fight: CID He’s protecting us cause you can’t do it. SARA Ok. I told you to stay away from him CID I never did anything SARA Do you think I’m stupid? CID So? SARA I told you already Cid is building into a temper tantrum fast. CID So? SARA You do what I tell you CID You can’t tell me what to do you’re not my mom. (a deadly beat) You’re not my mom! You’re a liar and you’re gonna get killed and you won’t stop lying! Cid lunges at her, Sara slaps him back. Not hard, but Cid scoots back, eyes furious. SARA Cid baby CID You’re a liar! Liar! I hate you because you’re lying! I hate you! Liar! You’re lying to me! Sara scoots back. SARA Cid CID You’re lying!80. Cid stands, balls his fists, SCREAMING at her. Sara pushes back away from him. Maybe a cloud passed over the sun. The room darkens. And we see it now, in her eyes: Sara is afraid. She bolts out of the room.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. UPSTAIRS HALLWAY Sara walks fast down the hall,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SARA’S BEDROOM Not slowing, through her bedroom",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SARA’S CLOSET Into her walk-in closet, to a huge steel safe tucked in back. She opens the safe with trembling hands. And climbs inside.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. SAFE Closes the heavy door. Turns on a small LED light. And waits. Cid’s screams distant but not lessening.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BARN - CONTINUOUS Cid’s screams from the house, clear as day. Joe paces in front of the barn. Turns his head back towards the house, not sure what to think. The screams stop. Joe turns uneasily back to the swaying corn.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CID’S BEDROOM The math game scattered, numbered tiles everywhere. Cid lies face down on the bed, cried out. Sara enters quietly. Sits on the bed beside him. Strokes his hair. He folds into her, and they’re holding each other tight.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CITY STREETS - DAY A Gat Man named CANADY strolls out of a donut shop, coffee in hand, and gets in his car.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CANADY’S CAR Canady starts the car up, starts driving.81. Somehow not seeing Kid Blue crouched clear as day in the passenger side foot-well. KID BLUE Hey Can. Can. Canady sees him, jumps and yelps. The sedan swerves, scrapes to a stop against a parked car. Coffee everywhere. CANADY Jesus, fuckin Kid Blue what the fuck KID BLUE Pull into that alley. CANADY You get the fuck outta KID BLUE You don’t wanna be seen with me Canady, pull in the alley. Canady glares at him, but pulls the car into a narrow alley, parks it. CANADY The fuck are you still doing in town, Abe wants you dead man KID BLUE All Abe wants right now is the looper. Unless he got him last night? CANADY Jssshhh. No we didn’t get him. Spotted and lost him. West End, near Whore’s Alley. KID BLUE Whore’s Alley? CANADY That area, Mott & Talbott, little working girl colony. KID BLUE (has a thought) Whore’s Alley.. CANADY You shoulda left town man.82. KID BLUE I’m gonna bring him in, get right with Abe. CANADY Yeah, maybe you bring him the looper, but short of that Abe don’t get right with priced men. KID BLUE I got a price? CANADY Big one. Canady locks the car doors. And in that one moment, Kid Blue pulls Canady’s gun from his holster. Holds it on him. A tense moment. CANADY (CONT'D) Course I’d never turn a friend for a price",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ALLEYWAY BANG and the drivers side window explodes outward bloody. A moment, then Kid Blue stumbles out, holding his ears in pain. Off down the alley and out of sight.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CID’S BEDROOM Sara lies with Cid, both asleep. Distant but sharp, a bell ringing. It’s unmistakable this time. The DINNER BELL. Sara’s eyelids flutter. She hears. Stiffens. The bell stops suddenly. She stands, careful not to wake Cid.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FARMHOUSE FOYER - CONTINUOUS Sara rushes quietly down the stairs. Through a doorway, she sees the Frog Buzzer sitting on the living room coffee table. Lit up and buzzing. She goes to the front door, throws it open. And is face to face with a tall Gat Man named JESSE. She freezes. JESSE Evenin ma’am. SARA Evenin. How can I help you?83. Joe is nowhere in sight. JESSE You can start by accepting my apologies re the hour, I hope I didn’t catch you in supper. SARA No, that’s fine. JESSE Yours was the last house on my list today, been walking between empty farms all day in the hot sun. Thought I’d tick this off my list, not have to come back tomorrow. SARA What’s this about? Back in the house somewhere, a screen door bangs. JESSE You alone here, ma’am? SARA My husband should be back from the city, any time now. JESSE Happy to hear. Could I trouble you for some water? SARA Course. I’ll get some, you can take the glass with you. JESSE Actually ma’am, my business tonight, this ticking off the list business, it’s gonna require me coming in. If that’s alright. Jesse shifts his weight, and Sara notices his heavy boot is now a few inches over the door jam. SARA Will you tell me what this is about? JESSE I will, yes. Can I come in? Hanging above the door, just over Sara’s head: the shotgun. Possibilities whirling through her mind.84. JESSE (CONT'D) Ma’am? Silent decision, and she steps aside to let him enter.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FARMHOUSE KITCHEN - CONTINUOUS Joe slips in through the screen door, gun in hand. Freezes in the kitchen, listening. JESSE (O.S.) I’m a deputized police officer, we’re looking for an escaped criminal, just doing a sweep. Seen anyone through here the past two days, vagrants? SARA (O.S.) No, vagrants are always passing but nobody near the house. Footsteps, as they walk deeper in the house. Joe can’t tell if they’re coming through the living room or hall. He hesitates. JESSE (O.S.) This man, here. SARA (O.S.) He’s young. No. Then at the last moment Joe slips out the hallway door, as they enter from the living room. Sara leads Jesse in, holding a photograph of Joe. She pours him some water. Jesse hands her a second photograph. JESSE We’re looking for his father too, similar look and build but late 50s. May or may not be travelling together. This one is a print-out from a security camera in the Bodega, of Old Joe holding a gun on the checkout clerk. Sara’s eyes linger on Old Joe’s photo, side by side with Joe’s. Mind spinning. Maybe making the connection, we’re not sure. SARA No. She tries to hand the photos back but Jesse doesn’t take them. He notices the toys on the table.85. JESSE Keep em. Kids with your husband? SARA Yeah. Just one. JESSE How old? SARA Eight. Jesse pokes his head into the hallway, just missing Joe slipping through the hall and into the living room. He lifts his glass, drinks. JESSE Thank you. SARA I’ll show you round the grounds, then the house, then you can be on your way. Sara holds the screen door open for him. JESSE We’ll start with the house. Jesse strolls into the living room, and we follow him.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FARMHOUSE LIVING ROOM He sits on a couch, taps on a small folding phone. Sara follows him. JESSE Eight, you said? Boy? And your husband. Just gotta, check in. With the home office. This goddamn thing. SARA This man dangerous? JESSE Tween you me and a lamppost? No. Sweet kid. But he’s wanted. My boss has half the city’s looking for him. Half the city and me. So. And if you find him, there’s a helluva price. Think on that if he comes by, acting sweet. Behind the couch, Joe crouches unseen. He looks up and sees Cid in the foyer, standing halfway down the stairs.86. If Jesse turned his head he would see Cid clear as day. Joe motions for Cid to get out. Cid points to Jesse, makes a GUN with his hand. Asking Joe. Joe shakes his head, sharply motions: get out! Cid silently creeps down the stairs. He is in full sight of the living room, but Jesse doesn’t look up from his phone. Cid vanishes down the hall. Jesse looks up, stands. JESSE (CONT'D) Alright, show me upstairs. The screen door in the kitchen creaks and bangs. Jesse looks sharply at Sara. SARA Drafts, in the house. Jesse is already moving fast to the kitchen. The instant Jesse exits, Cid appears again in the hallway. Opens a small door under the stairway and beckons Joe. JESSE (O.S.) This door doesn’t latch? SARA (O.S.) It used to, it’s busted. Joe hesitates, then silently dashes over and in.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FARMHOUSE FOYER Cid follows him in, down steep concrete stairs. Pulls the door closed behind them. It CREAKS. Jesse steps out into the hallway, gun drawn. Sara behind him. JESSE Drafty house. SARA Farm house. Jesse walks to the thin wooden door. Opens it. Closes it. CREAK. He looks at Sara. JESSE What’s down there? SARA Laundry room. Door must’ve blown open.87. Jesse opens the door, then looks at Sara gravely. JESSE Two things. First, I have a family of my own back in the city, and I want to see them again. Second if anything happens to me, and I don’t report back to my boss people in fifteen minutes, they’re gonna know I disappeared searching this house, and inside of another fifteen you’ll have an army of more me’s kicking down your door. Ok? SARA It’s a laundry room. Jesse motions - her first.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FARMHOUSE LAUNDRY ROOM Bare concrete basement, starkly lit by a hanging bulb. The only things in the basement are a small washer and dryer, and a large canvas hamper the size of a fridge. No windows. Nowhere else to go. Jesse levels his gun at the hamper. JESSE You want to call out whoever’s hiding in that hamper? SARA If someone was hiding in the house, that’s what I’d do. But nobody is in the house. Open it up. JESSE No I think I’m gonna put a shot through it just to be safe. He raises his gat. Sara stiffens slightly. JESSE (CONT'D) You wanna call him out? Sara stays silent. A long beat. Then Sara strides over, pulls the hamper open. Empty. She throws open the washer and dryer. She takes the bucket and shakes it upsidown, dumping out the water, shows him it’s empty.88. SARA Now if you promise not to wag your gun at my shoe rack I’ll show you upstairs then show you the fuck out. She storms up the stairs. A little cowed, Jesse holsters his gun and follows her. The water from the bucket flows in a small stream across the room, and into a drain hole under the hamper.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. TUNNEL Dark and earthy. Cid leads Joe with his flashlight.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BARN - LATE AFTERNOON Just outside the barn, a trap door covered with earth opens two inches. Joe and Cid prop it open, and peer out at the house.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CRAWL SPACE - CONTINUOUS A deep large hole capped with a wooden trap door. Joe squats, Cid stands. CID My granddad built it, but he didn’t tell anyone of us why. Nanna said cuz he was nuts. JOE Thank you granddad. CID That wasn’t the man. JOE No. I know him, that’s what’s funny. His name’s Jesse. I like him. He’ll go away when he doesn’t find me, he won’t hurt her. They watch in silence for awhile. In the distance, Jesse leaves the house alone and scopes the grounds before walking back towards the highway. JOE (CONT'D) My mom gave me up. I was younger than you. We were vagrants, and she was alone, for a long time I thought she was stupid for getting on the drug she was on, it was bad stuff, it probably ended up killing her. 89. (MORE) But now I see, she was so alone. And it was what she had. She sold me. To a panhandle gang. QUICKLY, SILENTLY WE SEE - FOUR YEAR OLD JOE dragged into darkness by rough men, screaming. Then we’re back to the scene. JOE (CONT'D) But I got away. And I ran and I ended on a train, sitting in the dark in an empty freight, going to the city, and I saw myself over and over killing those men who bought me and who got my mom on what she was on. Finding them and tearing them apart. Saving my mom. CID But you didn’t. JOE A man in the city found me, put a gun in my hand, and gave me some things. I didn’t have my mom anymore. I had my work, my money. My plans. For my life. That’s what I’d kill for. Not something I don’t have, and can’t ever get back. (beat) There’s just men figuring out what they’d do to keep what’s theirs, what they got. That’s the only kind of man there is. CID I’m not gonna let Sara get killed. Joe looks at him. Wants to put his hand on his shoulder but doesn’t. JOE I think we’re clear. He opens the trap door, climbs out.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BARN Joe reaches down to help Cid out. Looking down at Cid in a hole with a trap door. Like Seth. He grabs Cid’s hand and lifts him out. Sara comes out, sees Cid and her face breaks with relief. Cid runs to her, and in the distance they embrace.90. JOE (CONT'D) Sara and Joe share a look. Joe quickly turns his eyes back to the corn fields.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SECURITY MONITOR ROOM - EVENING A tiny, dark concrete room. Kid Blue watches a screen, his hand on a toggle wheel. A security cam view of Suzie’s apartment building upper landing. Playback of last night. It scans quickly forward. The APARTMENT SUPER leans against the wall behind him, counting money. KID BLUE All working girls, yeah? SUPER Uh huh. This whole block. You wanna check those too, I can arrange. KID BLUE I do. On the screen, Suzie comes home. Picks up her daughter from next door. Goes into 205. Kid Blue keeps scanning. And an instant later, Old Joe climbs the stairs. Kid Blue slows the playback. KID BLUE (CONT’D) ‘Lo Joe. Old Joe goes up to the window, his back to the wall. Watches Suzie through the window for a long while. Kid watches him intently. Then very suddenly, without going inside, Old Joe leaves. Down the stairs, shoving his gun in his jacket. SUPER I’m an arranger, stranger. Huhuha. But you don’t see what you wanna see, no refunds. Old Joe vanishes down the street in a swarm of pixels.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CHEAP APARTMENT BUILDING - EVENING Kid Blue emerges from a passage, into the parking lot. Looks up at Suzie’s apartment door. Then down the street. A few drops of rain fall.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FRENCH CAR - DAY (FLASHBACK) Driving on a highway along the beach. A few drops of rain on the windshield. Old Joe (late 40s) and his Wife in intense conversation, her hand on his.91. OLD JOE (IN FRENCH) But I will. WIFE (IN FRENCH) You want to, I know that. But you won’t. OLD JOE (IN FRENCH) I’d do anything for you. WIFE (IN FRENCH) You’d do. You’d kill for me, you’d take life for me. But I don’t want that. You kill for what you love, but someone loves the person you kill, and it starts again. I don’t want that. I can’t love a killer. What would you give up for me? That’s yours? OLD JOE (IN FRENCH) Anything. She smiles but does not believe him. Old Joe sees this. A moment, in thought.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BEACH / HIGHWAY - CONTINUOUS The car screeches to a stop, and Old Joe runs to the sea. THROWS his gun in the ocean. Above the waters, the sun breaks the clouds. Rain falls. He runs back to her. Falls on her. Kissing her. He holds her face like the most precious thing in the world. OLD JOE Anything.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CHURCH - EVENING Rain beats against stained glass. Old Joe kneeling in a pew. Fists clenched as if in prayer. He stands, stumbles out.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LA BELLE AURORE SIDE ENTRANCE - EVENING Oddly quiet. Old Joe walks down the sidewalk towards the side entrance to the theater. Face uncovered. In plain sight. Not caring. Stops 30 feet shy of the entrance, at a street garbage can. He draws his gun and leans over to drop it into the can. He lets it dangle from his fingers above the trash can. His pocket watch, hanging open from its chain. The picture of his Wife inside. Spinning. His gun slowly slipping from his grasp.92. With each spin of the watch, the photo of his Wife appears cloudier. Blurred. Indistinct. Gun on the tips of his fingers, about to fall. Then the photo is nearly gone. OLD JOE’S EYES.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARIS CLUB - NIGHT (FLASHBACK) Old Joe staggering to his feet from a fight. We’ve seen this before, it’s the IDENTICAL SCENE to the previous flashback. But when he sees his Wife for the first time, whisps of FOG grow, blotting out the scene. Deep in the fog are other backgrounds - a street, a house - and unfamiliar faces. Other eventualities, clouding this one as it becomes less likely Old Joe will meet his wife and have this memory. Erasing it. OLD JOE’S EYES.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARIS APARTMENT - DAY (FLASHBACK) Old Joe in bed with his wife. Baby crying outside. Her face. Then, whisps of FOG thickens, obscuring them. OLD JOE’S EYES.",FLASHBACK +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FRENCH BEACH - DAY (FLASHBACK) The thrown gun splashes in the sea, and Old Joe turns back to the beach. But where his Wife was in the previous memory, now there is the FOG. A wall of it, massive, reaching to the sky. Old Joe dwarfed against it. Caught between the roiling waves and this wall of nothingness falling towards him. OLD JOE’S EYES. The gun on his fingertips. About to fall. A moment of decision.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SARA’S BEDROOM - NIGHT Sara lies in bed. Eyes wide open. Still and quiet in the dark. Her hand moves over her bare leg. Slides across the sheets. Finds the Frog Buzzer lying next to her. A moment of hesitation. Then she pushes it. Silence. Her eyes go to the window. A long beat. Then sound: a door opening in the house below.93. Quick footsteps approaching. Her eyes follow them. The door flies open. Joe, gun in hand, buzzer in the other. His eyes adjust to the dark. JOE What? Closes the door, kisses him. The adrenaline in his head doesn’t know where to go. SARA Don’t wake Cid. She pulls him to the bed, lifting his shirt off. The rain starts to fall against the windows. LATER Lying beside each other. Joe still stunned. Sara smokes a real cigarette, taking a deep joyful drag. She sets the lighter on her palm. It floats about a foot in the air, spinning, then drops. JOE That’s pretty good. SARA In the city, young guys would hit on me by floating fucking quarters, I wouldn’t tell ‘em I was TK but I’d keep their quarters down. One guy busted a blood vessel in his eye trying to get it up. (beat) He’s you. Your loop. You lied to me. She doesn’t seem angry but deeply curious. Joe sits up. SARA (CONT’D) But you protected Cid. And I know you’re not lying that you’re gonna kill this guy, your own self. Even though he’s protecting your future. JOE He’s protecting his future. Not mine. A beat. SARA When I came back, after my sister died. Cid was sitting on the porch, I remember seeing him for the first time, in two years. 94. (MORE) Saw him on the porch. I drove up crying and I had been at a party in the city when I got the call, I was wearing this ridiculous party dress. All my ridiculous shit. I don’t know if he remembered me, but he looked at me. I abandoned him. I abandoned my baby. (beat) Maybe I can’t be a mother to him, is that something I can’t get back. When he looked at me then, on the porch, he was mine again, he was my son. I seen so many men in the city, who I look in their eyes and they’re lost. Whether he loves me back or not I’m gonna love my son I said. And he’s never gonna get lost. Joe sitting up still, Sara lying beside him, maybe crying. He touches her hair.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. APARTMENT 205 - EARLY MORNING A DOOR FRAME - kicked open with all the violence in the world. Old Joe sweeps into the small apartment, gun drawn. Suzie cooking in a robe, opens her mouth to scream. OLD JOE Don’t. Don’t wake up your daughter. Old Joe trains the gun on her. She goes silent. OLD JOE (CONT'D) Sit down. At the kitchen table. Quivering, she does. He keeps the gun on her. OLD JOE (CONT'D) Do you know me? SUZIE No. I don’t know you. Who are you? OLD JOE I need to tell you why I’m doing this. I gotta say it out loud to someone so I know. SUZIE Why you’re doing what?95. SARA (CONT'D)",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SARA’S BEDROOM - EARLY MORNING Joe sleeping alone in the bed. Sara’s voice, distant. SARA (O.S.) Joe. Joe. He wakes. She is calling him from downstairs.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. FARMHOUSE FOYER Joe comes down the stairs half dressed. Jesse holds Sara at gunpoint in the living room. Staring at Joe with a cool lack of malice. JESSE Lo’ Joe. JOE Jesse.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. APARTMENT 205 OLD JOE I threw my gun away once. To get her love. And I was going to do it again, now. Because I know she’d want me to. I was going to do it. And I saw then, I saw her vanishing, like how life probably goes when you die. That’s what she was asking me to give up this time. SUZIE ...who are you? OLD JOE And if I picked up the gun. If I made this sacrifice. Life, my life. Absolution. Given back to me. My love. Given back, just like we were, and she wouldn’t know what I did to get it back.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FARMHOUSE LIVING ROOM Joe steps into the living room, stands facing them. JOE I’m unarmed Jesse, you can let her go. Sara, Jesse here’s the best shot with a gat I’ve ever seen, when he lets you go you sit on the couch and don’t do anything stupid. Jesse lets Sara go and trains the gat on Joe.96. JOE (CONT'D) He’s coming here Jess. My Looper, is gonna come here. JESSE I gotta take you in man. JOE I got eighty large in pure gold, I take my looper back in and get right with Abe, whatever he gives me back I’ll split it with you. JESSE Was that your plan? JOE Ok. It’s yours, all of it JESSE Are you delusional?",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. APARTMENT 205 OLD JOE Everything set right. Everything fixed. Through this sacrifice. SUZIE What are you gonna do? Old Joe stands, walks towards the back hall. Suzie screams SUZIE (CONT'D) No! And runs at him but he shoves her back hard.",FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FARMHOUSE LIVING ROOM JESSE I know you got no options you take the one you got but Joe, you aint gettin right with no one. Looper or no, you’re beyond saving. As long as Abe’s got one Gat Man standing, he’ll be hunting you till his dying day. Joe’s face falling.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. APARTMENT 205 Old Joe, gun ready, down the darkened hallway towards the door at the end with a rainbow on it. He puts his hand on the knob.97.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FARMHOUSE LIVING ROOM JESSE We’re going now. We’re gonna go to my truck, you’re gonna CREAK. Cid on the stairs, sleepy eyed. Jesse, purely on instinct, spins and draws on Cid. Cid’s POV - Jesse’s gun, snapping like a snake, barrel leveled at him. Cid makes a strange shouting noise, falls back. Everything slows down.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. APARTMENT 205 Old Joe pushes the door open. Blackness within.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FARMHOUSE FOYER / LIVING ROOM The room darkens. As if the sun passed behind a cloud. Jesse realizes it’s a kid. Lowers his gun. But Cid is mid- scream, falling back, his foot misses the step and he tumbles down the stairs. Confused, terrified, falling. Joe runs into the foyer, to catch Cid. Sara runs behind him. The room is very dark now. Knick-knacks around the room rattle, then LIFT INTO THE AIR. All of them. Floating. Spinning. Sara’s LIGHTER, on the coffee table: it RISES into the air.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. APARTMENT 205 Old Joe readies his gun, staring into the blackness. But his eyes lower. He touches his temple. Remembering.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FARMHOUSE FOYER / LIVING ROOM (OLD JOE’S MEMORIES) Fog clears - Joe is almost to Cid, who is still tumbling, nearly at the bottom of the stairs.",FLASHBACK +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FARMHOUSE FOYER / LIVING ROOM (NORMAL) But just before he reaches him, Sara shoves Joe from behind. Shoving him TOWARDS THE FRONT DOOR. He’s confused but her face is set. Cid hits the hardwood floor of the foyer, face contorted with rage now, hand raised to Jesse, palm outstretched. Screaming. His scream louder than it should be.98. Bigger things in the living room RISE OFF THE GROUND. Chairs. The couch. And Jesse. He rises five feet in the air, terrified. Sara pulls Joe through the front door, and he looks back and sees Jesse suspended in the air and Cid on the ground screaming like an animal, and just as they cross the threshold, Jesse explodes in a bright red fan of blood.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. APARTMENT 205 Old Joe’s face. Remembering.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FARMHOUSE FOYER (OLD JOE MEMORY) Frozen in a tableau - Cid screaming, raw power. Jesse EXPLODING. A bright red fan.",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. FRONT PORCH Joe and Sara fall out and down the stairs. The front door and windows EXPLODE in a burst of splinters and glass.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. APARTMENT 205 Old Joe’s eyes lift. Realizing. OLD JOE The Rainmaker. A bare bulb hanging from the ceiling turns on. A six year old girl’s room. But the only person in it is Kid Blue. He shoots Old Joe with a blue tazer. Old Joe hits the ground, mouth foaming, paralyzed. Knowing the answer now, knowing the who and the how but helpless and defeated. Kid Blue kicks him in the face.99. Cid",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ABE’S OFFICE A Gat Man circles a spot on the map in red ink, Sara’s farm. GAT MAN 1 He’s there. Lost his signal five minutes ago, right after he sent word he had him. Joe. Abe slumps in a chair, taking oxygen from a tank. ABE Call everyone, every Gat Man in the city, call ‘em here. Gather em all up here first. No mistakes this time. We’re gonna take an army to that farm, all at once, and sweep it like hellfire. Now.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. CITY STREETS - MORNING From a high vantage po,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int. Cars, bikes, Gat Men on foot, all heading towards the club. An army, all meeting at the Belle Aurore. Massing to attack.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FARMHOUSE FRONT LAWN - MORNING Moments after the blast. Joe and Sara lie in the dirt. Jesse’s TRUCK parked nearby. Joe stirs first. Stands shakily. The front door jam is splintered. Windows broken. He goes inside. Sara gets up, staggers in after him. SARA Cid! Cid! JOE (O.S.) Cid!",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BACK OF FARMHOUSE Joe bursts out of the screen door, holding his Blunderbuss and wiping off Jesse’s gat. Bloody Cid-sized footprints lead out the screen door and streak across the lawn, into the corn. Sara comes out after Joe, sees him heading for the corn. SARA What are you doing with those guns? What are you going to do? She lunges for him, wild. Wrenches his arm and he spins, throwing her to the ground.100. JOE How did your sister die? Sara holds his gaze. Then everything breaks inside her and she collapses in sobs. Heaving. JOE (CONT'D) That happened to her. Cid. (beat) Jesus. Jesus he killed her This breaks Sara out of her sobs SARA No! No he was climbing a bookshelf, it fell back on him. He has no control, he gets scared, it explodes. JOE What is it a TK mutation? SARA Joe someday he’ll learn to control it. JOE Yeah I know he will. Imagine what he could do. SARA If he did good with it! If he grew up good! JOE He doesn’t. Joe heads to the corn, Sara scampers after him but slips on the wet grass, and Joe hits the corn with a head start. SARA You stay away from him! Cid! Cid! She runs into the corn.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CORN FIELD - WITH SARA WITH SARA as she stumbles blindly through the tall stalks. SARA Cid! Make a noise baby, call to me! Cid! WITH JOE through the corn, following traces of blood on the stalks.101. SARA (O.S.) (CONT’D) You stay away from Joe, you come to me! Cid! Tries cocking the GAT but it’s broken. Tosses it, wields the Blunderbuss.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SMALL CROP CLEARING Joe emerges from the corn. Cid crouches at one end of the small clearing. He looks at Joe. Terrified. Half covered in blood. Hair matted over one eye. Joe looks back at him. Approaches him, gun not raised, but in hand. Cid, like a frightened animal. A long moment. And just like that, Joe puts his hand on Cid’s head. Cid leans against his legs, crying. Sara bursts into the clearing, sees this. Runs to Cid and embraces him, wiping the blood from his face. Joe steps back. JOE Right now two things have happened. My looper knows Cid’s the kid he’s looking for, and my gang knows I’m here. So in fifteen minutes one or both is coming down that highway. You pack up the Gat Man’s truck, whatever you can fit in ten minutes, and you drive North away from the city. SARA Where are you going? Joe takes the Frog Buzzer from his pocket, presses it. Sara’s buzzes in her pocket. JOE One buzz means come and get me. Two or nothing, don’t. He vanishes into the stalks, towards the highway.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ABE’S OFFICE Crowded with Gat Men, all preparing. GAT MAN 1 We got everyone here. All our men. ABE Arm ‘em up, let’s go.102. BUZZZZ. Abe turns, annoyed, and sees the security monitor. On the screen - Kid Blue rips the sack off and holds Old Joe’s bloodied face up to the camera. KID BLUE (ON SPEAKER) I got him Abe. I got him. ABE Well. Shhhhhit.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COAT CHECK The door buzzes open. Kid pushes Old Joe through the long entrance hallway, past a dozen Gat Men, who watch him with shocked amazement. Old Joe’s hands bound back. Kid Blue glows. He comes to the tiny coat check room, and Big Craig stops him, then sees Old Joe. BIG CRAIG Hoh. So both we got? KID BLUE Just the Looper. I got him. Knew he went for whores, so I checked every building. BIG CRAIG They found Joe too though, in a farm on the east side. That’s why all the Gats are here, the whole crew’s arming up to make a sweep. KID BLUE Joe fuck Joe, save your bullets I got the Looper. Not such a fuck up huh? I’m taking him up to This happens very fast: Old Joe uses his legs to kick himself off the wall and back into Kid Blue, SLAMMING him against the opposite wall. Old Joe grabs (behind his back) Kid Blue’s gun, and blasts one shot through the chains binding his wrists and into the Kid’s midsection. He whips the gun from behind his back and shoots Big Craig in the face. Then blasts the Gat Men in the entrance hallway while he reaches into the coat check and pulls an automatic rifle. He blasts like hell into the hallway. A few shots return but mostly the men are trapped. Then it’s over. All is smoky still for a moment.103. Old Joe stares at the exit door ajar, down the long hallway jammed with bodies. Then at the passage that leads deeper into the club. A Gat Man runs in, and Old Joe shoots him down. He steps into the coat check and loads his pockets with guns and grenades. Then launches himself into passageway towards the club.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BACKSTAGE Old Joe weaves his way through the backstage area, chucking grenades in front of him, then unloading his automatic rifle into the smoky aftermath. And with a mixture of dumb luck and skill from years of being gangland muscle takes out Gat Man after Gat Man. The corridors are tight, twisty. Old Joe uses that. Throwing grenades. Blasting away. Purging. Killing everyone he lays eyes on. Wiping them out. All the bad guys. It’s horrible. Men maimed, bleeding and crying, dying the way people actually die from gunshots. Old Joe forges on, deeper.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ABE’S OFFICE Empty. Old Joe kicks the door open. Takes it in, the office. Hammer on the desk. He reloads a gun. Eyes find the door to Abe’s inner den.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ABE’S DEN Abe and two Gat Men, guns out, crouched behind the table. Watching the door. A display screen shows Old Joe on the other side. Abe, eyes dull. Shouts at the door ABE Joe. Guess I put the gun in that kid’s hand, huh Joe. Guess everything comes back around. Like your goddamn ties.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. ABE’S OFFICE Old Joe. Breathing hard. Reloaded. Closes the gun.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HIGHWAY Joe breaks out of the corn, panting. He steps out into the middle of the highway. Storm clouds on the horizon. He cleans and readies his Blunderbuss.104.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COAT CHECK - LATER Kid Blue’s eyes flutter open. He lifts himself painfully. Checks his chest. Most of the shot caught his shoulder, his chest is grazed. The Gat Men in the hall. Big Craig. All dead.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. BACKSTAGE Kid Blue wanders the smoky halls. Dead and dying men.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ABE’S DEN Abe, shot once in the head, twice in the chest. Kid Blue stands over them. Stunned. Tears well in his eyes. Then on the wall, he sees the map. The farm circled in red.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FARMHOUSE FRONT LAWN - MORNING Clothes and boxes piled in the back of Jesse’s truck. Sara loads one last bundle. Calls to Cid, in the front seat. SARA Ok baby, we’re going.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HIGHWAY Joe waits. Then, a CLOUD OF DUST on the distant highway. He tenses. The cloud gets closer. It is a truck. An armored truck. Joe squints. It’s the ARMORED TRUCK that Kid Blue loaded his gold bricks into. The front windshield blown in. The truck stops fifty feet away, and Old Joe steps out. He throws a gold bar, which lands in the dusty highway between them. OLD JOE Bon jour. You take this truck, you take your money, and you go live your life. No one’s coming after you. I fixed it. JOE And you go kill the boy. That’s how you fix it. OLD JOE That’s how. You got your life back, you better think right now about what that’s worth to you. JOE My life? Your life. Becoming you.105. Joe raises his Blunderbuss and FIRES. Too far away, the shot scatters. The old man flinches, backs away. Joe walks forward towards Old Joe, stepping over the gold. OLD JOE Stupid little shit! You let him live, he’s gonna take away everything that’s yours, everything that’s mine! You seen what the boy’s gonna become. JOE I haven’t seen that yet. Joe fires again, close enough now to draw blood off Old Joe’s chest and knock him back. Out of nowhere a SLAT BIKE careens around the van, which has until now blocked our line of sight down the highway. Kid Blue. The bike clips Joe’s leg, sending him spinning violently to the dusty pavement. The bike shoots off down the highway, a cloud of dust in its wake. It takes a hundred yards for the Kid to pull it to a stop and spin it around. Joe is hurt bad. He grapples for his blunderbuss. Kid Blue guns the engine, gat in hand. Levels it, steady as a rock. Joe shoots at the Kid, but he’s out of range, the gun fires scattershot. Kid Blue fires, a bullet hits dangerously close to Joe. Panicked, Joe begins firing at the pavement around him, round after fiery round. Kicking up dust. Lots of dust. Raising a cloud. KID BLUE’S POV - zooming towards Joe, now obscured in a cloud of dust and smoke. He fires his gat into the cloud, tries to slow the bike but can’t in time. In the dust cloud Joe hears the bike roaring down upon him. He covers up and when he feels the bike roaring past blindly FIRES his buss. A moment later the bike emerges from the dust cloud. Without a driver. It skids, crashes. When the dust clears away Joe lies still, arms over his head. 106. Besides him, the broken remains of Kid Blue. Painfully, Joe raises himself. Then realizes: Old Joe is gone.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. FARMHOUSE FRONT LAWN Sara starts the truck up. SARA Here we go. Give it a wave goodbye.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DIRT ROAD They roll down the dirt road that leads to the highway. At the far end of it, at a distance but walking towards them, is the dark figure of Old Joe. Gun in hand. Sara hesitates a minute, then guns it. Straight for him. CID Stop SARA Duck down baby CID Stop please he can shoot us SARA Just stay down Half the distance closed, but he’s still far off. A shot cracks the front grill, another cracks the windshield. CID Stop! The truck lurches horribly, and flips straight back in a graceful arc, landing upsidown. Sara and Cid, dazed, hanging by their seatbelts. SARA Are you ok? CID I’m sorry In the rear view mirror, Sara sees Old Joe getting closer. SARA You’re ok. C’mon baby we have to run now.107. She unfastens them and they both climb out, and Old Joe stops suddenly, taking aim. Sara pulls Cid behind the flatbed for cover as two bullets glance off the overturned truck. SARA (CONT'D) We’re going into the fields. I want you to run, I’ll be right behind you, don’t look back. Okay? Old Joe lowers his gun and runs towards them. SARA (CONT'D) Go! They both sprint off the road.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FIELD - WITH CID & SARA The wide bare field. Cid runs ahead towards the corn, Sara not far behind. The earth soft, their feet sink in, like a nightmare.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FIELD - WITH OLD JOE Old Joe crosses the road and chases them onto the field, firing at them on the run.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FIELD - WITH CID & SARA Bullets thunk in the earth. Sara stumbles, exhausted. Cid turns, about thirty feet ahead of her.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. FIELD - WITH OLD JOE Old Joe stops running and steadies his gun.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. FIELD - WITH CID & SARA A distant gunshot CRACK. A fan of crimson blood sprays from Cid’s head. His neck twists and he crumples to the ground. SARA NO! Sara is stopped in her tracks by an invisible force. SARA (CONT'D) No Cid no! The topsoil of the earth around them RISES in a fine dust.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FIELD - WITH OLD JOE Old Joe reacts as the topsoil rises, an eerie moment.108.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FIELD - WITH CID & SARA Sara struggles to reach Cid but is still about twenty feet behind him. Cid raises his head. The bullet grazed his jawline. Not severe but lots of blood. Cid’s eyes locked hateful on Old Joe. Blood soaks his shirt. Far behind him, the barn splinters apart as if in a tornado. SARA No! With a sudden jolt the field ripples out from Cid, like a stone thrown in a pond. Sara lifts into the air.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. FIELD - WITH OLD JOE Old Joe is hefted off the ground. His gun falls.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CORN FIELDS - CONTINUOUS Joe struggling through the fields, limping, desperate. Something like a furious wind rushes through the stalks.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FIELD - WITH CID & SARA Cid stands. Intense, eyes dark, in another place.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FIELD - WITH OLD JOE Old Joe, suspended mid-air, realizes what’s about to happen. He lifts his hand defensively and SCREAMS",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FIELD - WITH CID & SARA Cid’s face straining, about to scream. Cid’s focus adjusts from Old Joe to Sara. She floats, reaching out to him. Frightened. Yelling something he can’t hear but he can see her eyes. Cid’s face breaks. He barely mouths the word CID Mom And everything FALLS. Sara, Old Joe, the earth. All comes crashing down.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. EDGE OF FIELD - CONTINUOUS The corn stalks shiver then are still.109. Joe breaks out of the stalks and onto the field. Gasping for breath. Gets his bearings. In the far distance across the field, Old Joe, Sara and Cid. Too far.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FIELD - WITH CID & SARA Cid runs to Sara, who sits up slowly. They embrace. SARA You did good, baby. You did so good. I love you. Behind them, Old Joe struggles to his feet. Sara kisses Cid. SARA (CONT'D) Into the fields. Run now baby. Go. CID No SARA Go now CID No no mom no SARA You go! She pushes him away and Cid runs. Then she turns. Standing her ground. Directly between Old Joe and Cid. Old Joe TRIPS in the mud, fumbles his gun. Sees Cid approaching the safety of the CORN STALKS. Blocked by Sara. OLD JOE Move!",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FIELD - WITH JOE Still too far away, struggling as fast as he can, helpless as Old Joe closes in on Sara. He fires his buss at Old Joe, but is way out of range.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FIELD - WITH OLD JOE & SARA Old Joe gets his gun, rises with it. Cid about to hit the stalks. Sara between them.",FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FIELD - WITH CID Cid nears the corn fields, running. Seconds from safety.110.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. FIELD - WITH OLD JOE & SARA Old Joe. Gun raised. Pocket watch wrapped around it. His wife’s picture in it. Clear as day. No time to move around Sara. Now or never.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FIELD - WITH JOE Joe running, useless gun in hand. JOE No!",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FIELD - WITH OLD JOE & SARA Sara, not going anywhere. OLD JOE I’m sorry He pulls the trigger.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. FIELD - WITH JOE Joe running. Time slows. Watching:,SENTI +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FIELD - OLD JOE & SARA Everything is a little surreal. Dream-like. Slow. Old Joe shoots Sara. We hear no gunshot. Just the wind in the corn, and young Joe’s breathing. She falls, giving him a clear shot at Cid.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. FIELD - WITH JOE Joe watching:,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FIELD - WITH CID Just as Old Joe gets him in his sights, Cid breaches the corn fields and is gone, vanishing in the stalks. Old Joe lowers his gun, stunned but still frantic. He stumbles towards the corn, still far off, his face breaking. Trips, falls in the mud. Corn field vast in front of him. Cid is gone. He lost him. He holds his pocket watch. Sobs. Lost.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. FIELD - WITH JOE Joe watching:111.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CORN FIELDS On the horizon, a train.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. FIELD - WITH JOE Joe watching:,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FREIGHT TRAIN CAR Cid sits in a darkened car, holding a bloody rag to his jaw.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FIELD - WITH JOE Joe watching, seeing:",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. FREIGHT TRAIN CAR Cid’s face. Bloody. Dirty. His eyes full of hate. The train rumbles towards the dark city.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FIELD - WITH JOE Joe watches. Sees, in his mind’s eye, all of this. And through all of this we have only heard the wind. And Joe breathing. Time hanging, slowed nearly to a stop. A moment of decision. Joe turns his blunderbuss back on himself and FIRES.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FIELD - WITH OLD JOE & SARA Revealing that all we saw was in Joe’s head, and we are still in the moment where Old Joe is about to shoot Sara. But this time, just as he’s pulling the trigger, a distant shot is heard. And Old Joe DISAPPEARS. Sara stands shell shocked just for a moment. Then she doesn’t process any of it, she just turns and yells SARA CID!",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FIELD - WITH CID Cid stops just shy of the corn. Turns back to the field. There’s his mom, Sara, unharmed and smiling. The bad man is gone. The field is empty.112.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FIELD - SEEN FROM JOE’S POV We don’t see Joe, but far across the field Cid runs to his mom, into her arms. Sara lifts him, holds him.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FIELD - WITH CID & SARA She carries him. Walking fast back towards a far distant figure lying still on the edge of the field. Joe. Then a faint buzz. The flasher, in her pocket. She pulls it out. Two flashes. She slows. Stops. Looking at him, far away. Two flashes. CID Where’s Joe? SARA He had to go away, baby. CID He took the bad man with him? She kisses him.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FIELD - FROM JOE’S POV In the distance, Sara turns away and carries Cid back towards the farmhouse.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CID’S BATHROOM Sara bathes Cid, dresses the wound on his jaw.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CID’S BEDROOM She tucks Cid in, holds him close. Kisses his forehead.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FARM HOUSE PORCH - LATE AFTERNOON Sara emerges from the ruined front door, crosses the porch.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FARMHOUSE FRONT LAWN Sara crosses the lawn, and walks across the field.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. EDGE OF CORN FIELDS Joe’s body. Sara goes to him, slowly. She kneels beside him. His pocket watch in the dirt. Open. No photo inside. Ticking away. Around and around. She closes it.Touches his hair. The wind through the corn. After a long while, the sun breaks through the clouds.113.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PROLOGUE - DAY IMAGE: FLICKERING FIRELIGHT. The NOLDORIN FORGE in EREGION. MOLTEN GOLD POURS from the lip of an IRON LADLE. GALADRIEL (V.O.) It began with the forging of the Great Rings. IMAGE: THREE RINGS, each set with a single GEM, are received by the HIGH ELVES - GALADRIEL, GIL-GALAD and CIRDAN. GALADRIEL (V.O.) (CONT’D) Three were given to the Elves: immortal, wisest ... fairest of all beings. IMAGE: SEVEN RINGS held aloft in triumph by the DWARF LORDS. GALADRIEL (V.O.) (CONT’D) Seven to the Dwarf Lords: great miners and craftsmen of the mountain halls. IMAGE: NINE RINGS clutched tightly by the KINGS OF MEN ... as if holding-close a precious secret. GALADRIEL (V.O.) (CONT’D) And Nine ... nine rings were gifted to the race of Men, who above all else desire power. (MORE) (CONTINUED) 2. CONTINUED: GALADRIEL (V.O.) (CONT’D) For within these rings was bound the strength and the will to govern each race. FADE TO BLACK GALADRIEL (V.O.) (CONT’D) But they were all of them deceived. FADE UP: An ancient PARCHMENT MAP of MIDDLE EARTH ... moving slowly across the MAP as if drawn by an unseen force the CAMERA closes in on a PLACE NAME ... MORDOR. GALADRIEL (V.O.) (CONT’D) ...for another Ring was made. TEASING SHOTS: SAURON forging the ONE RING in the CHAMBERS of SAMMATH NAUR. GALADRIEL (V.O.) (CONT’D) In the land of Mordor, in the fires of Mount Doom, the Dark Lord Sauron forged in secret a Master Ring to control all others. IMAGE: The ONE RING reflecting the FIERY LAVA! FIRE WRITING emerges on the plain BAND OF GOLD. GALADRIEL (V.O.) (CONT’D) ...and into this Ring he poured his cruelty, his malice and his will to dominate all life. IMAGE: THE ONE RING falls through SPACE and into flames... GALADRIEL (V.O.) (CONT’D) One Ring to rule them all... IMAGE: A GREAT SHADOW falls across the MAP ... closing in around the realm of GONDOR... IMAGE: SCREAMING VILLAGERS, MEN, WOMEN, AND CHILDREN, RUN from their homes, pursued by ARMIES OF HIDEOUS ORCS. (CONTINUED) 3. CONTINUED: (2) GALADRIEL (V.O.) (CONT’D) One by one the Free lands of Middle earth fell to the power of the Ring. FADE TO BLACK. GALADRIEL (V.O.) (CONT’D) But there were some ... who resisted. FADE UP: ISILDUR, son of the KING OF GONDOR, leads an ARMY ACROSS the PLAINS OF DAGORLAD... GALADRIEL (V.O.) (CONT’D) A last alliance of Men and Elves marched against the armies of Mordor. On the slopes of Mount Doom, they fought for the freedom of Middle-Earth. TEASING SHOTS: THE BATTLE OF DAGORLAD ... THE ELF LORD, ELROND, commands rack after rank of ELVEN ARCHERS... ELROND (Elvish) Tangado haid! Leithio i philinn! (English) Hold positions! Fire the arrows! TEASING SHOTS: ARROWS FIRING ... ORCS RETREATING before the ARMY of the LAST ALLIANCE ... ELENDIL, KING OF GONDOR, holds aloft the great SWORD ... NARSIL! GALADRIEL (V.O.) (CONT’D) Victory was near! IMAGES: THE HUGE, DARK FIGURE OF SAURON, bearing the ONE RING on his finger, looms over the field of battle... GALADRIEL (V.O.) (CONT’D) But the power of the Ring could not be undone. IMAGE: SAURON lays waste to the armies of the LAST ALLIANCE. With desperate courage, ELENDIL leads a charge ... THE BLACK MACE OF SAURON LASHES OUT!! IMAGE: ELENDIL’S body falls like a crumpled rag doll... IMAGE: ISILDUR cradles the body of his father in his arms. The SHADOW OF SAURON falls over him. (CONTINUED) 4. CONTINUED: (3) GALADRIEL (V.O.) (CONT’D) It was in this moment ... when all hope had faded, that Isildur, son of the king, took up his father's sword. ISILDUR snatches up the BROKEN BLADE OF NARSIL ... The BLADE severs SAURON’S FINGERS ... AND THE ONE RING FLIES from his body. GALADRIEL (V.O.) (CONT’D) Sauron, the enemy of the Free Peoples of Middle-Earth, was defeated. SAURON’S ARMOUR clatters to the ground, his body GONE ... VAPROIZED! CLOSE ON: ISILDUR picks up the SEVERED FINGER and removes the ONE RING ... transfixed! GALADRIEL (V.O.) (CONT’D) The Ring passed to Isildur ... who had this one chance to destroy evil forever. IMAGE: GLADDEN FIELD ... ISILDUR leads a small column of MEN through DARKENING WOODS ... the ONE RING glinting on a CHAIN around his neck. GALADRIEL (V.O.) But the hearts of Men are easily corrupted. And the Ring of Power has a will of its own. SUDDENLY! ARROWS FLY! They are ambushed by ORCS ... ISIDULR is THROWN from his HORSE! ISILDUR stumbles to his feet and in a PANIC, puts on the the RING and DISAPPEARS! INVISIBLE ISILDUR flees from the BATTLE and jumps into the RIVER ANDUIN. ISILDUR MATERIALIZES UNDER WATER ... as the RING slips slowly from his finger. He grasps for it, desperately. ORCS on the RIVERBANK spot him in the WATER. They fire a BARRAGE OF ARROWS into him. ISILDUR JERKS. Ripples of light play across ISILDUR’S PALE FACE ... he is DEAD. (CONTINUED) 5. CONTINUED: (4) GALADRIEL (V.O.) (CONT’D) It betrayed Isildur to his death. IMAGE: ISILDUR floats down the RIVER, ARROWS lodged in his back. IMAGE: THE RING falls through the MURKY WATERS of the RIVER ANDUIN ... and into OBLIVION... GALADRIEL (V.O.) And some things that should not have been forgotten ... were lost . FADE TO BLACK GALADRIEL (V.O.) Thus a Third Age of Middle-Earth began. History became legend ... legend became myth. FADE UP: The waters of the ANDUIN RIVER lie dark and undisturbed. GALADRIEL (V.O.) (CONT’D) And for two and a half thousand years, the Ring passed out of all knowledge. IMAGE: SILT SWIRLS ... A THIN WHITE HAND reaches down ... grasping the RING... GALADRIEL (V.O.) (CONT’D) Until, when chance came, it ensnared a new bearer. IMAGE: THE THIN WHITE HAND opens to reveal the ONE RING. GOLLUM (V.O.) My Precious... IMAGE: MIST SHROUDED MOUNTAINS... GALADRIEL (V.O.) (CONT’D) The Ring came to the creature Gollum, who took it deep into the tunnels of the Misty Mountains. (CONTINUED) 6. CONTINUED: (5) IMAGE: THE GLOOM of a MOUNTAIN CAVERN ... a MURKY POOL of WATER ... in the DARKNESS the SHADOWY OUTLINE of an EMACIATED FIGURE. GALADRIEL (V.O.) (CONT’D) And there it consumed him . A RASPY VOICE mutters in the half light... GOLLUM It came to me. My own. My love... (ecstatic whisper) My preciousness. GALADRIEL (V.O.) (CONT’D) The Ring gave to Gollum unnatural long life. For five hundred years it poisoned his mind. And in the gloom of Gollum's cave... FADE TO BLACK GALADRIEL (V.O.) (CONT’D) It waited. FADE UP: Bathed in COLD MOONLIGHT, the WORLD lies DARK and STILL ... the unsettled quiet before the storm... GALADRIEL (V.O.) Darkness crept back into the forests of the world. Rumor grew of a Shadow in the East ... whispers of a nameless fear. And the Ring of Power perceived ... its time had now come. It abandoned Gollum. SLOW MOTION: Unseen by its KEEPER, THE RING falls to the MUDDY FLOOR of a MOUNTAIN TUNNEL... GALADRIEL (V.O.) (CONT’D) But something happened then the Ring did not intend... FADE TO BLACK IMAGE: FUMBLING in the dark, a SMALL HAND closes over the RING. (CONTINUED) 7. CONTINUED: (6) GALADRIEL (V.O.) (CONT’D) It was picked up by the most unlikely creature imaginable... BILBO (to himself) What’s this? A YOUNGISH LOOKING BILBO BAGGINS peers down at what lies in his hand ... PERPLEXED by what he has found. GALADRIEL (V.O.) A Hobbit ... Bilbo Baggins of the Shire. BILBO (surprised) A Ring. SUDDENLY! A VOICE SCREAMS ... ITS ANGUISH RINGING through the COLD, DANK TUNNELS... GOLLUM (V.O.) Lost! Lost! My Precious is lost!! Frightened, BILBO quickly POCKETS the ONE RING and hurries on. DISSOLVE TO: WIDE ON: THE CAMERA SOARS AWAY FROM THE MOUNTAINS. MOVING FASTER AND FASTER ... THEIR DARK GREEN FORESTS AND JAGGED WHITE PEAKS RECEDING INTO THE SHROUD OF MIST GALADRIEL (V.O.) For the time will soon come when Hobbits will shape the fortunes of all. DISSOLVE TO: CLOSE ON: A MAP OF MIDDLE-EARTH. WE MOVE from the MISTY MOUNTAINS to HOBBITON. BILBO (V.O.) The 22nd day of September in the year 1400 by Shire-reckoning. Bag End, Bagshot Row, Hobbiton, Westfarthing, the Shire, Middle- earth. The Third Age of this world. PULL BACK ON THE MAP TO REVEAL: 8.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BAG END HALLWAY - DAY ANGLES ON: The MAP rests on the floor with several other MAPS, BOOKS, SCROLLS, and other similar items of research. CAMERA TRACKS: Down through the hall, we find BAG END shares this DECOR throughout its modest halls. SUPER: THE FELLOWSHIP OF THE RING",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BAG END STUDY - DAY ANGLE ON: BILBO sits at his DESK, PEN IN HAND. BILBO There and Back Again: A Hobbit’s Tale by Bilbo Baggins. CLOSE ON: the book. The lettering on the page reads exactly as BILBO has dictated. He turns the next page, which is blank. ANGLE ON: BILBO considers his words carefully. BILBO Now, where to begin? Ah yes... CLOSE ON: BILBO dips his pen in the ink, and begins writing. BILBO “Concerning Hobbits.”",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HOBBITON - DAY WIDE ON: The small VILLAGE OF HOBBITON is a quaint rustic settlement nestled amongst rolling green hills and large trees. The HOBBITS live in HOBBIT HOLES: neat burrows dug into the grassy hillside, with round doors and cute front gardens. MONTAGE OF SHOTS UNDER BILBO: HOBBITS plowing fields ...smoking pipes ... serving food ... woodworking ... leading pigs ... milking cattle ... tidying their porches ... and of course, sleeping. (CONTINUED) 9. CONTINUED: BILBO (V.O.) “Hobbits have been living and farming in the four Farthings of the Shire for many hundreds of years, quite content to ignore and be ignored by the world of the Big Folk. Middle-earth being, after all, full of strange creatures beyond count, Hobbits must seem of little importance being neither renowned as great warriors nor counted among the very wise.” END MONTAGE",SENTI +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. BAG END STUDY - DAY ANGLE ON: BILBO laughs. HE TURNS TO a KNOCK at the door. WIDE ON: BILBO in his study. BILBO (calling out) Frodo! Someone at the door. ANGLE ON: BILBO turns immediately back to his WRITING.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HOBBITON - DAY IMAGE: A HOBBIT, when faced with a decision between a KISS from his SWEETHEART and a MUFFIN, chooses the MUFFIN. BILBO (V.O.) “In fact, it has been remarked by some that Hobbits’ only real passion is for food. IMAGE: A HOBBIT carries a BARREL OF ALE on his SHOULDER, refilling his MUG as he walks. BILBO (V.O.) “A rather unfair observation as we have also developed a keen interest in the brewing of ales... IMAGE: Several HOBBITS sit around SMOKING PIPES. BILBO (V.O.) “...and the smoking of pipe-weed. (CONTINUED) 10. CONTINUED: IMAGE: HOBBITS carry their fresh picked crops ... HOBBITS engaged in a leisurely game ... HOBBITS GARDENING. BILBO (V.O.) “But where our hearts truly lie is in peace and quiet and good, tilled earth. IMAGE: SAMWISE GAMGEE sits in front of his house, admiring his flowers. BILBO (V.O.) “For all Hobbits share a love of things that grow. IMAGE: Near a large, old tree, HOBBITS raise BANNERS AND TENTS. Others bring in BARRELS OF ALE. BILBO (V.O.) “And, yes, no doubt to others, our ways seem qua",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int. But today of all days, it is brought home to me: It is no bad thing to celebrate a simple life.” IMAGE: The HOBBITS raise a large banner that reads: “Happy Birthday Bilbo Baggins.” Others applaud.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BAG END STUDY - DAY ANGLE ON: BILBO looking up, annoyed at yet another KNOCK to interrupt him. BILBO Frodo, the door! His CALL is met with SILENCE. BILBO Sticklebacks. Where is that boy?",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HOBBITON WOODS - DAY ANGLE ON: TWO HOBBIT FEET resting on a small rock ... rising out of the LONG, OVERGROWN GRASSES. BILBO (O.S.) Frodo! (CONTINUED) 11. CONTINUED: CAMERA TRACKS TO: A figure lies beneath the dappled sunlight of an old tree. White flowers are scattered among the WELL seeded grasses. An idyllic setting at the end of a long hot summer ... the figure is reading a book. ON THE SOUNDTRACK: In the distance, growing louder ... over the GENTLE CLIP CLOP of an approaching cart and horse can be heard the HUMMING OF A DEEP VOICE to the tune of “The Road Goes Ever On and On...” SUDDENLY! The figure in the grass sits up ... looking straight at CAMERA is a handsome young HOBBIT, with dark curly hair and deep blue eyes. This is FRODO BAGGINS ... his EYES alight with EXCITEMENT! Tossing away the long stem of grass in his mouth, FRODO runs off. CUT TO:",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SHIRE LANE - DAY The cart rattles along a leafy lane, driven by a stooped figure in GREY. INTERCUT WITH: SHOTS OF FRODO RUNNING ... CAREENING DOWN A HILL ... JUMPING OVER LOGS ... DODGING TREE BRANCHES. ANGLE ON: The shambling OLD PONY snorts and rears as ... SUDDENLY FRODO appears on the bank above the cart. FRODO You're late. CLOSE ON: GANDALF glowers at the young HOBBIT... GANDALF A wizard is never late, Frodo Baggins, nor is he early. He arrives precisely when he means to. They look at each other for a moment ... then both start laughing as FRODO’S face breaks into a smile and he leaps on to the front seat of the cart. FRODO It's wonderful to see you, Gandalf! (CONTINUED) 12. CONTINUED: Next to GANDALF, we see how small HOBBITS are ... FRODO is 3 foot 6 inches tall. GANDALF You didn't think I'd miss your Uncle Bilbo’s birthday? CUT TO:",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HOBBITON FIELDS - DAY WIDE ON: The cart rattles past a FIELD LUPIN being tended by HOBBITS. FRODO What's new in the world? Tell me everything. ANGLE ON: GANDALF looks down at FRODO, a twinkle in his eye. GANDALF What, everything? Far too eager and curious for a Hobbit. Most unnatural... Well, what can I tell you? Life in the wide world goes on much as it has this past age. Full of its own comings and goings, scarcely even aware of the existence of Hobbits... CLOSE ON: GANDALF as he surveys the peaceful scene before him. GANDALF (CONT’D) ...for which I am very thankful. So, how is the old rascal? I hear this is to be a party of special magnificence. FRODO You know Bilbo. He’s got the whole place in an uproar. GANDALF Well, that should please him. FRODO Half the Shire’s been invited. And the rest of them are turning up anyway. (CONTINUED) 13. CONTINUED: WIDE ON: The cart rattles over a stone bridge towards a BUSY HOBBIT MARKETPLACE. BILBO (V.O.) And so life in the Shire goes on very much as it has this past age full of its own comings and goings, with change coming slowly... ANGLE ON: HOBBITS look up in wonder and excitement as the cart bearing GANDALF and FRODO rolls past the GREEN DRAGON INN... BILBO (V.O.) ...if it comes at all. For things are made to endure in the Shire passing from one generation to the n",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","ext. CRANE UP: As the cart rattles into the small village of HOBBITON ... a quaint rustic settlement, nestled amongst rolling green hills and large trees. BILBO (V.O.) (CONT’D) There’s always been a Baggins living here under the Hill in Bag End.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BAG END STUDY - DAY ANGLE ON: BILBO stops writing again and looks up, thoughtful. BILBO And there always will be.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HOBBITON FIELDS - DAY ANGLE ON: GANDALF and FRODO continuing for their destination. FRODO To tell you the truth, Bilbo’s been a bit odd lately. I mean, more than usual. He’s taken to locking himself in his study. 14.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BAG END STUDY - DAY CLOSE ON: BILBO picks up a MAP of Middle Earth. FRODO (V.O.) He spends hours poring over old maps when he thinks I’m not looking. ANGLE ON: BILBO folds the map and puts it down. He pats his pants pockets. Suddenly, he looks worried. He pulls his pockets inside. BILBO (worried) Where’s it gone? QUICK CUTS: BILBO desperately searches for something...under cushions ... in pockets ... through coats ... ANGLE ON: He shoves his hands into his vest pockets, and stops ... relieved... CLOSE ON: He removes his hand from his pocket ... his missing item clenched tightly in his fist ... he holds it to his mouth, grateful to have not lost it. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HOBBITON FIELDS - DAY FRODO He's up to something. FRODO shoots a knowing look, as GANDALF averts his eyes. FRODO All right, then, keep your secrets. GANDALF What? FRODO But I know you have something to do with it. GANDALF Good gracious, me. (CONTINUED) 15. CONTINUED: FRODO Before you came along, we Bagginses were very well thought of. GANDALF Indeed? FRODO Never had any adventures or did anything unexpected. GANDALF If you're referring to the incident with the Dragon ... I was barely involved ...all I did was give your uncle a little nudge out the door. FRODO Whatever you did ... you’ve been officially labeled a disturber of the peace. GANDALF Oh, really? ANGLE ON: ODO PROUDFOOT looks up as the CART passes by, deeply suspicious. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HOBBITON - DAY CRANE UP: EXCITED CHILDREN, chasing after the cart. CLOSE ON: GANDALF ignores the children’s cries. The children stand deflated, watching GANDALF disappear up the lane. AT THAT MOMENT: spinning balls of bright color suddenly leap out of the cart, fizzing over the heads of the delighted children. ANGLE ON: GANDALF smiling to himself, well pleased with his joke. ANGLE ON: ODO PROUDFOOT is unable to suppress a chuckle. FRODO stands up in the cart as GANDALF reigns in the HORSE. FRODO Gandalf ... I'm glad you're back. (CONTINUED) 16. CONTINUED: FRODO leaps expertly from the cart. GANDALF smiles. GANDALF So am I, dear boy...so am I. CUT TO:",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BAG END - DAY WIDE ON: GANDALF’S CART pulls up outside the gate to BAG END ... a particularly fine example of a HOBBIT HOLE, with a large round front door set into a grassy hillside. There is a sign on the gate which reads: “NO ADMITTANCE EXCEPT ON PARTY BUSINESS.” GANDALF strides up the garden path of BAG END. He raises his staff and raps on the front door ... a voice calls out: BILBO (O.S.) No thank you! We don't want any more visitors, well-wishers, or distant relations. GANDALF And what about very old friends? Suddenly the door opens and BILBO BAGGINS stands before him. He is a HOBBIT OF INDETERMINATE AGE, with a mischeivous TWINKLE in his eye. Wearing a dashing brocade waist coat, he look every inch the eccentric gentleman. BILBO Gandalf? GANDALF Bilbo Baggins! BILBO My dear Gandalf! GANDALF drops to his knee to embrace his old friend. GANDALF Good to see you. One hundred and eleven years old, who would believe it? GANDALF looks at him more keenly. (CONTINUED) 17. CONTINUED: GANDALF (CONT’D) You haven't aged a day. GANDALF and BILBO laugh together and enter BAG END. BILBO Come on, come in! Welcome, welcome!! CUT TO:",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BAG END LIVING ROOM - DAY BILBO leads GANDALF into BAG END ... cozy and cluttered with souvenirs of BILBO’S travels. GANDALF has to stoop low to avoid hitting his head on the low ceiling. BILBO hangs up GANDALF’S hat on a peg and trots off down the hall. BILBO (calling) Tea? Or maybe something a little stronger ... I’ve got a few bottle of the old Wi BILBO disappears into the kitchen as GANDALF looks around ... enjoying the familiarity of BAG END ... he turns, knocking his head on the light and then walking into the wooden beam. He GROANS. BILBO (CONT’D) I was expecting you last week. Not that it matters, you come and go as you please, always have done, always will. You’ve caught me a bit unprepared, I’m afraid ... we’ve only got cold chicken, bit of pickle, some cheese here ... ooh, no, that might be a little risky... GANDALF stops in front of a framed map, charred in one corner ... it is Thorin’s map of the LONELY MOUNTAIN ... GANDALF smiles to himself. (CONTINUED) 18. CONTINUED: BILBO (CONT’D) Er, we’ve got raspberry jam and apple tart ... got some custard somewhere. Not much for Afters, I’m afraid. Oh no ... we’re alright ... I’ve just found some sponge cake. Nice little snack. Hope it’s enough. (comes into view) I could make you some eggs if you’d like? BILBO jumps, a half eaten pork pie in his hand, as GANDALF mysteriously appears behind him. GANDALF Just tea, thank you. BILBO Oh ... right. You don’t mind if...? GANDALF No, not at all. Go ahead. A SUDDEN LOUD KNOCK ON THE FRONT DOOR. LOBELIA (O.S.) Bilbo Baggins, you open this door... BILBO I'm not home. BILBO tiptoes to the window and peeps out. BILBO (whispers) It’s the Sackville-Bagginses! LOBELIA (O.S.) I know you’re in there! BILBO (whispers) They’re after the house. They’ve never forgiven me for living this long! GANDALF watches, amused, as BILBO tries to hide. (CONTINUED) 19. CONTINUED: (2) BILBO I’ve got to get away from these confounded relatives, hanging on the bell all day, never giving me a moment's peace. I want to see mountains again ... mountains, Gandalf ... and then find somewhere quiet where I can finish my book ... oh, Tea! GANDALF So, you mean to go through with your plan, then? BILBO Yes, yes ... it’s all in hand. All the arrangements are made. GANDALF Frodo suspects something. BILBO ‘Course he does, he's a Baggins ... not some blockheaded Bracegirdle from Hardbottle! GANDALF You will tell him, won't you? BILBO Yes, yes. GANDALF He’s very fond of you. BILBO I know. He’d probably come with me if I asked him. I think, in his heart, Frodo’s still in love with the Shire, the woods and the fields ... little rivers. BILBO stands gazing out of the kitchen window. BILBO (CONT’D) I am old, Gandalf... BILBO looks at GANDALF sadly... (CONTINUED) 20. CONTINUED: (3) BILBO (CONT’D) I know I don’t look it, but I’m beginning to feel it in my heart. CLOSE ON: BILBO’S fingers close around his waistcoat pocket ... gripping a small, unseen object. BILBO (CONT’D) I feel thin ... sort of stretched, like butter scraped over too much bread. I need a holiday ... a very long holiday and I don’t expect I shall return ... in fact, I mean not to. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BAG END - EVENING GANDALF and BILBO are sitting on the BAG END porch. BELOW THEM, final preparations are being made on the PARTY field. BILBO strikes a match and lights his pipe. BILBO Old Toby. The finest weed in the Southfarthing! BILBO blows a perfect smoke ring and watches it rise into the air. A tiny sailing ship with masts and sails glides through the CENTER of BILBO’S smoke ring. BILBO (CONT’D) Ohhhh. (smiles) Gandalf, my old friend ... this will be a night to remember. CUT TO:",SENTI +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PARTY FIELD, HOBBITON - NIGHT BOOM! A FIREWORK explodes into the night sky high above HOBBITON ... in the shape of a great green tree with unfolding branches. TILT DOWN: with glowing flowers as they rain down from the branches ... evaporating just above the upturned faces of the delighted party-goers. (CONTINUED) 21. CONTINUED: 144 HOBBITS, feasting and drinking CARTS of beer and wine are scattered about, and the tables are piled high with steaming scones and savories. GANDALF hurries about, lighting fireworks with a blue spark that dances magically from his staff ... BILBO is greeting visitors. BILBO Hello, hello, Fatty Bolger, lovely to see you! Welcome, welcome! FRODO and SAM sit at a table drinking ale ... FRODO notices SAM’S eyes keep flicking to another pretty HOBBIT, ROSIE COTTON, sitting some distance away. FRODO Go on, Sam, ask Rosie for a dance. SAM (horrified) I think I'll just have myself another ale. FRODO Oh, no you don't. Go on. SAM goes to drain his glass ... suddenly it is snatched out of his hands as FRODO thrusts him into the middle of a passing throng of dancers. ANGLE ON: SAM’S HORRIFIED FACE as he is SWEPT away. FRODO laughs and finishes SAM’S beer. ANGLE ON: GANDALF as he sets alight a particularly spectacular firework that draws gasps of admiration from the party guests. CLOSE ON: BILBO is relating stories of his adventure to a group of YOUNG HOBBIT CHILDREN. BILBO (melodramatic) So there I was ... at the mercy of three monstrous trolls ... Have you ever heard of a Troll? Do you know what a Troll is? Great big nasty twenty foot high smelly things ... and they’re arguing ... arguing about how they were going to cook us! (CONTINUED) 22. CONTINUED: (2) ANGLE ON: A LITTLE HOBBIT GIRL’S upturned face ... her eyes growing larger and larger. BILBO (CONT’D) Whether it be turned on a spit or minced in a pie or whether they were going to sit on us one by one and squash us into jelly! They spent so long arguing the whither-to’s and why-for’s that the sun’s first light cracked over the top of the trees ... and turned them all to stone! STUNNED GASPS from his young AUDIENCE greet his astonishing feat! CLOSE ON: MERRY and PIPPIN, two mischeivous YOUNG HOBBITS in their late teens. PIPPIN scrambles onto the back of GANDALF’S wagon, snatching up a small firework. MERRY No, no ... the big one ... the big one! PIPPIN grabs a huge rocket. MERRY smiles. The pair runs off with it. ANGLE ON: BILBO continues to greet his guests. He shakes hands with a woman who is tailed by an overwhelming crowd of CHILDREN. BILBO Mrs. Bracegirdle, how nice to see you! Welcome, welcome. Are all these children yours? MRS. BRACEGIRDLE laughs with tired eyes and nods. BILBO Good gracious, you have been productive. MRS. BRACEGIRDLE laughs and nods. SUDDENLY! Bilbo’s ears are assailed by a familiar strident VOICE. LOBELIA (O.S.) Bilbo? BILBO quickly runs to FRODO. (CONTINUED) 23. CONTINUED: (3) BILBO (panicked) Sackville-Bagginses! Quickly! Hide! BILBO and FRODO quickly hide behind the wall of a tent. ANGLE ON: OTHO AND LOBELIA SACKVILLE-BAGGINS ... an older, grumpy-looking pair with sharp eyes ... emerge and look about the party like vultures searching for prey. ANGLE ON: BILBO breathes a huge sigh of relief. BILBO Thank you, my boy. ANGLE ON: FRODO chuckles. BILBO (suddenly serious) You're a good lad, Frodo. ANGLE ON: FRODO stares at his UNCLE, perturbed by the change of tone. BILBO (CONT’D) I'm very selfish, you know. Yes, I am ... very selfish. I don't know why I took you in after your mother and father died, but it wasn't out of charity. I think ... it was because, of all my numerous relations ... you were the one Baggins that showed real spirit. FRODO Bilbo, have you been at the Gaffer's home brew? BILBO No. Well, yes. But that's not the po",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int. The point is, Frodo ... you'll be all right. BILBO lifts his mug and takes a drink ... probably of the Gaffer’s home brew. CLOSE ON: FIREWORK FUSE crackles with flame! (CONTINUED) 24. CONTINUED: (4) ANGLE ON: MERRY is holding out the big rocket ... he looks aghst at the fizzing fuse that PIPPIN has just lit. MERRY (CONT’D) (worried whisper) You're supposed to stick it in the ground! PIPPIN It is in the ground. MERRY fearfully tosses the ROCKET to PIPPIN! the fuse sizzles angrily. MERRY Outside! PIPPIN This was your idea. PIPPIN attempts to throw the fizzing rocket back to MERRY. WHOOSH! The two HOBBITS are suddenly blown off their feet in a shower of sparks as the rocket blasts off with frightening power. ANGLE ON: The ROCKET ZOOMS over the party ... it suddenly bursts apart, forming the shape of a great red golden DRAGON! Fire fire gushes from its nostrils as it turns back and FLIES towards the startled crowd. CLOSE ON: FRODO watches the FIREWORKS DRAGON with alarm ... but BILBO is oblivious to the PANICKING CROWD and impending danger! FRODO Bilbo! Watch out for the dragon!! BILBO Dragon? Nonsense ... hasn't been a dragon in these parts for a thousand years! ANGLE ON: FRODO as he hurriedly pulls BILBO to the ground, just as the dragon roars a few feet above their heads like a flaming express train! HOBBITS dive to the ground, tables overturn, tents collapse, food flies everywhere. (CONTINUED) 25. CONTINUED: (5) The FIREWORKS DRAGON turns a somersault and explodes over the hills with a deafening BANG! This gets the biggest cheer of the night. ANGLE ON: MERRY AND PIPPIN, clothes and hair smoking. MERRY That was good! PIPPIN Let's get another one! LARGE HANDS suddenly clamp down on MERRY and PIPPIN’S ears. LOW ANGLE: GANDALF looking DOWN STERNLY! GANDALF Meriadoc Brandybuck, and Peregrin Took ... I might have known! CUT TO: MERRY and PIPPIN are leaning over a barrel, washing dishes in soapy water ... with GANDALF sitting nearby, smoking his pipe and sipping an ale. Cries of “SPEECH! SPEECH!” erupt from the party. ANGLE ON: BILBO stepping on a stool ... he bows in gratitude at the applause. FRODO Speech! BILBO (clearing his throat) My dear Bagginses and Boffins, Tooks and Brandybucks ... Grubbs, Chubbs, Burrowses, Hornblowers, Bolgers, Bracegirdles, Goodbodies, Brockhouses and Proudfoots... ANGLE ON: A HOBBIT WITH PARTICULARLY BIG FEET PROUDFOOT Proudfeet! (CONTINUED) 26. CONTINUED: BILBO Proudfoots. Also my good Sackville-Bagginses that I welcome back at last to Bag End. ANGLE ON: OTHO and LOBELIA scowl at BILBO. He doesn’t care. BILBO (CONT’D) Today is my one hundred and eleventh birthday. I am eleventy-one today! Yes, and alas ... Eleventy-one years is far too short a time to live among such excellent and admirable Hobbits! Tremendous outburst of approval! BILBO (CONT’D) I don't know half of you half as well as I should like, and I like less than half of you half as well as you deserve! SCATTERED CLAPPING as the guests try to work out if that was a compliment or not. CLOSE ON: FRODO AND GANDALF smiling to themselves. CLOSE ON: BILBO ... a strange HUM seems to fill his head. A bead of sweat rolls down his brow. BILBO’S hand pulls something out of his waistcoat pocket and holds it behind his back. BILBO (CONT’D) I have ... things to do and I have put this off for far too long. CLOSE ON: BILBO’S knuckles turn white as he tightens his grip on the small object behind his back. BILBO (CONT’D) I regret to announce this is the end. I am going now. I bid you all a very fond farewell!! BILBO looks across at FRODO, hesitates... then... (CONTINUED) 27. CONTINUED: (2) BILBO (CONT’D) (whisper) Goodbye. BILBO instantly vanishes. The party explodes into an uproar ... the crowd leaps to its feet. ANGLE ON: FRODO staring at the empty stool in disbelief. CUT TO:",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BAG END - NIGHT The party is still in an excited uproar ... some 50 yards away as we PAN across a moonlit lane to the front door of BAG END. Door opens, pulled by an invisible hand.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BAG END - NIGHT The door quietly closes ... BILBO materializes as he pulls a plain gold ring off his finger. BILBO laughs as he tosses the ring in the air, then places it in his pocket. ANGLE ON: BILBO emerges from the passage, carrying a walking stick. He finds GANDALF looming over him. GANDALF I suppose you think that was terribly clever? BILBO Come on, Gandalf. Did you see their faces? GANDALF There are many magic rings in this world, Bilbo Baggins, and none of them should be used lightly. BILBO It was just a bit of fun. Oh, you’re probably right, as usual. BILBO You will keep an eye on Frodo, won't you? (CONTINUED) 28. CONTINUED: GANDALF Two eyes. As often as I can spare them. BILBO I'm leaving everything to him. GANDALF What about this ring of yours? Is that staying too? CLOSE ON: BILBO ... he gives GANDALF a look and nods towards the mantelpiece. BILBO Yes, yes, it's in an envelope ... over there on the mantelpiece. GANDALF frowns at the empty mantelpiece ... BILBO suddenly feels his waistcoat with a look of guilty surprise. BILBO (CONT’D) No, wait. It’s here in my pocket. Isn't that ... isn’t that odd, now? Yet, after all, why not? Why shouldn't I keep it? GANDALF I think you should leave the Ring behind, Bilbo. Is that so hard? BILBO Well, no ... and yes. Now it comes to it, I don't feel like parting with it. It’s mine. I found it. It came to me! ANGLE ON: GANDALF LOOKS DOWN AT BILBO WITH RISING CONCERN. GANDALF There's no need to get angry. BILBO Well, if I'm angry, it's your fault! It's mine. My own, my precious. GANDALF Precious? It's been called that before, but not by you. (CONTINUED) 29. CONTINUED: (2) BILBO What business is it of yours what I do with my own things? BILBO’S voice, shape and manner have suddenly changed. GANDALF I think you've had that ring quite long enough. BILBO You want it for yourself! GANDALF rises to his full height, his eyes flash, his shadow suddenly seems to fill the room. GANDALF Bilbo Baggins, do not take me for some conjurer of cheap tricks! BILBO cowers from GANDALF, disarmed by his power ... a frightened HOBBIT. GANDALF’S expression softens. GANDALF (CONT’D) I am not trying to rob you. I am trying to help you. Sobbing, BILBO runs to GANDALF and hugs him. GANDALF (CONT’D) All your long years we’ve been friends ... trust me as you once did. Let it go! BILBO You're right, Gandalf. The Ring must go to Frodo. BILBO lifts his knapsack and heads for the front door. BILBO (CONT’D) It's late, the road is long ... yes, it is time. GANDALF Bilbo? BILBO Hmmm? (CONTINUED) 30. CONTINUED: (3) GANDALF The Ring is still in your pocket. BILBO hesitates ... reaches into his pocket. BILBO Oh, yes. CLOSE ON: BILBO pulls out the ring ... he stares at it in his palm. With all his will power, BILBO allows the ring to slowly slide off his palm and drop to the floor. CLOSE ON: The tiny ring lands with a heavy thud on the wooden floor.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BAG END - NIGHT ANGLE ON: BILBO staggering out of BAG END ... he braces himself in the night air, PALE and TREMBLING, as if his loss of the ring has weakened him. GANDALF steps up behind. BILBO I've thought up an ending for my book... “And he lived happily ever after to the end of his days.” GANDALF I'm sure you will, my dear friend. BILBO Goodbye, Gandalf. GANDALF Goodbye, Bilbo. BILBO walks away from BAG END, disappearing into the night, softly singing: “The Road goes on and on.” GANDALF (CONT’D) (softly) Until our next meeting. CUT TO: 31.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BAG END LIVING ROOM - NIGHT CLOSE ON: THE RING ... GLINTING on the floor ... GANDALF circles around it, a PUZZLED look on his face. GANDALF slowly reaches for the RING. His fingers barely touch the RING ... the creepy HUM rises on the SOUNDTRACK. ANGLE ON: GANDALF is sitting in front of the fire, with his pipe ... staring into the flickering flames. BILBO (V.O.) It's mine, my own, my precious. GANDALF (to himself) Riddles in the dark. FRODO (O.S.) Bilbo! Bilbo! FRODO rushes into BAG END ... he stops and picks up the RING at his feet. GANDALF continues staring into the fire, as if locked in thought. GANDALF (to himself) My precious ... precious... FRODO (quietly) He's gone, hasn't he? FRODO steps into the living room. FRODO (CONT’D) He talked for so long about leaving ... I didn’t think he’d really do it. GANDALF (mutters to himself) ...my own. FRODO Gandalf? GANDALF turns ... his eyes locking onto the RING in FRODO’S fingers. GANDALF Bilbo’s ring. (CONTINUED) 32. CONTINUED: GANDALF sorts hurriedly through BILBO’S papers. GANDALF (CONT’D) He's gone to stay with the Elves. He's left you Bag End... GANDALF holds out the envelope ... FRODO drops the RING into it. GANDALF (CONT’D) ...along with all his possessions. GANDALF seals the envelope with wax. He hands it to FRODO. GANDALF (CONT’D) The ring is yours now. Put it somewhere out of sight. GANDALF rises hurriedly and starts to gather his things. FRODO Where are you going? GANDALF There are things I must to see to. FRODO What things? GANDALF Questions. Questions that need answering. FRODO But you've only just arrived! I don't understand... GANDALF is already at the door, he turns to FRODO. GANDALF Neither do I. Keep it secret, Keep it safe. GANDALF hurries out the door ... leaving FRODO standing alone in BAG END. (CONTINUED) 33. CONTINUED: (2) ANGLE ON: THE ENVELOPE THE CAMERA PUSHES IN ... THE HUM OF THE RING comes up on the SOUNDTRACK. The CAMERA PUSHES through the white paper to the RING ... beneath the HUM the whispered murmur of BLACK SPEECH can be heard. CUT TO:",TWIST +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BARAD-DÛR - NIGHT The jagged ruins of BARAD-DÛR. THE DARK TOWER! TEASING IMAGES: THE HUGE DARK TOWER OF BARAD-DÛR is being rebuilt! Thousands of ORCS crawl over the surface, hauling stone and iron up the towering heights. GOLLUM (O.S.) Shire! Baggins!! CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. MINAS MORGUL - NIGHT NINE BLACK RIDERS burst out of MINAS MORGUL and charge toward CAMERA.,FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. THE WEST ROAD, GONDOR - DAY WIDE ON: A LONE HORSEMAN gallops to the crest of a hill on the west road. The main highway south to MINAS TIRITH ... he looks toward the saw-toothed mountains of MORDOR ... WIDE ON: MOUNT DOOM ... A HUGE, BILLOWING CLOUD OF BLACK FILTH grows and spreads across the red streaked sky ... casting a shadowy pall over the nightmarish landscape ... seeping out across the blood red sky... ANGLE ON: GANDALF, his face grave. He spurs his horse on. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CITADEL, MINAS TIRITH - NIGHT ANGLE ON: GANDALF making his way down into the lower depths of the CITADEL. CUT TO: 34.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CITADEL CHAMBER, MINAS TIRITH - NIGHT CLOSE ON: Pages flipping as GANDALF searches ancient scrolls and books placed high on a wooden table. His eyes settle on one old parchment. He murmurs hurriedly to himself, reading. GANDALF (reading) The year 3434 of the Second Age ... here follows the account of Isildur, High King of Gondor, and the finding of the Ring of Power. DISSOLVE TO: CLOSE ON: ISILDUR, TRIUMPHANT, REACHES FOR THE ONE RING, HIS EYES FIXATED ON IT. GANDALF (reading) It has come to me ... the Ring of Power! It shall be an heirloom of my kingdom ... all those who follow in my bloodline shall be bound to its fate, for I will risk no hurt to the ring ... it is precious to me, though I buy it with great pain... CLOSE ON: ELVISH LETTERING MARKS ON THE FADED OLD DOCUMENT IN GANDALF’S HAND. GANDALF (reading) The marking on the band begin to fade ... the writing which at first was as clear as red flame, has all but disappeared ... a secret now that only fire can tell... CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HOBBIT FARMHOUSE - EVENING FARMER MAGGOT is chopping wood in his garden. CLOSE ON: SNORTING HORSE NOSTRILS ... as the shadow of a BLACK RIDER looms over a HOBBIT HOUSE. Terrified, FARMER MAGGOT cowers in his doorway ... FANGS, his dog, whimpers and backs away. (CONTINUED) 35. CONTINUED: BLACK RIDER (hissing) Shire? Baggins? FARMER MAGGOT (terrified) There’s no Bagginses around here! They're all up in Hobbiton ... that way. THE BLACK RIDER GALLOPS AWAY AT SPEED. CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GREEN DRAGON - NIGHT The HOBBITS of HOBBITON are having a grand evening of ale and song. ANGLE ON: MERRY and PIPPIN, mugs in hand, sing and dance on a table while supporting each other. ANGLE ON: FRODO retrieves more mugs of ale from the bar and dances around the tavern. HOBBITS (singing) Hey ho, to the bottle I go! To heal my heart and drown my woe. Rain may fall and wind may blow. But there still be – many miles to go! Sweet is the sound of the pouring rain, and the stream that falls from hill to plain. Better than rain or rippling brook – PIPPIN is a mug of beer inside this Took! Huge laughter and clinking of mugs. ANGLE ON: DADDY TWOFOOT, TED SANDYMAN, and SAM’S father, HAM GAMGEE (A.K.A. THE GAFFER), involve themselves in a most serious discussion. SAM sits quietly next to his father. (CONTINUED) 36. CONTINUED: DADDY TWOFOOT There's been some strange folk crossing the Shire. Dwarves, and others of a less than savoury nature. TED SANDYMAN War is brewing. The mountains are fair teeming with goblins. ANGLE ON: SAM, smokes his pipe and looks at ROSIE behind the bar. She gives him a huge smile. GAFFER Far-off tales and children's stories, that's all that is. You're beginning to sound like that old Bilbo Baggins. Cracked, he was. TED SANDYMAN Young Mr. Frodo here, he's cracking! He laughs as FRODO arrives with drinks. FRODO And proud of it. Cheers, Gaffer. GAFFER Well, it's none of our concern what goes on beyond our borders. Keep your nose out of trouble, and no trouble'll come to you. ANGLE ON: FRODO smiles and raises his tankard. LATER... ANGLE ON: ROSIE COTTON bids the last of the PATRONS “Goodnight” ... SAM meets her eyes for a moment as he and FRODO leave the inn. ROSIE Goodnight, lads. SAM Goodnight. (CONTINUED) 37. CONTINUED: FRODO and SAM continue on their way. Behind them, an intoxicated HOBBIT kneels before ROSIE and raises his arms as if worshipping a goddess. INTOXICATED HOBBIT Goodnight, sweet maiden of the golden ale! SAM (muttering) Mind who you're sweet-talking. FRODO Don't worry, Sam. Rosie knows an idiot when she sees one. SAM stops walking. SAM (worried) Does she? CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BAG END - NIGHT WIDE ON: FRODO FAREWELLS SAM outside BAG END, and heads towards the front door. CREEPY POV FROM INSIDE BAG END: FRODO coming up the path. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BAG END LIVING ROOM - NIGHT ANGLE ON: FRODO enters BAG END ... he immediately PAUSES, sensing that something is amiss. All is quiet ... FRODO peers uneasily into the darkened living room. SUDDENLY! A large figure looms out of the shadows, reaching for FRODO. FRODO lets out a startled cry, pulls himself free and spins around to face his ASSAILANT. GANDALF steps into a shaft of moonlight. Paranoia blazes in his eyes. His clothes are dirty and ragged from much traveling. Hair and beard much longer and unkempt. (CONTINUED) 38. CONTINUED: GANDALF (urgent whisper) Is it secret? Is it safe? CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BAG END LIVING ROOM - NIGHT FRODO pulls the envelope out of an old chest. GANDALF, suspcious, ALERT. Without a word, GANDALF takes the envelope and tosses it into the fireplace! FRODO (bewildered) What are you doing? Flames instantly consume the envelope ... revealing the RING, as it sinks into the red hot embers. GANDALF reaches into the fire with a pair of tongs ... he lifts the RING out. GANDALF Hold out your hand, Frodo ... it is quite cool. GANDALF drops the RING into FRODO’S hand ... he reacts to its weight. GANDALF (CONT’D) What can you see? Can you see anything? FRODO Nothing ... there's nothing. Wait... CLOSE ON: THE GOLD BAND of the RING as fiery letters begin to appear ... a tiny inscription glows red ... as if burning from within. FRODO (CONT’D) ...there are markings. CLOSE ON: GANDALF ... STILL ... TENSE. FRODO (CONT’D) It's some form of Elvish. I can't read it. (CONTINUED) 39. CONTINUED: GANDALF (ominous) There are few who can ... the language is that of Mordor, which I will not utter here. FRODO Mordor? GANDALF In the common tongue, it says: “One Ring to rule them all. One Ring to find them. One Ring to bring them all and in the darkness bind them.” CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BAG END KITCHEN - NIGHT CLOSE ON: THE RING lies on FRODO’S simple kitchen table. GANDALF This is the One Ring, forged by the Dark Lord Sauron, in the fires of Mount Doom ... taken by Isildur from the hand of Sauron himself. FRODO (quiet realization) Bilbo found it ... in Gollum's cave. GANDALF Yes. For sixty years, the Ring lay quiet in Bilbo’s keeping, prolonging his life, delaying old age ... but no longer, Frodo. Evil is stirring in Mordor. The Ring has awoken. It's heard its master's call. AT THAT MOMENT: A FLEETING, LOW WHISPER OF BLACK SPEECH emanates from the RING. FRODO looks at GANDALF, each knowing the other has heard it. FRODO But he was destroyed ... Sauron was destroyed. ANGLE ON: THE RING lies between them on the table. (CONTINUED) 40. CONTINUED: GANDALF No, Frodo. The spirit of Sauron endured. His life force is bound to the Ring and the Ring survived. Sauron has returned. His Orcs have multiplied ... his fortress of Barad-dûr is rebuilt in the land of Mordor. Sauron needs only this Ring to cover all the lands in the second darkness. He is seeking it, seeking it, all his thought is bent on it. For the Ring yearns, above all else, to return to the hand of its master: They are one, the Ring and the Dark Lord. Frodo, he must never find it. SUDDENLY, FRODO scoops up the RING. FRODO Alright! CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BAG END LIVING ROOM - NIGHT ANGLE ON: FRODO hurriedly entering the living room. FRODO (thinking fast) We put it away, we keep it hidden! We never speak of it again. No one knows it’s here, do they? GANDALF shifts uncomfortably. FRODO (CONT’D) Do they, Gandalf? GANDALF looks at FRODO sadly... GANDALF There is one other who knew that Bilbo had the Ring. I looked everywhere for the creature Gollum, but the enemy found him first. CUT TO: 41.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BARAD-DÛR - NIGHT CLOSE ON: A TEASING GLIMPSE of GOLLUM being tortured by the ORCS. The wretched creature screams in pain. GANDALF (V.O.) I don't know how long they tortured him ... but amidst the endless screams and inane babble, they discerned two words. GOLLUM (screaming) S...Shire! Baggins! CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. BAG END LIVING ROOM - NIGHT CLOSE ON: FRODO’S HORRIFIED FACE! FRODO Shire! Baggins! That will lead them here!,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SHIRE LANE, SOUTH FARTHING - NIGHT IMAGE: On a dark country lane, a HOBBIT BOUNDER lifts his watch lantern in alarm. HOBBIT BOUNDER Halt! Who goes there? Out of the darkness thunder two BLACK RIDERS ... A LETHAL SWORD swings down at the small HOBBIT BOUNDER. CUT TO:",FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BAG END LIVING ROOM - NIGHT FRODO thrusts the RING at GANDALF. FRODO Take it! Take it! GANDALF No, Frodo... FRODO You must take it. (CONTINUED) 42. CONTINUED: GANDALF You cannot offer me this ring. FRODO I am giving it to you! GANDALF Don't tempt me, Frodo! I dare not take it, not even to keep it safe. CLOSE ON: THE RING IN FRODO’S HAND... GANDALF (CONT’D) Understand, Frodo ... I would use this Ring from a desire to do good ... but through me, it would wield a power too great and terrible to imagine. FRODO But it cannot stay in the Shire! GANDALF No, no, it can't. CLOSE ON: THE RING IN FRODO’S CLENCHED HAND. FRODO What must I do? CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FRODO’S BEDROOM - NIGHT ANGLE ON: FRODO throwing clothes into a knapsack ... GANDALF watches him, making plans... GANDALF You must leave, and leave quickly. Get out of the Shire. FRODO Where? Where shall I go? GANDALF Make for the village of Bree. FRODO Bree? What about you? (CONTINUED) 43. CONTINUED: GANDALF I will be waiting for you at the Inn of the Prancing Pony. FRODO packs his food into his knapsack. FRODO And the Ring will be safe there? GANDALF I don't know, Frodo. I don't have any answers. I must see the Head of my Order. He is both wise and powerful. Trust me, Frodo. He’ll know what to do. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BAG END LIVING ROOM - NIGHT FRODO is preparing to leave. GANDALF You’ll have to leave the name of Baggins behind you ... for that name is not safe outside the Shire. GANDALF helps FRODO into his coat. GANDALF (CONT’D) Travel only by day. And stay off the road. FRODO (thinking) I can cut across country easily enough. GANDALF looks at the young HOBBIT, moved by his courage. GANDALF My dear Frodo. Hobbits really are amazing creatures. You can learn all there is to know about their ways in a month, and yet, after a hundred years, they can still surprise you. SUDDENLY! A SOUND from outside. (CONTINUED) 44. CONTINUED: GANDALF (CONT’D) Get down! GANDALF FREEZES ... he moves quietly towards the window, eyes wide with tension. He raises his staff above the window, and slams it down on the intruder. THERE IS A YELP OF PAIN! GANDALF hauls a small figure into the room ... SAM GAMGEE sprawls across the floor! He looks up in terror as GANDALF looms over him. GANDALF (CONT’D) (angry) Confound it all! Samwise Gamgee, have you been eavesdropping? SAM I ain’t been dropping no eaves, sir! Honest. I was just cutting the grass under the window there, if you follow me... GANDALF It’s a little bit late for trimming the hedges, don’t you think? SAM I heard raised voices... GANDALF What did you hear? Speak! SAM Nothing important ... that is, I heard a good deal about a ring ... and a Dark Lord. And something about the end of the world, but... Please, Mr. Gandalf, sir, don't hurt me! Don't turn me into anything unnatural! GANDALF No? FRODO SMILES. GANDALF (CONT’D) Perhaps not. I’ve thought of a better use for you. CUT TO: 45.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HOBBITON FIELDS - PREDAWN WIDE ON: HOBBITON ... shrouded in a white veil of MIST. WIDER: To REVEAL GANDALF, FRODO, and SAM hurrying across a ploughed field, away from HOBBITON! GANDALF leads his HORSE ... FRODO and SAM are carrying knapsacks. GANDALF (V.O.) Come along, Samwise ... keep up... CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HOBBITON WOODS - DAY GANDALF leads FRODO and SAM under the cover of WOODS. GANDALF (V.O.) Be careful, both of you. The Enemy has many spies in his service, many ways of hearing ... birds, beasts... GANDALF takes FRODO to one side... GANDALF (CONT’D) (low voice) Is it safe? FRODO NODS ... he pats his pocket. GANDALF (CONT’D) Never put it on, for the agents of the Dark Lord will be drawn to its power... Always remember, Frodo, the Ring is trying to get back to its master ... it wants to be found. GANDALF wheels his horse and gallops away. CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. GREEN HILL COUNTRY - DAY MONTAGE: FRODO and SAM hike over the gentle Shire countryside ... wading through a shallow stream ... pass by the quaint hollows of Hobbit Holes ... heating a kettle over a small fire ... clambering over stone walls. CUT TO: 46.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. GREEN HILL COUNTRY - AFTERNOON SAM stops short ... taking stock of his surroundings. SAM looks back from where they came. SAM This is it. FRODO This is what? SAM If I take one more step, it’ll be the farthest away from home I've ever been. FRODO gives SAM a pat on the shoulder. FRODO Come on, Sam. SAM takes a deep breath and steps forward. CLOSE ON: SAM’S brown, furry foot hits the ground. FRODO IS SMILING. FRODO Remember what Bilbo used to say ... it's a dangerous business... FRODO and SAM continue their journey. BILBO (V.O.) ...it’s a dangerous business, Frodo, going out your door ... you step onto the road, and if you don't keep your feet, there's no knowing where you might be swept off to. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HOBBITON WOODS - NIGHT SAM cooks a dinner while FRODO relaxes in a tree, smoking his pipe. SUDDENLY, FRODO turns his head, listening. ON THE SOUNDTRACK: Singing ... high, sweet voices sing in a strange language. (CONTINUED) 47. CONTINUED: ANGLE ON: FRODO looks at SAM with a delighted smile. FRODO (whispers) Sam! Wood-Elves! ANGLE ON: A group of ELVES pass slowly through the forest, some on horseback, some walking, some with banners. The group seems to shine of its own light, their white garments softly glowing against the purples and midnight blues of the woods. Their haunting song continues. ELVEN VOICES (Elvish) a Galad ren i veniar hi' aladhremmin ennorath A Elbereth Gilthoniel ithil nâ thûl, ithil lîn hen O Light to us that wander here Amid the world of woven trees! O Elbereth! Gilthoniel! Clear are thy eyes and bright thy breath! ANGLE ON: FRODO and SAM watching the procession from behind a tree. FRODO They're going to the harbour beyond the White Towers. To the Grey Havens. SAM They're leaving Middle-earth. FRODO Never to return. SAM I don't know why ... it makes me sad. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HOBBITON WOODS - NIGHT FRODO appears asleep. SAM tries desperately to find a comfortable spot on the ground. (CONTINUED) 48. CONTINUED: SAM Everywhere I lie there’s a dirty great root sticking into my back. FRODO neither moves nor opens his eyes. FRODO Just shut your eyes, and imagine you're back in your own bed, with a soft mattress and a lovely feather pillow. ANGLE ON: SAM looks skeptical, but tries it. SAM (sighs) It's not working Mr. Frodo. I'm never going to be able to sleep out here. FRODO Me neither, Sam. FRODO smiles. SAM stares at the sky and finds something to nibble on.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SHIRE, A HILL - NIGHT WIDE ON: Mist descends over the peaceful Shire. TRACK BACK TO REVEAL: A horse neighs and stamps. Its BLACK RIDER comes slowly to a halt and looks for his prey. CUT TO:",FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ISENGARD VALLEY - DAY GANDALF is galloping along the outskirts of the ancient forest of FANGORN. Nestled in a basin at the foot of the distant MISTY MOUNTAINS, the tall black tower of ORTHANC is clearly visible.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ISENGARD VALLEY - DAY GANDALF gallops through the gate, into the fortress of ISENGARD ... a great ring-wall of stone, a mile from rim to rim, encloses beautiful trees and garden, watered by streams that flow down from the mountains. (CONTINUED) 49. CONTINUED: SARUMAN (V.O.) Smoke rises once more from the mountain of doom ... the Shadow takes shape in the darkness of Mordor; the hour grows late ... and Gandalf the Grey rides to Isengard seeking my council... The strange tower of ORTHANC ... hewn from a solid pillar of obsidian ... rises up in the center of the ISENGARD CIRCLE. GANDALF arrives at he foot of the ORTHANC STAIRS. ANGLE ON: SARUMAN, THE WHITE WIZARD as he sweeps down the ORTHANC stairs. SARUMAN For that is why you have come, is it not, my old friend? GANDALF moves quickly towards him, grimy and weary from his long ride. GANDALF Saruman! CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ISENGARD GARDENS - DAY GANDALF and SARUMAN walk slowly between the beautiful trees of ISENGARD. SARUMAN’S clean, white robe contrasts with GANDALF’S dusty grey robes. SARUMAN Are you sure of this? GANDALF Beyond any doubt. SARUMAN So the Ring of Power has been found? GANDALF All these long years, it was in the Shire, under my very nose. SARUMAN Yet you did not have the wit to see it. Your love of the Halfling’s leaf has clearly slowed your mind. (CONTINUED) 50. CONTINUED: GANDALF We still have time ... time enough to counter Sauron ... if we act quickly. SARUMAN Time? What time do you think we have? CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ORTHANC ANTE-CHAMBER - DAY GANDALF and SARUMAN are seated in a small, cluttered room to the side of the cavernous central chamber. SARUMAN Sauron has regained much of his former strength. He cannot yet take physical form ... but his spirit has lost none of its potency. Concealed within his fortress, the Lord of Mordor sees all. His gaze pierces cloud, shadow, earth and flesh. You know of what I speak, Gandalf ... a Great Eye, lidless, wreathed in flame. GANDALF (softly) The Eye of Sauron. SARUMAN He is gathering all evil to him. Very soon, he will have summoned an army great enough to launch an assault on Middle earth. GANDALF You know this? How? SARUMAN I have seen it. GANDALF and SARUMAN stride through ORTHANC toward a stone plinth on which a sphere like shape is draped with a cloth... GANDALF A Palantír is a dangerous tool, Saruman. ANGLE ON: SARUMAN lifts the cloth to reveal the PALANTÍR. (CONTINUED) 51. CONTINUED: SARUMAN Why? Why should we fear to use it? GANDALF They are not all accounted for, the lost Seeing-stones. We do not know who else may be watching. GANDALF throws the cloth back over the PALANTÍR. FLASH IMAGE: A FIERY EYE! ANGLE ON: SARUMAN sits on his throne. SARUMAN The hour is later than you think. Sauron’s forces are already moving... the Nine have left Minas Morgul. GANDALF (shocked) The Nine? SARUMAN They crossed the River Isen on Midsummer's Eve, disguised as riders in black. GANDALF (alarmed) They have reached the Shire? SARUMAN shrugs... SARUMAN They will find the Ring ... and kill the one who carries it. GANDALF backs away and turns to run to the door ... horrified as the doors suddenly slam shut. SARUMAN (CONT’D) You did not seriously think a Hobbit could contend with the will of Sauron? There are none who can. GANDALF slowly turns to SARUMAN ... a look of dawning horror. (CONTINUED) 52. CONTINUED: (2) SARUMAN (CONT’D) Against the power of Mordor there can be no victory. We must join with him, Gandalf. We must join with Sauron. It would be wise, my friend. GANDALF (deadly) Tell me, friend, when did Saruman the Wise abandon reason for madness? AT THAT MOMENT: GANDALF is suddenly blasted across the room! He slams againt the wall ... pinned there by some unseen force. With sudden effort, GANDALF wrenches himself off the wall and swings his staff on SARUMAN ... blasting him off his feet! GANDALF and SARUMAN battle, powerful blasts throwing them across the room. SARUMAN SCREAMS, EYES BLAZING! GANDALF’S staff is suddenly wrenched from his grasp ... it flies across the chamber into SARUMAN’S hand! GANDALF is flung to the floor. SARUMAN I gave you the choice of aiding me willingly, but you have elected the way of pain! GANDALF is breathing hard on the floor, his eye look into the madness of SARUMAN... COMMANDING TWO STAFFS, SARUMAN sends GANDALF into a sickening spin. GANDALF tumbles towards the top of the chamber ... as if falling in reverse. RUSHING POV: the roof of ORTHANC rockets toward CAMERA. CUT TO:",FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FARMER’S FIELDS - DAY WIDE ON: FRODO and SAM walking along a country lane which borders FARMER MAGGOT’S FIELDS. ANGLE ON: SAM is looking up ... FRODO has disappeared around a corner in the lane. (CONTINUED) 53. CONTINUED: SAM (panicked) Mr. Frodo. Mr. Frodo! FRODO turns, surprised as SAM comes running towards him. SAM (CONT’D) (worried) I thought I'd lost you. ANGLE ON: FRODO looks at SAM suspiciously. ANGLE ON: SAM glances down, embarrassed. FRODO (teasing) What are you talking about? SAM (mumbling) It's just something Gandalf said... FRODO What did he say? SAM He said...“Don't you leave him, Samwise Gamgee.” (looks at Frodo intently) And I don't mean to. FRODO (laughing) Sam ... we're still in the Shire ... what could possibly happen? SUDDENLY! A figure comes crashing out of a hedgerow sending FRODO flying. FRODO picks himself up, only to be knocked back down again by PIPPIN. PIPPIN Frodo! Merry, it's Frodo Baggins. MERRY Hello Frodo! ANGLE ON: MERRY, PIPPIN, and FRODO picking themselves up ... a variety of vegetables have scattered everywhere. (CONTINUED) 54. CONTINUED: (2) SAM What’s the meaning of this! MERRY Sam, hold this... MERRY gives SAM a large cabbage. SAM You've been into Farmer Maggot's crop! ANGLE ON: A large pitchfork can be seen racing towards them along the HEDGEROW ... angry shouts from FARMER MAGGOT. FARMER MAGGOT (O.S.) Who’s that in my field! Get out of it! Get out of my field, you young varmits! I’ll show you ... get out of my corn. ANGLE ON: MERRY and PIPPIN hurriedly gather their booty and race away ... with FRODO and SAM on their heels. MERRY I don't know why he is so upset, it's only a couple of carrots. PIPPIN And some cabbages ... and those three bags of potatoes that we lifted last week. And the mushrooms the week before. MERRY Yes, Pippin, my point is, he's clearly overreacting. ON THE SOUNDTRACK: The BAYING OF LARGE DOG sounds! PIPPIN Run! CUT TO:",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. WOODED ROAD - DAY FRODO, SAM, and MERRY and PIPPIN tumble head over heel down a bank, onto a dark, wooded road. (CONTINUED) 55. CONTINUED: CLOSE ON: A winded PIPPIN, his face inches away from a large pile of HORSE droppings... PIPPIN That was close. FRODO picks himself up and looks around quickly. MERRY (groaning) Ow ... I think I've broken something. He PULLS a LARGE CARROT, almost broken through in the middle, out from his back pocket. MERRY (CONT’D) Oh. SAM (turning on Merry and Pippin) Trust a Brandybuck and a Took! MERRY What? That was just a detour ... a short cut. SAM A shortcut to what? PIPPIN has spied something under the trees on the far side of the road. PIPPIN (excited) Mushrooms! CLOSE ON: SMALL, brown mushrooms growing amongst the LOAMY undergrowth. SAM, MERRY, and PIPPIN race toward the mushrooms! ANGLE ON: FRODO is tense and watchful. He realizes they are on a wooded road. Scattered leaves rise into the air WHIRLING down the road as if blown by an invisible wind... SUDDENLY ... THE SOUND OF HORSE HOOVES... FRODO I think we should get off the road. (CONTINUED) 56. CONTINUED: (2) A long drawn WAIL comes down the wind, like the cry of some evil and lovely creature. FRODO (CONT’D) (more urgency) Get off the road! SAM grabs MERRY and PIPPIN as the HOBBITS quickly scramble down the bank, hiding under a mossy log. THE SOUND OF HOOVES is close ... a sinister MOUNTED RINGWRAITH steps into view ... hooded and faceless, mounted on a huge snarling black horse with insane eyes! FRODO freezes in terror. ANGLE ON: The RINGWRAITH pauses right beside their hiding place ... he sits very still with head bowed, listening. From inside the hood comes a sniffing noise as if he is trying to catch an elusive scent: he head turning from side to side. CLOSE ON: FRODO ... beads of sweat gather on his brow ANGLE ON: The RINGWRAITH suddenly slides off his horse, leaning over the mossy log, peering suspiciously into the woods. CLOSE ON: FRODO ... he is drawing the RING out of his pocket, with trembling hands ... his face fevered and sweating as if in the grip of some terrible INTERNAL STRUGGLE. The SOUND OF SNIFFING intensifies as the RINGWRAITH darts his head from side to side like a bird of prey. CLOSE ON: FRODO SQUEEZING HIS EYES SHUT... QUICK PSYCHIC BLASTS! AN EVIL DARK TOWER ... A GREAT EYE ... A BURST OF FLAME. ANGLE ON: SAM LOOKING AT FRODO WITH CONCERN. SAM Frodo? MERRY desperately hurls the mushrooms across the road ... the RINGWRAITH spins around at the sound, and darts to the far side of the road with frightening speed. (CONTINUED) 57. CONTINUED: (3) ANGLE ON: FRODO instantly slumps ... as if a PSYCHIC LINK had been broken... MERRY What was that? FRODO is staring, a look of shock on his face at the RING lying in the palm of his hand.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FERRY LANE - NIGHT FRODO, SAM, MERRY, and PIPPIN hurry through the trees ... slipping and sliding on the muddy ground. SAM Anything? FRODO Nothing. PIPPIN What is going on? ANGLE ON: MERRY moves past PIPPIN, toward FRODO, watching intently ... SAM keeps looking around nervously. MERRY That Black Rider was looking for something ... or someone ... Frodo? SAM Get down! ANGLE ON: The SILHOUETTE OF A BLACK RIDER looms against the skyline. ANGLE ON: The FOUR HOBBITS ... sprawled on the ground, holding their breath. ANGLE ON: The BLACK RIDER turns and departs. FRODO I have to leave the Shire. Sam and I must get to Bree. ANGLE ON: MERRY looks at his friend ... realizing FRODO is in deep trouble. (CONTINUED) 58. CONTINUED: MERRY Right ... Buckleberry Ferry ... follow me! The HOBBITS break cover. SUDDENLY, A RINGWRAITH bursts out of the forest TOWARD THEM! MERRY (CONT’D) There’s another one!! Frodo, this way!! The HOBBITS run ... THE RINGWRAITH SHRIEKS! QUICK CUTS: Black horse hooves ... snarling horse mouths ... a fleeting black cowl. MERRY (CONT’D) Frodo, follow me! CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BUCKLEBERRY FERRY - NIGHT FRODO, SAM, MERRY, and PIPPIN are running towards the wide, placid BRANDYWINE RIVER ... and the FERRY. MERRY Get the ropes, Sam. QUICK ANGLES: STOMPING HOOVES ... SNARLING HORSES... Four RINGWRAITHS are speeding through the FOG ... converging on the FERRY CROSSING. The HOBBITS stampede across the WHARF and TUMBLE onto the FERRY. SAM (screaming) Frodo! FRODO races across the WOODEN WHARF, followed by the RINGWRAITHS. He leaps onto the FERRY. CLOSE ON: HOOVES THUNDER DOWN THE WOODEN WHARF! SAM and MERRY shove off with the poles ... the ferry slides out into the river, just as the RINGWRAITHS arrive. They pull up on the end of the wharf ... shrieking with rage! The HOBBITS cover their ears. (CONTINUED) 59. CONTINUED: The RINGWRAITHS wheel their horses towards the north and GALLOP away along the river bank, quickly disappearing into the fog. FRODO Where is the nearest crossing? MERRY The Brandywine bridge ... twenty miles. CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BREE GATE - NIGHT ANGLE ON: Lights of BREE ... a small village of stone and half- timbered houses nestled against a low wooded hill. A thick hedge surrounds the village ... a great gate bars the western entrance. CLOSE ON: FRODO, SAM, MERRY, AND PIPPIN approaching the gatehouse ... wild eyes, ragged, and out of breath. FRODO Come on. ANGLE ON: A SURLY GATEKEEPER, OLD HARRY, glances down at them. OLD HARRY What do you want? FRODO We are headed for the Prancing Pony. OLD HARRY swings his lantern onto the HOBBITS, bathing them in an uncomfortable yellow spotlight. OLD HARRY Hobbits! Four Hobbits, and what’s more, out of the Shire by your talk. What business brings you to Bree? FRODO We wish to stay at the inn ... our business is our own. To FRODO’S relief, OLD HARRY unlocks the gate. OLD HARRY All right, young sir, I meant no offense. (CONTINUED) 60. CONTINUED: The HOBBITS gratefully enter BREE .. OLD HARRY eyeing them curiously in the lantern light. OLD HARRY ‘Tis Old Harry’s job to ask questions after nightfall. There's talk of strange folk abroad ... can't be too careful. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BREE STREETS - NIGHT The tall BREE FOLK loom over the nervous LITTLE HOBBITS as FRODO, SAM, MERRY, and PIPPIN make their way through the NARROW STREETS. Tall buildings tower above them ... light glow dimly from behind thick curtains. CLOSE ON: The sign of the “PRANCING PONY INN” ... FRODO, SAM, MERRY, and PIPPIN hurry toward it.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. “PRANCING PONY” RECEPTION - NIGHT FRODO, SAM, MERRY, and PIPPIN come rushing in. FRODO attracts the INN KEEPER’s attention. FRODO Excuse me. BUTTERBUR Good evening, little masters. If you're seeking accommodation, we’ve got some nice, cozy Hobbit sized rooms available. Mr...ah... FRODO Underhill ... my name's Underhill. BUTTERBUR Underhill? Hmmmm. FRODO We're friends of Gandalf the Grey... Can you tell him we've arrived? BUTTERBUR frowns... (CONTINUED) 61. CONTINUED: BUTTERBUR (puzzled) Gandalf ... Gandalf ... Oh... (recognition) Oh, yes! I remember ... elderly chap ... big grey beard ... pointy hat? BUTTERBUR shakes his head. BUTTERBUR (CONT’D) Not seen him for six months. FRODO is shocked. SAM (worried whisper) What do we do now?",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PRANCING PONY - LATER WIDE ON: the noisy, smokey INN. It is dimly lit, shiefly from a blazing log fire ... and crowded with a mixture of BIG FOLK, LOCAL HOBBITS, and a couple of dwarfs. ANGLE ON: FRODO, SAM, MERRY, and PIPPIN are sitting at a table against the wall ... clearly trying to remain QUIET and inconspicuous ... SAM can’t help himself ... he keeps casting nervous glances around. FRODO Sam, he'll be here. He’ll come. ANGLE ON: MERRY ploinks himself down at a table, carrying a very large mug of beer. PIPPIN What's that? MERRY This, my friend, is a p",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int. PIPPIN It comes in pints? I'm getting one. SAM watches PIPPIN rise unsteadily to his feet and head to the bar. (CONTINUED) 62. CONTINUED: SAM You've got a whole half already! MERRY watches PIPPIN go. ANGLE ON: A COUPLE OF SWARTHY MEN leaning against the bar glance at FRODO, then quickly look away. SAM (CONT’D) (tense) That fellow's done nothing but stare at you since we arrived. SAM indicates a BROODING STRANGER who sits alone at a table in the far corner, smoking a curiously carved long stemmed pipe, peering from beneath a travel stained cowl with gleaming eyes. FRODO gestures to BUTTERBUR. FRODO Excuse me, that Man in the corner, who is he? BUTTERBUR He's one of them Rangers; they’re dangerous folk they are, wandering the wilds. What his right name is, I never heard, but round here he's known as Strider. FRODO (to himself) Strider. BENEATH TABLE: FRODO’S fingers are nervously TOYING WITH THE RING. CLOSE ON: FRODO ... Sweat runs down his brow. The STRANGE HUM OF THE RING spills into the SOUNDTRACK. “Baggins ... Baggins...” a creepy whisper seems to fill FRODO’S head ... sound that dissolves into PIPPIN’S loud voice: PIPPIN Baggins? Sure I know a Baggins. He’s over there... (CONTINUED) 63. CONTINUED: (2) ANGLE ON: PIPPIN sitting at the bar, chatting with LOCALS. FRODO leaps to his feet and pushes his way to the bar. PIPPIN (CONT’D) Frodo Baggins. He's my second cousin, once removed on his mother's side and my third cousin, twice removed on his father’s side ... if you follow me. FRODO grabs PIPPIN’S sleeve, spilling his beer. FRODO Pippin! PIPPIN Steady on, Frodo! PIPPIN pushes FRODO away ... he stumbles backwards, and falls to the floor. AT THAT INSTANT, the INN goes silent and all the attentionturns to FRODO... CLOSE ON: THE RING ... in agonizing SLOW MOTION ... we watch as it seems to hang in the air for a split second ... then crashes down onto his outstretched finger. FRODO VANISHES! There is a sharp intake of breath followed by total silence. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. BREE COUNTRYSIDE - NIGHT THE RINGWRAITHS turn sharply in their saddles ... INSTANTLY aware that the RING is being worn. They spur their horses towards the distant lights of BREE.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. “PRANCING PONY” INN - NIGHT SAM looks sick; PIPPIN instantly sobers, realizing his folly; the brooding stranger frowns ... and the INN erupts into excited babble. (CONTINUED) 64. CONTINUED: IN THE TWILIGHT WORLD: ANGLE ON: FRODO, as he finds himself in the TWILIGHT WORLD of the RING: THE EXCITED CROWD are suddenly moving in SLOW MOTION ... distorted voices ... a weird photographic negative quality. FRODO is moving in real time; against the slow motion background. He suddenly clutches his head as he is hit with QUICK IMAGES ... of a GREAT EYE! AN EVIL CAT-LIKE EYE, WREATHED IN FLAMES. VOICE OF SAURON You cannot hide ... I see you ... There is no life here in the void ... only cold ... only death. FRODO is terrified! He rolls under a table, desperately pulling the RING from his finger. FRODO MATERIALIZES into the REAL WORLD. AT THAT MOMENT: A LARGE HAND reaches under the table and GRABS FRODO by the collar, and DRAGS HIM AWAY! CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. PRANCING PONY - CORRIDOR - NIGHT FRODO is roughly pushed against the wall. The BROODING STRANGER looms over him. STRIDER You draw far too much attention to yourself ... Mr. Underhill. CUT TO:,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOBBIT’S ROOM, PRANCING PONY - NIGHT FRODO is pushed into the HOBBIT’S ROOM by STRIDER. FRODO What do you want? STRIDER A little more caution from you ... that is no trinket you carry. FRODO I carry nothing. (CONTINUED) 65. CONTINUED: STRIDER Indeed? I can avoid being seen if I wish, but to disappear entirely ... that is a rare gift. He takes down the hood of his cloak to reveal a shaggy head of dark hair flecked with grey, and in a pale stern face a pair of keen grey eyes. FRODO Who are you? STRIDER Are you frightened? FRODO Yes. STRIDER Not nearly frightened enough. I know what hunts you. FRODO jumps at the sound of a noise in the corridor. STRIDER deftly draws his sword. ANGLE ON: The door BURSTS OPEN and SAM, MERRY, and PIPPIN appear on the doorway. SAM is squaring off with his FISTS, MERRY brandishes a CANDELABRA, and PIPPIN a CHAIR. SAM Let him go or I’ll have you, Longshanks! STRIDER SHEATHS his sword, a slight smile playing on his lips. STRIDER You have a stout heart, little Hobbit, but that alone will not save you ... you can no Frodo. They’re coming. CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. GATEHOUSE, BREE - NIGHT OLD HARRY comes out of his LODGINGS with a lantern ... a look of fear on his face. He approaches the closed gate with great apprehension. (CONTINUED) 66. CONTINUED: CLOSE ON: OLD HARRY peers out of his PEEPHOLE. CRASH!! The gate crashes down on OLD HARRY ... as FOUR RINGWRAITHS ride into BREE!",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BREE STREETS - NIGHT The four RINGWRAITHS fly down the empty streets, like horsemen of the apocalypse.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. PRANCING PONY INN - NIGHT LOW ANGLE: the front door FLIES OPEN. The FOUR RINGWRAITHS rush into the PRANCING PONY with WICKED SWORDS DRAWN. CLOSE ON: BUTTERBUR hiding behind his bar ... trembling and sweating in TERROR.,FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOBBIT’S ROOM, PRANCING PONY - NIGHT INSERT: MERRY SNORING SOFTLY ON HIS PILLOW. INSERT: PIPPIN stirs slightly, then settles back to sleep. WIDE ON: The door creaks open ... THE FOUR RINGWRAITHS silently slide into the HOBBIT’S ROOM. They LOOM over each bed, raising their SHINING SWORDS ABOVE THE SLEEPING HOBBITS. QUICK INSERT: SAM’S eyes open wide. In unison, the RINGWRAITHS STAB THE HOBBITS, in a SLASHING, HACKING FRENZY.",FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. STRIDER’S ROOM - NIGHT ANGLE ON: STRIDER is grimly listening to the sounds from his room.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOBBIT’S ROOM, PRANCING PONY - NIGHT WIDE ON: the RINGWRAITHS step back from the slashed beds in triumph. CLOSE ON: A hacked blanket is pulled back to reveal nothing but a shredded pillow. The RINGWRAITHS SHRIEK WITH RAGE!! (CONTINUED) 67. CONTINUED: INSERT: SAM sits up with a start! CLOSE ON: Another shredded pillow is revealed! More SHRIEKS of rage. INSERT: MERRY AND PIPPIN wake with a start. CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. STRIDER’S ROOM - NIGHT WIDE ON: SAM, MERRY, and PIPPIN have been sleeping on STRIDER’S bed. FRODO stands next to STRIDER by the window, peering out nervously as furious RINGWRAITH screeches echo across the courtyard from the HOBBIT’S ROOM. FRODO What are they? STRIDER They were once Men. ANGLE ON: STRIDER glances quickly at FRODO, then looks away... STRIDER (CONT’D) (quietly) Great kings of Men. Then Sauron the Deceiver gave to them Nine Rings of Power. Blinded by their greed they took them without question, one by one falling into darkness. Now they are slaves to his will. STRIDER looks from the window as the RINGWRAITHS gallop down the BREE STREETS. CLOSE ON: STRIDER turns back to the HOBBITS, his face lit faintly by the GLOWING EMBERS of the FIRE. STRIDER (CONT’D) They are the Nazgûl, Ringwraiths, neither living nor dead. At all times they feel the presence of the Ring ... drawn to the power of the One ... They will never stop hunting you. CUT TO: 68.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CHETWOOD FOREST - DAY ANGLE ON: STRIDER, MERRY, PIPPIN, AND FRODO march through a gloomy overgrown forest. SAM follows at the rear leading BILL, a SCRAWNY PONY, who is laden with supplies. FRODO Where are you taking us? STRIDER Into the Wild. ANGLE ON: FRODO watches uneasily as STRIDER moves off into the cover of trees... MERRY (whispered aside) How do we know this Strider is a friend of Gandalf? FRODO I think a servant of the enemy would look fairer and feel fouler. MERRY He’s foul enough. FRODO We have no choice but to trust him. SAM But where is he leading us? STRIDER stops, casts a glance back at SAM. STRIDER To Rivendell, Master Gamgee ... to the house of Elrond. SAM looks excited. SAM Did you hear that, Bill? Rivendell! We're going to see the Elves! STRIDER leads the HOBBITS through the gloom of the forest. CUT TO: 69.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MIDGEWATER MOORS - DAY AERIAL ON: STRIDER leading FRODO, SAM, MERRY, and PIPPIN across the windswept moor. ANGLE ON: The HOBBITS suddenly stop and unstrap their knapsacks. STRIDER Gentlemen, we do not stop till nightfall. PIPPIN What about breakfast? STRIDER You’ve already had it. PIPPIN We've had one, yes ... what about second breakfast? ANGLE ON: STRIDER stares at PIPPIN blankly, then turns away, shaking his head. MERRY I don't think he knows about second breakfast, Pip. PIPPIN What about Elevenses, Luncheon, Afternoon tea, dinner ... he knows about them, doesn’t he? MERRY I wouldn't count on it. An apple is thrown to MERRY, who deftly catches it. Another, aimed at PIPPIN, catches him on the forehead. MERRY (CONT’D) (exasperated) Pippin! ANGLE ON: The HOBBITS trudge through rain, looking tired, hungry, and miserable. CUT TO: 70.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MIDGEWATER - DAY WIDE ON: ARAGORN, FRODO, SAM, BILL, MERRY, and PIPPIN struggle through a dense swampland. Bugs swarm around them. ANGLE ON: MERRY slaps at the swarming insects. MERRY What do they eat when they can’t get Hobbit? ANGLE ON: PIPPIN loses his balance and falls face first into the muck.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MIDGEWATER - NIGHT ANGLE ON: The full moon stands high overhead. ANGLE ON: STRIDER keeps a lone watch by the dying embers of the fire. He sings quietly to himself. STRIDER (Elvish) Tinúviel elvanui, Elleth alfirin ethelhael O hon ring finnil fuinui A renc gelebrin thiliol. Tinúviel the elven-fair, Immortal maiden elven-wise, About him cast her night-dark hair, And arms like silver glimmering. CLOSE ON: FRODO awakens, hearing Strider’s song. FRODO Who is she? This woman you sing of? ANGLE ON: STRIDER turns, momentarily startled. He relaxes quickly. He speaks as if the tale is personal to him. STRIDER ‘Tis the lady of Lúthien. The Elf-maiden who gave her love to Beren, a mortal. FRODO What happened to her? (CONTINUED) 71. CONTINUED: STRIDER She died. STRIDER sighs. His face bears remorse as he turns to FRODO. STRIDER (CONT’D) Get some sleep, Frodo. FRODO nods and lays back down. STRIDER turns back to his vigil and looks up at the moon. His eyes are brimming with tears. CUT TO:",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ORTHANC ANTE-CHAMBER - NIGHT SARUMAN stands over the PALANTÍR, his hands cupping the massive eye. SARUMAN (whisper) The power of Isengard is at your command, Sauron, Lord of the Earth. ON THE SOUNDTRACK: BLACK SPEECH FILLS THE ROOM ... AMIDST THE HARSH, GUTTURAL WORDS, THE VOICE OF SAURON EMERGES. SAURON Build me an army worthy of Mordor.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ORTHANC ANTE-CHAMBER - NIGHT SARUMAN is seated as his ORC OVERSEER approaches ORC OVERSEER What orders from Mordor, my lord? What does the Eye command? SARUMAN We have work to do. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ISENGARD - NIGHT CLOSE ON: GANDALF ... lying unconscious on a cold obsidian floor. He wakes to the sound of ripping and tearing ... rising onto his knees ... lifting his head ... (CONTINUED) 72. CONTINUED: GANDALF stands as the CAMERA PULLS BACK TO REVEAL HIM stranded on the SUMMIT OF ORTHANC. He is marooned on the tiny, flat peak, surrounded on all sides by a sheer 500 FOOT DROP. Another whispering wail rends the air. GANDALF crosses quickly to the edge and peers down: POV: One of the beautiful ISENGARD trees is being ripped from the ground by the ORCS. GANDALF looks on in HORROR as ORCS hack into the trunk with axes. ANGLE ON: SARUMAN stands in RAIN looking out into the dark night ... the ORC OVERSEER sidles up to him, axe in hand, sweating with exertion. ORC OVERSEER The trees are strong, my Lord. Their roots go deep. SARUMAN Rip them all down. CAMERA CIRCLES SUMMIT: MORE AND MORE TREES are hauled down and killed ... as GANDALF looks on in helpless despair. DISSOLVE TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. WEATHERHILLS - DAY WIDE ON: The rugged countryside as the HOBBITS journey on, lead by STRIDER. STRIDER stops before a distant hill, topped by an ANCIENT RUIN. STRIDER This was once the great Watchtower of Amon Sûl. We shall rest here tonight. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. WEATHERTOP HOLLOW - DUSK ANGLE ON: FRODO, MERRY, and PIPPIN collapse into a small hollow, halfway up WEATHERTOP ... they are muddy and exhausted. ANGLE ON: STRIDER drops 4 SWORDS at the HOBBITS’ feet. (CONTINUED) 73. CONTINUED: STRIDER (CONT’D) These are for you. Keep them close. I'm going to have a look around. Stay here. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. WEATHERTOP HOLLOW - NIGHT CLOSE ON: FRODO ... eyes flickering open. He suddenly sits up, sniffing the air. ANGLE ON: SAM, MERRY, and PIPPIN huddled over a small fire ... SAUSAGES and BACON sizzle in a hot frying pan. FRODO What are you doing? MERRY Tomatoes, sausages, and crispy bacon. SAM We saved some for you, Mr. Frodo. FRODO Put it out, you fools! put it out! PIPPIN Oh, that's nice ... ash on my tomatoes! A SUDDEN SHRIEK! ANGLE ON: FIVE RINGWRAITHS ON FOOT, running up the steep slope unnaturally fast. FRODO Go! FRODO, SAM, MERRY, and PIPPIN clamber desperately towards the summit, clutching their swords. CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. WEATHERTOP SUMMIT - NIGHT FRODO, SAM, MERRY, and PIPPIN race into a RING OF BROKEN STONES on the summit on WEATHERTOP ... the ruined base of an ancient tower. (CONTINUED) 74. CONTINUED: The HOBBITS stand back-to-back in the centre of the RING, waiting for the first assault... ANGLE ON: One by one, the 5 RINGWRAITHS appear ... brandishing GLEAMING SWORDS, they move slowly towards the HOBBITS. In the center is their leader ... the WITCH KING! SAM Back, you devils! ANGLE ON: SAM rushes forward with a cry. He swings his sword at the WITCH KING, who blocks the blow with his own sword. SAM’S blade shatters ... the WITCH KING lashes out with his fist, sending SAM flying. ANGLE ON: MERRY and PIPPIN, overcome with terror, throw themselves flat on the ground. ANGLE ON: The RINGWRAITHS close in on FRODO ... a VENOMOUS WHISPER dances in his head... ANGLE ON: FRODO shuts his eyes and staggers back, desperately resisting the WRAITH’S WHISPERINGS ... SLOW MOTION as his hand goes into his pocket and pulls out the RING. The 5 RINGWRAITHS utter a chilling SCREECH OF EXCITEMENT. FRODO is unable to resist any longer, falls to his knees and slips on the RING. He DISAPPEARS. SAM (CONT’D) No! IN THE TWILIGHT WORLD: ANGLE ON: FRODO finds himself in the weird TWILIGHT WORLD ... he looks upon the RINGWRAITHS, now visible in their TRUE APPEARANCE: FIVE GHOULS dressed in long GREY ROBES, with white hair, and PALLID ruthless faces. THE WITCH KING extends a haggard hand towards FRODO, reaching for the RING on his finger. FRODO’S trembling hand extends forward, as if by the pull of the RING ... he slides to the ground, unable to pull his hand away. The WITCH KING snarls and springs forward. He stabs at FRODO with a wicked DAGGER! FRODO winces as the tip of the dagger sinks into his shoulder. (CONTINUED) 75. CONTINUED: (2) SUDDENLY, STRIDER charges at the RINGWRAITHS, wielding his sword in one hand, a FLAMING TORCH in the other. He moves in SLOW MOTION, visible through a sea of mist. FRODO sinks to the ground. Behind him is a faint image of a RINGWRAITH fleeing, his head engulfed in flames. With draining strength, FRODO manages to pull the RING off his finger... IN THE REAL WORLD: ...APPEARING back in the real world, SAM rushes over to him. SAM (CONT’D) (horrified) Frodo! Another RINGWRAITH is burning and screaming ... others screech fearfully at the flames, turn and flee from the WEATHERTOP SUMMIT. SAM (CONT’D) (panicked) Mr. Frodo!! STRIDER kneels before FRODO. He snatches up the WITCH KING’S DAGGER from the ground, staring gravely at the long, thin, blade. SAM (CONT’D) Help him, Strider! STRIDER (grim) He's been stabbed by a Morgul blade. The MORGUL BLADE suddenly melts ... vanishing into the air like smoke. STRIDER throws the hilt down in disgust... SAM Do something. STRIDER This is beyond my skill to heal. (urgently) He needs Elvish medicine. STRIDER lifts FRODO onto his shoulders. 76.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. WEATHERHILLS - NIGHT STRIDER is jogging grimly, carrying an ailing FRODO on his back. SAM, MERRY, and PIPPIN are running to keep up. The HOBBITS are carrying FLAMING TORCHES for protection. STRIDER Hurry! SAM We are six days from Rivendell. FRODO groans. STRIDER Hold on, Frodo SAM He’ll never make it! CLOSE ON: FRODO ... head lolling about, barely conscious. FRODO (fevered calling) Gandalf ... Gandalf?",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ISENGARD - NIGHT LOW ANGLE ... looking up at ORTHANC ... the TOWER OF ISENGARD, gleaming in the moonlight. CAMERA RISES TO REVEAL the once beautiful gardens are now a pitted wasteland ... with smoke and fire billowing out of numerous tunnels and vent holes that littler the forecourt of ORTHANC. Strange guttural chants echo up from deep underground. THE CAMERA IS RISING ... a SMALL MOTH flutters into SHOT ... and LEADS THE CAMERA towards the SUMMIT OF ORTHANC. GANDALF lies slumped against the wall at the very top of ORTHANC surrounded by a sheer 500 FOOT DROP. He looks WEAK and FRAIL ... and is seemingly asleep. His hand suddenly moves at lightning speed and SNATCHES THE MOTH. GANDALF brings his hand close to his face and opens it. The MOTH sits on the palm of his hand as GANDALF mutters strange words in a foreign tongue. CLOSE ON: THE MOTH’S face ... seemingly listening. It suddenly flutters away. (CONTINUED) 77. CONTINUED: CAMERA FOLLOWS the MOTH off the ORTHANC SUMMIT, but drops past the MOTH ... falling down, down, towards the pitted wasteland, straight into a fiery red tunnel!",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAVERNS BELOW ISENGARD - NIGHT SERIES OF SHOTS: The dead trees of ISENGARD are fed into roaring furnaces ... molten metal pours into casts ... red hot metal, beaten by sweating ORC BLACKSMITHS ... armor and weapons are forged from the great furnaces. ANGLE ON: SARUMAN strides among the ORCS and stands looking on a new born URUK-HAI as it escapes its birthing membrane ... this is LURTZ, who rises up to stand before his master. CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. TROLLSHAW FOREST CLEARING - NIGHT CLOSE ON: FRODO ... his eyes flicker open ... clouded, red-rimmed ... his brow, beaded with sweat. FRODO’S POV: THREE LARGE STONE TROLLS sit in the clearing. SAM pops his head in front of FRODO. SAM Look, Frodo. It’s Mr. Bilbo’s trolls. ANGLE ON: SAM feels of his skin. SAM Mr. Frodo? He's going cold! PIPPIN Is he going to die? FRODO’S breathing is getting shallow. STRIDER loks out into the darkness. STRIDER He is passing into the Shadow World. He’ll soon become a Wraith like them. A DISTANT CRY of a RINGWRAITH carries through the air. MERRY (nervous) They're close. (CONTINUED) 78. CONTINUED: FRODO gasps in sudden pain. STRIDER (thinking hard) Sam, do you know the Athelas plant? SAM looks blank. SAM Athelas? STRIDER Kingsfoil. SAM Kingsfoil. Aye. It's a weed. STRIDER It may help to slow the poisoning. Hurry!",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. TROLLSHAW FOREST - NIGHT SAM and STRIDER desperately search the dark forest floor for the ATHELAS PLANT. CLOSE ON: A small, white flowered plant! STRIDER drops to one knee, carefully pulling it from the ground. SUDDENLY! STRIDER FREEZES AS A SWORD BLADE TOUCHES HIS NECK. ARWEN (O.S.) What is this? A Ranger caught off his guard? STRIDER slowly looks up. CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. TROLLSHAW FOREST CLEARING - NIGHT FRODO is breathing hard, desperately ill. FRODO’S HALF-CONSCIOUS POV: Surreal impression ... a SHIMMERING FIGURE IN WHITE leaps off a horse. FLASH INSERT: An ethereal vision of ARWEN, as she appears on the other side. (CONTINUED) 79. CONTINUED: ARWEN (Elvish: with subtitles) Frodo, Im Arwen ... Telin let thaed. I am Arwen. I have come here to help you. (urgent) Lasto beth nîn. Tolo dan na ngalad. Hear my voice. Return to the light. PIPPIN Who is she? ARWEN (worried) Frodo? SAM She's an Elf. ANGLE ON: ARWEN who now appears in her earth bound form, a young ELVEN WOMAN with tousled hair, dressed in mud-splattered riding clothes. ARWEN He's fading. He's not going to last. We must get him to my father. STRIDER quickly lifts FRODO ... placing him on the horse. PIPPIN Where are you taking him? ARWEN I've been looking for you for two days. There are five Wraiths behind you. Where the other four are, I do not know. STRIDER (Elvish: with subtitles) Dartho guin Berian ... rych le ad tolthathon. Stay with the Hobbits. I will send horses for you. CLOSE ON: ARWEN grabbing the REINS of the horse. (CONTINUED) 80. CONTINUED: (2) ARWEN (Elvish: with subtitles) Hon mabathon. Rochon ellint im. I am the faster rider. I’ll take him. STRIDER clamps his hand over ARWEN’S. STRIDER (Elvish: with subtitles) Andelu i ven. The road is too dangerous. ARWEN (Elvish: with subtitles) Frodo fîr. Ae athradon i hir, tur gwaith nin beriatha hon. If I can get across the river, the power of my people will protect him. PIPPIN What are they saying? CLOSE ON: ARWEN reaches for STRIDER’S hand ... looking deep into his eyes. ARWEN I do not fear them. CLOSE ON: STRIDER ... we see that it is hard for him to let her go. STRIDER (Elvish: with subtitles) Be iest lîn. As you wish. ANGLE ON: ARWEN mounts her horse, ASFALOTH... STRIDER (CONT’D) Arwen, ride hard. Don't look back. ANGLE ON: ARWEN looks down at STRIDER as she supports FRODO with one hand. (CONTINUED) 81. CONTINUED: (3) ARWEN (Elvish) Noro lim, Asfaloth, noro lim! Ride fast, Asfaloth, ride fast! SAM What are you doing? Those Wraiths are still out there! ANGLE ON: ASFALOTH springs away, bearing ARWEN and FRODO into the night. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. TROLLSHAW FOREST - NIGHT SPEEDING POV: through the forest from the back of the WHITE HORSE. ANGLE ON: FRODO, BOUNCING IN THE SADDLE, he lifts his head weakly. SURREAL SLOW MOTION POV: THE HORSE’S HEAD BOBBING ... trees sliding by ... moonlight flickers through the trees. CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. AERIAL OF ETTENMOORS - MORNING AERIAL: of ARWEN’S white horse emerging from the trees ... and galloping across the open land as the sun rises. CUT TO:,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. PINE FOREST - DAY ASFALOTH charges through a PINE FOREST. Suddenly 2 GALLOPING RINGWRAITHS emerge from the trees behind! 2 more RINGWRAITHS slide in from different directions to join the chase. ARWEN grits her teeth ... urges the white horse to greater speed. CUT TO: 82.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. THE EAST ROAD - DAY The white horse speeds out of the pine trees ... the 4 RINGWRAITHS close behind. PAN ONTO: 2 more RINGWRAITHS galloping down the hillside! AERIAL SHOT: 3 MORE RINGWRAITHS enter frame from different directions ... a total of 9 RINGWRAITHS now pursuing FRODO and ARWEN! CLOSE ON: Panting head of the WHITE ELVEN HORSE. ARWEN Noro lim, Asfaloth! Ride faster, Asfaloth! CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FORD OF BRUINEN - DAY CRANE DOWN: As the WHITE HORSE races toward CAMERA, to REVEAL the wide river BRUINEN in the foreground. Without hesitation, the white horse leaps into the shallow water and thunders across the Ford. The 9 RINGWRAITHS pulls up short of the Ford, clearly nervous of the water. The white horse reaches the other side ... ARWEN pulls up and turns to defiantly face the RINGWRAITHS from across the Ford. WITCH KING Give up the halfling, She-Elf. She draws her sword and yells at the WITCH KING. ARWEN If you want him, come and claim him. THE WITCH KING SCREECHES ANGRILY, draws his sword, and leads the RINGWRAITHS across the Ford. The water starts flowing faster ... a distant rumble can be heard. ARWEN waits until they are halfway across: she suddenly stands in the saddle arms raised! (CONTINUED) 83. CONTINUED: ARWEN (Elvish) Nin o Chithaeglir, lasto Beth daer: Rimmo nin Bruinen, dan in Ulair! Nin o Chithaeglir, lasto beth daer, Rimmo nin Bruinen, dan in Ulair! Waters of the Misty Mountains, listen to the great word: flow waters of Loudwater, against the Ringwraiths! THE GROUND SUDDENLY TREMBLES ... A MIGHTY ROAR FILLS THE AIR. FRODO looks up weakly ... to see a vast torrent of WATER flooding down the river towards the Ford ... as if a dam had burst! ANGLE ON: The FOAMING WATER seems to form the shape of DANCING WHITE HORSES with frothing manes! The RINGWRAITHS screams in terror as they are swallowed up in the deluge. Their piercing cries are drowned in the roaring of the river as it carries them away! CLOSE ON: FRODO as he loses consciousness... ARWEN (upset) No, no ... Frodo, no! Frodo, don't give in ... not now! ARWEN gathers the small HOBBIT in her arms, feeling his life slip away.",FANTASY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FRODO’S DELIRIUM - DAY DELIRIOUS IMAGES AND SOUNDS... ARWEN (V.O.) What grace is given me, let it pass to him. Let him be spared. Save him. IMAGES: A city in the woods ... A brief distorted glimpse of ELROND - an ELVEN LORD - working feverishly to save FRODO. (CONTINUED) 84. CONTINUED: ELROND (Elvish) Lasto beth nîn. Tolo dan na ngalad. Hear my voice, come back to the light IMAGES: A BLADE STABBING, over and over ... FRODO’S FACE, bathed in FIRELIGHT ... the EYE OF SAURON looms toward FRODO! FRODO gasps at the EYE, his face twists with FEAR! IMAGE: A BRIGHT LIGHT suddenly flares ... FRODO squeezes his eyes shut, gasping. FRODO (frightened) Where am I? A FAMILIAR VOICE cuts through the swirl of sound. GANDALF (O.S.) You are in the House of Elrond, and it is ten o’clock in the morning on October the twenty-fourth, if you want to know.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FRODO’S BEDROOM - DAY FRODO’S eyes flicker OPEN ... He is lying in bed next to an OPEN WINDOW ... DAPPLED sunlight plays on richly carved timbers ... the sound of a nearby waterfall drifts through the VISTA of FIR TREES. FRODO (weak relief) Gandalf! ANGLE ON: GANDALF IS SITTING NEXT TO FRODO’S BED ... softly puffing on his pipe. He smiles at FRODO. GANDALF Yes, I'm here. And you're lucky to be here too. A few more hours and you would have been beyond our aid. But you have some strength in you, my dear Hobbit. FRODO sits up, looking at GANDALF questioningly... (CONTINUED) 85. CONTINUED: FRODO What happened, Gandalf? Why didn't you meet us? GANDALF I am sorry, Frodo. CLOSE ON: GANDALF ... troubled. His eyes drift away. GANDALF (CONT’D) I was delayed. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ORTHANC SUMMIT - NIGHT SARUMAN stands over GANDALF, gloating... SARUMAN A friendship with Saruman is not lightly thrown aside. With the power of his staff, SARUMAN tosses GANDALF from one side of ORTHANC to off the edge of the other side where he holds GANDALF, suspended ... as if GANDALF is standing on the side of the tower. SARUMAN One ill turn deserves another. It is over. Embrace the power of the Ring or embrace your own destruction! SARUMAN raises GANDALF again, then sends him crashing to the floor. GANDALF There is only one Lord of the Ring. Only one who can bend it to his will ... and he does not share power. SUDDENLY! GANDALF lurches to his feet and THROWS himself off the TOWER! SARUMAN watches GANDALF fly away from ISENGARD ... on the BACK of a GIANT EAGLE. SARUMAN (chilling) So you have chosen death. CUT TO: 86.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SKIES OVER MOUNTAINS - DAWN GWAIHIR THE WINDLORD soars majestically over the mountains, carrying GANDALF towards the dawn. CUT TO:",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FRODO’S BEDROOM, RIVENDELL - DAY FRODO raises himself up and looks at GANDALF. FRODO Gandalf! What is it? GANDALF returns his attention to FRODO. GANDALF Nothing, Frodo... ANGLE ON: SAM runs to FRODO’S bedside. He is overjoyed to find FRODO awake. SAM Frodo! Frodo! Bless you, you’re awake!! GANDALF Sam has hardly left your side. SAM We were worried about you -- weren't we, Mr. Gandalf? GANDALF By the skills of Lord Elrond, you’re beginning to mend. ANGLE ON: ELROND, LORD OF THE HIGH ELVES, steps up to FRODO’S bedside .. his face is neither old nor young, though in it is written the memory of many things both glad and sorrowful. ELROND Welcome to Rivendell, Frodo Baggins. FRODO sits up, looking at ELROND with awe. CUT TO: 87.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. RIVENDELL VALLEY - DAY WIDE ON: RIVENDELL ... a small cluster of elegant ELVEN BUILDINGS sitting in a Shangri-la like VALLEY below towering cliffs and snow capped mountains. ELROND (V.O.) You have found your way to the last homely house east of the sea. The Elves of Imladris have dwelt within this valley for 3,000 years though few of my kin now remain. ANGLE ON: FRODO looks out from his balcony. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. RIVENDELL GARDENS - DAY FRODO and SAM walk together. Suddenly, the voices of MERRY and PIPPIN can be heard as they bound up to FRODO and throw their arms around him. MERRY Frodo! Frodo! SAM looks past FRODO smiling ... a bent figure sits alone on a bench, in the SUN. CLOSE ON: FRODO turning, following SAM’S gaze... FRODO Bilbo!",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. RIVENDELL TERRACE - DAY CLOSE ON: BILBO BAGGINS! He breaks into a broad grin as FRODO rushes forward to embrace him. BILBO has aged significantly since we last saw him. BILBO Hello, Frodo, my lad! FRODO Bilbo! LATER ... FRODO is turning the neatly inscribed title page of a red leather bound journal: (CONTINUED) 88. CONTINUED: FRODO (CONT’D) “There and Back Again: A Hobbit's Tale” by Bilbo Baggins. BILBO smiles PROUDLY. He is sitting with FRODO on a terrace overlooking a WATERFALL. FRODO looks at PAGE AFTER PAGE of beautiful HANDWRITING, with intricate MAPS and DRAWINGS. FRODO (CONT’D) This is wonderful. BILBO I meant to go back ... wander the paths of Mirkwood, visit Laketown, see the Lonely Mountain again ... but age, it seems, has finally caught up with me. FRODO turns a page ... there before him, is a map of the SHIRE. FRODO (quietly) I miss the Shire ... I spent all my childhood pretending I was off somewhere else ... off with you, on one of your adventures... (looks at Bilbo) But my own adventure turned out to be quite different ... I'm not like you, Bilbo. BILBO My dear boy. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. RIVENDELL TERRACE - EVENING SAM busily tries to stuff more and more things into his already full pack ... pots and pans, blankets, cooking utensils, provisions, clothes. SAM Now, what have I forgotten? PULL BACK TO REVEAL: FRODO, hands in his pockets, watching SAM. FRODO Packed already? (CONTINUED) 89. CONTINUED: SAM looks up, startled. SAM (slightly embarrassed) No harm in being prepared. FRODO strolls to the edge of the BALCONY. FRODO I thought you wanted to see the Elves, Sam? SAM I do... FRODO More than anything. SAM I did. It’s just... We did what Gandalf wanted, didn't we? We got the Ring this far, to Rivendell ... and I thought ... seeing as how you're on the mend, we'd be off soon. Off home. FRODO You're right, Sam... FRODO looks at SAM... FRODO (CONT’D) ...we did what we set out to do. CLOSE ON: FRODO opens his hand, the RING sits in his PALM. FRODO (CONT’D) The Ring will be safe in Rivendell. I am ready to go home. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ELROND’S CHAMBER, RIVENDELL - DAY GANDALF and ELROND watch FRODO and SAM from ELROND’S balcony. ELROND His strength returns. (CONTINUED) 90. CONTINUED: GANDALF That wound will never fully heal. He will carry it the rest of his life. ELROND Yet to have come so far still bearing the Ring ... the Hobbit has shown extraordinary resilience to its evil. GANDALF It is a burden he should never have had to bear. We can ask no more of Frodo. ELROND Gandalf, the enemy is moving. Sauron's forces are massing in the East. His Eye is fixed on Rivendell. And Saruman, you tell me, has betrayed us. Our list of allies grows thin. GANDALF His treachery runs deeper than you know. By foul craft, Saruman has crossed Orcs with Goblin Men ... He’s breeding an army in the caverns of Isengard. An army that can move in Sunlight and cover great distance at speed. Saruman is coming for the Ring. ELROND turns and walks away... ELROND This evil cannot be concealed by the power of the Elves... We do not have the strength to fight both Mordor and Isengard ... Gandalf ... the Ring cannot stay here. GANDALF turns and looks out the window. ANGLES ON: Sounds of arrivals ... GANDALF watches as BOROMIR rides through the RIVENDELL gate, followed by LEGOLAS and GIMLI. ELROND (V.O.) (CONT’D) This peril belongs to all Middle-Earth. They must decide now how to end it. (CONTINUED) 91. CONTINUED: (2) ANGLE ON: ELROND approaches GANDALF. ELROND (V.O.) (CONT’D) The time of the Elves is over. My people are leaving these shores. Who will you look to when we’ve gone? The Dwarves? They hide in their mountains seeking riches. They care nothing for the troubles of others. GANDALF It is in Men that we must place our hope. ELROND Men? Men are weak. The race of Men is failing. The blood of Númenor is all but spent, its pride and dignity forgotten. It is because of Men the Ring survives. FLASH INSERT: With the broken sword, ISILDUR slices off SAURON’S finger. ELROND reacts. ELROND (V.O.) (CONT’D) I was there, Gandalf. I was there three thousand years ago when Isildur took the Ring. FLASH INSERT: ISILDUR PICKS UP THE RING AND STARES AT IT, ENTRANCED. ELROND (V.O.) (CONT’D) I was there when the day the strength of Men failed. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CRACK OF DOOM - DAY ELROND Isildur ... hurry ... follow me! IMAGES: ELROND leads ISILDUR into the steaming volcano. ELROND (V.O.) (CONT’D) I led Isildur into the heart of Mount Doom, where the Ring was forged: the one place it could be destroyed. (CONTINUED) 92. CONTINUED: FLASH INSERT: ELROND AND ISILDUR STAND BEFORE THE FIRES OF MOUNT DOOM. ELROND Cast it in the fire ... destroy it! CLOSE ON: ISILDUR ... CAPTIVATED BY THE RING. ISILDUR No. ISILDUR turns and walks away. ELROND Isildur!!",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ELROND’S CHAMBER, RIVENDELL - DAY ANGLE ON: ELROND turns to GANDALF. ELROND It should have ended that day, but evil was allowed to endure. Isildur kept the Ring ... and the line of kings was broken. There’s no strength left in the world of Men. They are scattered, divided, leaderless. GANDALF There is one who could unite them, one who could reclaim the throne of Gondor. ELROND He turned from that path a long time ago. He has chosen exile. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ELROND’S CHAMBER, RIVENDELL - NIGHT ANGLE ON: STRIDER watches from the shadows ... as BOROMIR strolls through the darkened gallery. BOROMIR’S eyes are drawn to an old FRESCO on the wall ... depicting ISILDUR defeating SAURON. BOROMIR turns suddenly and notices STRIDER, looking at him. He looks STRIDER up and down, confused for a moment. (CONTINUED) 93. CONTINUED: BOROMIR You are no Elf. STRIDER Men of the South are welcome here. BOROMIR Who are you? STRIDER I am a friend to Gandalf the Grey. BOROMIR nods, understanding Strider’s vagueness. BOROMIR Then we are here on common purpose ... friend. BOROMIR smiles uncomfortably. STRIDER only looks at him silently. BOROMIR looks with WONDERMENT at NARSIL, the BROKEN BLADE of ELENDIL, which lies on a cloth-covered plinth. BOROMIR (CONT’D) (quiet awe) The shards of Narsil ... the blade that cut the Ring from Sauron's hand. BOROMIR picks up the sword and gently touches the blade. CLOSE ON: a small bloom of blood appears on BOROMIR’S finger... BOROMIR (CONT’D) Still sharp. He slowly looks over to STRIDER, as if sensing a connection. BOROMIR (CONT’D) But no more than a broken heirloom. BOROMIR replaces the blade, but it clatters to the floor. BOROMIR walks away, leaving STRIDER sitting alone. CLOSE ON: STRIDER picks up the broken hilt, as ARWEN appears behind him. (CONTINUED) 94. CONTINUED: (2) ARWEN Why do you fear the past? You are Isildur's heir, not Isildur himself. You are not bound to his fate. STRIDER The same blood flows in my veins ... the same weakness... ARWEN Your time will come. You will face the same evil. And you will defeat it. (Elvish: with subtitles) A si i-Dhúath ú-orthor, Aragorn. Ú or le a ú or nin. The shadow does not hold sway yet ... Not over you and not over me. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. RIVENDELL VALLEY - NIGHT Night falls upon the beautiful valley of RIVENDELL ... still and quiet.,SENTI +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. RIVENDELL WATERFALL - NIGHT STRIDER and ARWEN stand together upon a stone bridge ... the EVENSTAR at ARWEN’S breast shines in the moonlight. ARWEN (Elvish: with subtitles) Renech i lu i erui govannen? Do you remember when we first met? STRIDER (Elvish: with subtitles) Nauthannem i ned ol reniannen. I thought I had strayed into a dream. ARWEN reaches up and gently touches the GREY at STRIDER’S temples. (CONTINUED) 95. CONTINUED: ARWEN (Elvish: with subtitles) Gwenwin in enninath. U-arnech in naeth i si celich. Long years have passed. You did not have the cares you carry now. ARWEN looks into STRIDER’S eyes. ARWEN (Elvish: with subtitles) Renech i beth i pennen? Do you remember what I told you? ARWEN reaches for STRIDER’S hand... STRIDER (quietly) You said you would bind yourself to me, and forsaking immortal life of your people. ARWEN (whisper) And to that I hold. I would rather share one lifetime with you than face all the Ages of this world alone. CLOSE ON: STRIDER looks down. In his hand lies the EVENSTAR. ARWEN (CONT’D) I choose a mortal life. STRIDER You cannot give me this. ARWEN It is mine to give to whom I will, like my heart. ARWEN closes STRIDER’S fingers around the jewel. ARWEN leans towards STRIDER, gently kissing him. 96.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COUNCIL CHAMBER, RIVENDELL - DAY IMAGES from the PROLOGUE: the RINGS being given to the ELVES, DWARVES, and MEN. ELROND (V.O.) Three Rings for the Elven-kings under the sky, Seven for the Dwarf-lords in their halls of stone, Nine for Mortal Men doomed to die, One for the Dark Lord on his dark throne In the Land of Mordor where the Shadows lie. One Ring to rule them all. One Ring to find them, One Ring to bring them all together and in the darkness bind them, In the Land of Mordor where the Shadows lie. CLOSE ON: FRODO opens his hand ... the RING lies in his palm. He looks up. ANGLE ON: ELROND addresses the COUNCIL... ELROND Strangers from distant lands ... friends of old. You have been summoned here to answer the threat of Mordor. Middle-Earth stands upon the brink of destruction. None can escape it. You will unite ... or you will fall. Each race is bound to this fate ... this one doom... FRODO sits amongst a council of FREE-PEOPLES of Middle earth, ELROND stands before them, addressing GANDALF, STRIDER, LEGOLAS, and 20 other ELVES, DWARVES, and MEN. ELROND (CONT’D) Bring forth the Ring, Frodo. ANGLE ON: FRODO steps forward and moves towards a stone PLINTH. He places the RING on the plinth and returns to his seat. BOROMIR (shocked) So it is true! (CONTINUED) 97. CONTINUED: LEGOLAS (disbelief) Sauron’s Ring! The Ring of Power! GIMLI (grim) The doom of man! ON THE SOUNDTRACK: The HUM of the RING sounds. ANGLE ON: Several members of the COUNCIL take notice. BOROMIR stands and begins to approach the RING, as if drawn to it. BOROMIR In a dream, I saw the eastern sky grow dark, but in the West a pale light lingered. A voice was crying: “Your doom is near at hand. Isildur’s Bane is found.” ANGLE ON: ELROND and GANDALF exchange glances. BOROMIR reaches for the RING. BOROMIR Isildur’s Bane. ELROND (standing) Boromir! ANGLE ON: GANDALF stands and speaks in the BLACK TONGUE. ON THE SOUNDTRACK: The RING responds to GANDALF. ANGLES ON: BOROMIR staggers back to his chair ... the sky darkens ... thunder rolls ... the ground trembles... GANDALF (Black Speech) Ash nazg durbatulûk, ash nazg gimbatul, ash nazg thrakatulûk agh burzum-ishi krimpatul. One Ring to rule them all, One Ring to find them, One Ring to bring them all and in the Darkness bind them. (CONTINUED) 98. CONTINUED: (2) Nature returns to normal. ELROND looks to GANDALF. ELROND (sternly) Never before has any voice uttered the words of that tongue here in Imladris. GANDALF I do not ask your pardon, Master Elrond, for the Black Speech of Mordor may yet be heard in every corner of the West! The Ring is altogether evil. ANGLE ON: GANDALF returns to his seat. ANGLE ON: BOROMIR shakes his head. He stands again to make his case to the COUNCIL. BOROMIR It is a gift ... a gift to the foes of Mordor! Why not use this Ring? Long has my father, the Steward of Gondor, kept the forces of Mordor at bay ... by the blood of our people are your lands kept safe. Give Gondor the weapon of the enemy ... let us use it against him! STRIDER You cannot wield it. None of us can. The One Ring answers to Sauron alone ... it has no other master. ANGLE ON: BOROMIR turns and looks at STRIDER, coolly. BOROMIR And what would a Ranger know of this matter? STRIDER says nothing and BOROMIR turns away dismissively. ANGLE ON: LEGOLAS stands... LEGOLAS This is no mere Ranger. He is Aragorn, son of Arathorn. You owe him your allegiance. (CONTINUED) 99. CONTINUED: (3) ANGLE ON: FRODO looks at STRIDER questioningly ... BOROMIR turns sharply. BOROMIR (quiet disbelief) Aragorn? This is Isildur's heir? LEGOLAS And heir to the throne of Gondor. STRIDER (Elvish: with subtitles) Havo dad, Legolas... Sit down, Legolas... BOROMIR Gondor has no king. GANDALF Aragorn is right ... we cannot use it. ELROND You have only one choice ... the Ring must be destroyed. ON THE SOUNDTRACK: The HUM OF THE RING seems to grow louder in FRODO’S ears. ANGLE ON: GIMLI suddenly stands, excited. GIMLI Then ... what are we waiting for? GIMLI suddenly rushes forward! He swings his axe down on the RING. The axe SHATTERS with a deafening CRACK! GIMLI falls backwards staring in disbelief at the RING ... unharmed! ANGLE ON: FRODO winces as an angry IMAGE of the FIERY EYE hits him! He slumps in his chair, clutching his forehead. GANDALF looks at him with concern. ELROND The Ring cannot be destroyed, Gimli, son of Glóin, by any craft that we here possess. The Ring was made in the fires of Mount Doom ... only there can it be unmade. (MORE) (CONTINUED) 100. CONTINUED: (4) ELROND (CONT’D) It must be taken deep into Mordor, and cast back into the fiery chasm from whence it came. One of you must do this. STUNNED SILENCE ... the council sits with downcast eyes, as if a great dread has descended upon them. BOROMIR addresses the council in a quiet voice. BOROMIR One does not simply walk into Mordor. Its Black Gates are guarded by more than just Orcs. There is evil there that does not sleep and the Great Eye is ever watchful. It is a barren wasteland riddled with fire, and ash and dust ... the very air you breathe is a poisonous fume. Not with ten thousand Men could you do this. It is folly. LEGOLAS Have you heard nothing Lord Elrond has said? The Ring must be destroyed. GIMLI And I suppose you think you're the one to do it? BOROMIR And what if we fail, what then? What happens when Sauron takes back what is his? GIMLI leaps to his feet! GIMLI I will be dead before I see the Ring in the hands of an Elf! A STORM OF ARGUMENT erupts around the room. CLOSE ON: FRODO ... sound disappears as he watches in SLOW MOTION ... the angry faces, the shaking fists, the accusatory fingers, his eyes move to the RING ... THE HUM grows louder in his head. (CONTINUED) 101. CONTINUED: (5) GIMLI (CONT’D) (shouting) Never trust an Elf! CLOSE ON: THE RING fills the screen ... streams of blood flow across the surface ... flames flicker within the GOLD BAND. GANDALF Do you not understand? While we bicker amongst ourselves, Sauron’s power grows! No one will escape it. You will all be destroyed, with your homes burnt and your families put to the sword! CLOSE ON: FRODO ... breathing rapidly, CAUGHT in the grip of his hideous vision. With a huge effort of will, FRODO tears his gaze upon the RING. ANGLE ON: FRODO suddenly stands ... he speaks in a strong, clear voice. FRODO I will take it ... I will take it ... I will take the Ring to Mordor. SUDDEN SILENCE ... FRODO looks around the room at the astonished faces. FRODO (CONT’D) (quietly) Though I do not know the way. ANGLE ON: GANDALF rises to his feet. GANDALF I will help you bear this burden, Frodo Baggins, as long as it is yours to bear. ARAGORN If by my life or death I can protect you, I will. (kneels before Frodo) ...you have my sword. ARAGORN steps forward ... followed by LEGOLAS and GIMLI. LEGOLAS And you have my bow. (CONTINUED) 102. CONTINUED: (6) GIMLI And my axe. ANGLE ON: BOROMIR looks at them all and then walks to FRODO. BOROMIR You carry the fates of us all, little one. BOROMIR looks towards ELROND and GANDALF. BOROMIR (CONT’D) If this is indeed the will of the Council, then Gondor will see it done. ANGLE ON: FRODO stares in wonder as the GREATEST FIGHTERS in all Middle earth stand at his side. SAM (unseen) Here! A SUDDEN NOISE ... SAM pops up from behind a BUSH! SAM Mr. Frodo's not going anywhere without me. ELROND No, indeed ... it is hardly possible to separate you ... even when he is summoned to a secret Council and you are not. ANGLE ON: MERRY and PIPPIN jump up from behind another bush! MERRY Oi! We're coming too! You'd have to send us home tied up in a sack to stop us. PIPPIN Anyway ... you need people of intelligence on this sort of mission ... quest ... thing... MERRY Well, that rules you out, Pip. (CONTINUED) 103. CONTINUED: (7) ELROND SURVEYS THE GROUP. ELROND (thoughtfully) Nine companions ... so be it. (announcing) You shall be the FELLOWSHIP OF THE RING. PIPPIN Great. Where are we going? CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. GILRAEN’S MEMORIAL, RIVENDELL - DAWN CLOSE ON: A HAND gently and reverently removes debris from the base and form of a STATUE ANGLE ON: The STATUE OF GILRAEN’S hands are folded before her, and her head is hooded. ANGLE ON: ARAGORN stands back and gazes into her sad face. ELROND (O.S.) (Elvish; with subtitles) Anirne hene beriad i chên în. Ned Imladris nauthant e le beriathar aen. She wanted to protect her child. She thought that in Rivendell you would be safe. ANGLE ON: ELROND approaches ARAGORN. ANGLE ON: ARAGORN pays little attention to ELROND. He caresses the face of his MOTHER’S STATUE. ANGLE ON: ELROND approaches from behind ARAGORN. ELROND In her heart, your mother knew you’d be hunted all your life. That you’d never escape your fate. The skill of the Elves can reforge the sword of kings, but only you have the power to wield it. (CONTINUED) 104. CONTINUED: CLOSE ON: ARAGORN TURNS to him. ARAGORN I do not want that power. I have never wanted it. ELROND You are the last of that bloodline. There is no other. ANGLE ON: ARAGORN stands silently and continues looking upon the STATUE.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FRODO’S BEDROOM, RIVENDELL - DAWN CLOSE ON: AN OLD SWORD sliding out of a shabby leather SCABBARD... Its polished, well tendered BLADE glitters COLD AND BRIGHT. BILBO My old sword “Sting” ... here, take it! BILBO offers STING to FRODO. FRODO It's so light! BILBO Yes, yes, made by the Elves, you know. The blade glows blue when Orcs are close ... and it’s times like that, my lad, when you have to be extra careful. BILBO unwraps a SMALL SHIRT OF CLOSE WOVEN MAIL. BILBO Here’s a pretty thing. Mithril, as light as a feather, and as hard as dragon scales. Let me see you put it on. Come on. CLOSE ON: FRODO peels off his SHIRT ... revealing the RING on the CHAIN around his neck. BILBO (CONT’D) (entranced) Oh! My old Ring... (CONTINUED) 105. CONTINUED: FRODO frowns as BILBO moves toward him. BILBO (CONT’D) I should very much like to hold it again, one last time. BILBO reaches forward, eyes locked on the RING. ANGLE ON: SUDDENLY! A SHADOW passes across BILBO ... for a split second he becomes a WRINKLED CREATURE with a HUNGRY FACE and BONY, GROPING HANDS. ANGLE ON: FRODO pulls away, shocked... ANGLE ON: THE SHADOW passes... BILBO slumps into a chair, his head in his hands. BILBO falters ... his eyes filling with tears. BILBO (CONT’D) Oh! (sad) I'm sorry, that I brought this upon you, my boy. I'm sorry that you must carry this burden. I'm sorry for everything. BILBO sobs and FRODO moves to comfort him. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. RIVENDELL TERRACE - DAY ANGLE ON: ELROND and FRODO walk towards the rest of the FELLOWSHIP waiting at the Gate of RIVENDELL. ELROND The time has come for the Ring to set out. You cannot count on your journey being aided by war or force. You will pass into the domain of the Enemy far from aid. Do you still hold to your word Frodo, that you will be the Ring-bearer? FRODO I do. I must. I will go with Sam. (CONTINUED) 106. CONTINUED: ELROND Then I cannot help you much, not even with counsel. I can foresee very little of your road; and how your task is to be achieve Mountains, and draws nigh even to the borders of the Greyflood; and under the Shadow all is dark to me. You will meet many foes, some open, and some disguised; and you may find friends upon your way when you least look for it. I will send out messages, such as I can contrive, to those whom I know in the wide world; but so perilous have the lands now become that some may well miscarry, or come no quicker than you yourself. Had I a host of Elves in armor of the Elder Days, it would avail little, save to arouse the power of Mordor. Are you confident in your companions? FRODO Yes, Lord Elrond. I must be, I’m afraid, for if I doubt them, we may never succeed. ELROND And what of your Hobbit friends? I had hoped to send them back to the Shire as messengers to warn the people of the impending danger according to the fashion of your country. I feel that the youngest, Peregrin Took, should not go with you. My heart is against it. FRODO His heart is set upon going. There will be no stopping him, even if you did send him home in a sack. ELROND Let it be so then. The Fellowship awaits. WIDE ON: ELROND and FRODO turn a corner and descend to the FELLOWSHIP, now waiting by the gate. 107.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. RIVENDELL GATE - DAY ANGLE ON: FRODO joins the FELLOWSHIP, ready to depart. They are set to go on foot with only SAM’S PONY, BILL, to carry much of their baggage. ANGLE ON: ELROND stands with the ELVES, addressing their only hope of success. ELROND The Ring-bearer is setting out on the Quest of Mount Doom. On you who travel with him, no oath nor bond is laid to go further that you will. Farewell. Hold to your purpose. May the blessing of Elves and Men and all Free Folk go with you. GANDALF The Fellowship awaits the Ring-bearer. ANGLE ON: FRODO slowly turns to the FELLOWSHIP and timidly makes his way to the head of the GROUP. FRODO’S POV: The faces of those who vowed to follow him watch as he makes his way to lead the FELLOWSHIP. ANGLE ON: FRODO leads the FELLOWSHIP out of RIVENDELL. He turns to GANDALF. FRODO Mordor, Gandalf, is it left or right? ANGLE ON: GANDALF continues looking ahead. GANDALF Left. ANGLE ON: GANDALF places his hand on Frodo’s left shoulder. The FELLOWSHIP follows FRODO into the Middle-Earth. ANGLE ON: ARAGORN turns to bid a silent farewell. ANGLE ON: ARWEN stands in a group of ELVES, watching him. ANGLE ON: He nods to her and follows the FELLOWSHIP out. 108.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. RIVENDELL VALLEY - MORNING ANGLE ON: The FELLOWSHIP climbs the long steep path out of the cloven vale of RIVENDELL. CUT TO:,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ROUGH COUNTRY, SOUTH OF RIVENDELL - DAY ANGLE ON: The FELLOWSHIP trekking through a land of DEEP VALLEYS and turbulent water ... The MISTY MOUNTAINS rise sharply to their left. GANDALF (V.O.) We must hold to this course, west of the Misty Mountains, for forty days. If our luck holds, the Gap of Rohan will still be open to us. From there, our road turns east, to Mordor. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. EREGION HILLS - DAWN CLOSE ON: SAM at the CAMPFIRE. The SOUND OF CLASHING SWORDS! WIDER: ARAGORN and BOROMIR are giving PIPPIN SWORD TUITION... BOROMIR Get away from the blade, Pippin ... on your toes ... good, very good ... I want you to react, not think. SAM Should not be too hard... BOROMIR Move your feet. MERRY Quite good, Pippin. PIPPIN Thanks. CLOSE ON: GIMLI has managed to corner GANDALF... (CONTINUED) 109. CONTINUED: GIMLI If anyone were to ask for my opinion, which I note they have not, I would say we are taking the long way round. Gandalf, we can pass through the Mines of Moria. My cousin, Balin, would give us a royal welcome. ANGLE ON: GANDALF clearly thinks this is a bad idea. GANDALF No, Gimli. I would not take the road through Moria unless I had no other choice. ANGLE ON: BOROMIR thrusts, catching PIPPIN on the hand. PIPPIN throws down his SWORD, KICKS and LUNGES at BOROMIR, tackling him o the ground. Much laughter. ANGLE ON: LEGOLAS’ EYES are fixed on a DISTANT DARK PATCH which darts about in the sky, like flying smoke in the wind. SAM What is that? GIMLI Nothing ... it’s just a wisp of cloud. BOROMIR (worried) It's moving fast ... against the wind. LEGOLAS Crebain from Dunland! ARAGORN (urgently) Hide! BOROMIR Merry ... Pippin ... Sam ... take cover! WIDE ON: THE FELLOWSHIP scramble under what little cover there is ... as a regiment of LARGE CROWS fly overhead at GREAT SPEED, wheeling and circling above. As their dark shadow passes over the FELLOWSHIP a single harsh CROAK is heard...and the CROWS suddenly wheel away, back towards the SOUTH. (CONTINUED) 110. CONTINUED: (2) ANGLE ON: GANDALF staggers to his feet. GANDALF Spies of Saruman. The passage south is being watched. GANDALF looks at ARAGORN, turns to the others...gestures towards a high mountain pass. GANDALF (CONT’D) We must take the Pass of Caradhras! CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SNOWY MOUNTAINSIDE - DAY ANGLE ON: The FELLOWSHIP clamber through ROCK and SNOW. CLOSE ON: FRODO slips on some SHALE ... as he scrambles to his feet, the RING falls on the ground. CLOSE ON: The RING gleaming in the snow! BOROMIR’S HAND picks it up by the CHAIN. ANGLE ON: He stands, the RING dangling before his eyes. He seems to grow in stature, as if absorbing its power. ANGLE ON: ARAGORN warily approaches BOROMIR. ANGLE ON: BOROMIR is motionless ... he stares at the RING, as if transfixed. ARAGORN Boromir? BOROMIR It is a strange fate that we should suffer so much fear and doubt over so small a thing ... such a little thing. ARAGORN (quietly) Boromir ... give the Ring to Frodo. CLOSE ON: ARAGORN’S HAND moves to his sword hilt. RING’S POV: Looking at BOROMIR’S face. (CONTINUED) 111. CONTINUED: ON THE SOUNDTRACK: The strange HUM VIBRATES. CLOSE ON: A WEIRD BEATIFIC SMILE lights up on BOROMIR’S face. The HUM grows to a deafening roar! BOROMIR suddenly snaps out of his trance and hands the RING to FRODO. BOROMIR (lightly) As you wish. I care not. BOROMIR smiles at FRODO, ruffling his hair. CLOSE ON: ARAGORN unhands his SWORD. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ISENGARD - DAY Following the CROWS as they race deeper and deeper, passing a vista of INDUSTRY, HUNDREDS OF ORCS and writhing BIRTHSACKS ... flying past SARUMAN, who stands upon a wooden GANTRY. CLOSE ON: SARUMAN, listening to the CRIES of the CROWS. SARUMAN So, Gandalf ... you try to lead them over Caradhras. And if that fails ... where then will you go? INSERT IMAGE: The FELLOWSHIP struggles through the SNOW on CARADHRAS. SARUMAN (V.O.) (CONT’D) If the mountain defeats you, will you risk a more dangerous road? CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PASS OF CARADHRAS - DAY THE FELLOWSHIP are struggling through a blinding blizzard, up towards the PASS OF CARADHRAS. ANGLE ON: LEGOLAS the ELF moves lightly across the top of the snow ... he suddenly pauses. SARUMAN’S VOICE sweeps by on the wind. (CONTINUED) 112. CONTINUED: SARUMAN (V.O.) (chanting; subtitled) Cuiva nwalca Carnirasse; nai yarvaxea rasselya! Wake up cruel Redhorn! May your horn be bloodstained! LEGOLAS (urgent) There is a fell voice on the air. GANDALF It’s Saruman! THUNDER RUMBLES ... ROCK and SHALE fall from above. ARAGORN (urgently) He's trying to bring down the mountain. Gandalf! We must turn back! GANDALF No! GANDALF RAISES HIS STAFF ... HE CHANTS INTO THE WIND. GANDALF (yelling) Losto Caradhras, sedho, hodo, nuitho i ruith. Sleep, Caradhras, be still, lie still, hold your wrath. CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ISENGARD - DAY CAMERA SWEEPS PAST SARUMAN ... he stands on the PINNACLE OF ORTHANC, CHANTING. SARUMAN Cuiva nwalca Carnirasse; Nai yarvaxea rasselya; taltuva notto-carinnar! Wake up cruel Redhorn! May your bloodstained horn fall upon enemy heads! (CONTINUED) 113. CONTINUED: CLOUDS ARE FLOWING FROM ALL DIRECTIONS ... converging on the distant mountains in a stormy MAELSTROM.",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PASS OF CARADHRAS - DAY SARUMAN’S voice strengthens ... rolling past the FELLOWSHIP like THUNDER. A LIGHTNING CRACK explodes on the mountainside above them. ANGLE ON: FRODO looks up in HORROR as a huge snow avalanche thunders down towards them! ANGLES ON: LEGOLAS pulls GANDALF to safety. ARAGORN shields FRODO and SAM as snow piles around them. Within moments, the PASS is blocked and the FELLOWSHIP are enveloped in snow. BOROMIR and ARAGORN frantically dig for the HOBBITS ... who are pulled out SHIVERING and FEARFUL. BOROMIR (urgent) We must get off the mountain! Make for the Gap of Rohan and take the West road to my city! ARAGORN The Gap of Rohan takes us too close to Isengard. GIMLI We cannot pass over a mountain. Let us go under it. Let us go through the Mines of Moria. ANGLE ON: GANDALF has a concerned look on his face. SARUMAN (V.O.) Moria. You fear to go into those mines, don’t you? The Dwarves delved too greedily and too deep.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. ORTHANC ANTE-CHAMBER - DAY ANGLE ON: SARUMAN sits in ORTHANC reviewing an ancient t,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",ext. CLOSE ON: The BOOK showing the DOOR to MORIA. SARUMAN (CONT’D) You know what they awoke in the darkness of Khazad-dûm. Shadow and flame. (CONTINUED) 114. CONTINUED: CLOSE ON: AN IMAGE OF A FEARFUL CREATURE. WREATHED IN FLAME. CUT TO:,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PASS OF CARADHRAS - DAY GANDALF Let the Ring-bearer decide. CLOSE ON: FRODO, the weight of the decision weighing heavily upon him. CLOSE ON: MERRY and PIPPIN shivering in BOROMIR’S arms. GANDALF (CONT’D) Frodo? FRODO meets GANDALF’S eye. FRODO We will go through the mines. GANDALF slowly nods. GANDALF So be it. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. WEST BASE OF THE MISTY MOUNTAINS - DUSK WIDE ON: The FELLOWSHIP makes their way in the shadow of the ruins of a great aqueduct in the mist and ice of the mountains. ANGLE ON: GANDALF beckons to FRODO. GANDALF Frodo, come and help an old man. ANGLE ON: FRODO comes forward and allows GANDALF to lean on him. GANDALF How is your shoulder? FRODO Better than it was. GANDALF stops. (CONTINUED) 115. CONTINUED: GANDALF And the Ring? You feel its power growing, don’t you? I’ve felt it too. You must be careful now. Evil will be drawn to you from outside the Fellowship. And, I fear, from within. ANGLE ON: BOROMIR passes them. They glance at him. FRODO (subdued) Who then do I trust? GANDALF You must trust yourself. Trust your own strengths. FRODO What do you mean? GANDALF There are many powers in this world for good or for evil. Some are greater than I am. And against some I have not yet been tested. CLOSE ON: GIMLI comes to the top of the path and looks in WONDER. GIMLI (in awe) The Walls of Moria! WIDE ON: The FELLOWSHIP stands before a looming cliff cut into a sheer formation.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MORIA GATE - NIGHT Footing is treacherous on the narrow strips of green and greasy stones. ANGLE ON: GIMLI taps the WALL with his axe, listening. GANDALF does the same with his staff. GIMLI Dwarf doors are invisible when closed. (CONTINUED) 116. CONTINUED: GANDALF Yes, Gimli, their own masters cannot find them if their secrets are forgotten. LEGOLAS Why doesn’t that surprise me? CLOSE ON: GIMLI sniffs with disgust at the comment. ANGLE ON: GANDALF approaches the smooth rock wall between TWO TWISTED, GNARLED TREES ... slowly, faint lines appear like slender veins of luminous silver running through the stone. GANDALF Isildin ... it mirrors only starlight and moonlight. ANGLE ON: A LARGE MOON rises over the mountains. ANGLE ON: The lines on the wall grow BROADER and CLEARER, forming a glowing arch of interlacing ancient letters and symbols. GANDALF (CONT’D) It reads, “The door of Durin, Lord of Moria. Speak, friend, and enter.” MERRY What do you suppose that means? GANDALF (confident) It’s simple. If you are a friend, you speak the password and the doors will open. GANDALF raises his arms... GANDALF (CONT’D) (incanting) Annon Edhellen, edro hi ammen! Gate of the Elves, open now for me! The cliff towers into the night, the wind blows cold, FRODO shivers... and the door stands fast. Undaunted, GANDALF raises his arms again... (CONTINUED) 117. CONTINUED: (2) GANDALF Fennas Nogothrim, lasto beth lammen. Doorway of the Dwarf-folk, listen to the word of my tongue. PIPPIN Nothing's happening. ANGLE ON: GANDALF glances at him, annoyed. He begins to push on the doors, but they remain fast. GANDALF I once knew every spell in all the tongues of Elves, Men, and Orcs. PIPPIN What are you going to do, then? GANDALF (angrily) Knock your head against these doors, Peregrin Took! And if that does not shatter them, and I am allowed a little peace from foolish questions, I will try to find the opening words. LATER: GANDALF CONTINUES... MUMBLING spells in his efforts to open the door. GANDALF (wearily) Ando Eldarinwa ... a lasta quettanya, Fenda Casarinwa... Gate of Elves ... listen to my word, Threshold of Dwarves... ANGLE ON: SAM packs pots and pans at his feet ... watching sadly as ARAGORN unsaddles BILL THE PONY. CLOSE ON: ARAGORN whispering to BILL THE PONY. (CONTINUED) 118. CONTINUED: ARAGORN (whispering) Mines are no place for a Pony, even one so brave as Bill. SAM Bye, Bill. ARAGORN Go on, Bill, go on ... don't worry, Sam ... he knows his way home. ARAGORN slaps BILL on the rump ... BILL goes trotting off. CLOSE ON: SAM watching BILL disappear into the darkness. SPLASH! MERRY and PIPPIN are tossing stones into the lake. BLACK RIPPLING RINGS slowly fan out. PIPPIN is about to throw another stone, but ARAGORN grabs his arm. ARAGORN (ominous) Do not disturb the water. ARAGORN watches anxiously as the RIPPLES appear to grow ... he exchanges a look with BOROMIR. ARAGORN’S hand creeps towards his sword. ANGLE ON: GANDALF gives up in despair ... he sits down beside FRODO. CLOSE ON: FRODO peers at the ELVISH INSCRIPTION ... his face breaks into a smile of comprehension. FRODO (quietly) It's a riddle... GANDALF raises his eyebrows... FRODO Speak, friend, and enter. What's the Elvish word for friend? GANDALF Oh .... mellon. (CONTINUED) 119. CONTINUED: (2) With that, the rock face silently divides in the middle and TWO GREAT DOORS swing outwards ... revealing a blackness deeper than night. As the FELLOWSHIP enter the BLACKNESS something in the water stirs...",ADVENTURE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MORIA GATE - NIGHT The FELLOWSHIP step warily into the darkness of MORIA ... a DANK CAVERN, with winding steps leading deeper into the mountain. GIMLI Soon, Master Elf, you will enjoy the fabled hospitality of the Dwarves; roaring fires, malt beer, red meat off the bone! This, my friend, is the home of my cousin Balin ... And they call this a mine. (snorting) A mine! ANGLE ON: A GLOW from GANDALF’S STAFF suddenly lights the chamber ... The FELLOWSHIP recoil in HORROR! Many DWARF SKELETONS are strewn about, clearly in the dead of some old battle ... the rusting armor and shields are peppered with arrows and axes BOROMIR (grimly) This is no mine ... It's a tomb! GIMLI (in horror) Oh ... no ... no ... no...! LEGOLAS pulls a crude arrow out of a SKELETON. LEGOLAS Goblins. The FELLOWSHIP draw swords and back away, towards the ENTRANCE. BOROMIR We make for the Gap of Rohan. We should never have come here.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MORIA GATE - NIGHT ANGLE ON: FRODO is suddenly PULLED TO THE GROUND! A LONG SINUOUS TENTACLE is wrapped around FRODO’S ankle and is dragging him towards the lake! (CONTINUED) 120. CONTINUED: FRODO CRIES OUT as ARAGORN and BOROMIR rush forward! ARAGORN severs the TENTACLE holding FRODO, and pulls him to safety ... BOROMIR hacks at the other WRITHING LIMBS, 20 more tentacles ripple out of the LAKE! The dark water BOILS as the hideous beast lashes out at the FELLOWSHIP! Again the creature grabs FRODO and pulls him to the lake. FRODO is flung in the air as the FELLOWSHIP battle the creature. ARAGORN hacks at a tentacle ... FRODO is released, falling into BOROMIR’S arms. GANDALF Into the mines! BOROMIR Legolas! LEGOLAS shoots an ARROW into the creature’s head, gaining a few vital seconds for ARAGORN and BOROMIR as they race out of the water with FRODO. The FELLOWSHIP hurriedly back away from the CREATURE ... retreating into the MORIA CHAMBER as many COILING ARMS seize the large doors.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MORIA GATE - NIGHT With a shattering echo, the creature rips the doors away, creating a rock slide that crashes down the CLIFF FACE. Within seconds, tons of rock seal the doorway ... throwing the FELLOWSHIP into PITCH BLACKNESS. ANGLE ON: A faint light rises from GANDALF’S staff, throwing a CREEPY GLOW across the old wizard’s face. GANDALF (ominous) Now we have but one choice ... we must face the long dark of Moria. Be on your guard ... there are older and fouler things than the Orcs in the deep places of the world. CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. NEW CHAMBER, MORIA - NIGHT WIDE ON: THE FELLOWSHIP crossing a precarious bridge above deep mine workings. (CONTINUED) 121. CONTINUED: GANDALF Quietly, now. It’s a four day journey to the other side. Let us hope that our presence will go unnoticed.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MORIA MITHRIL MINE - NIGHT ANGLE ON: The FELLOWSHIP enter a CHAMBER with old ropes and ancient ladders. ANGLE ON: GANDALF touches a shining substance on the wall. GANDALF The wealth of Moria was not in gold or jewels but mithril. GANDALF holds his staff over the expansive drop beside them. The FELLOWSHIP looks down. ANGLE ON: The ENDLESS DEPTH of the mine. A FAINT, BLUE GLOW issues from its depths. It looks all but abandoned. The FELLOWSHIP continues onward. GANDALF Bilbo had a shirt of mithril rings that Thorin gave him. GIMLI Oh, that was a kingly gift. GANDALF Yes. I never told him, but its worth was greater than the value of the Shire. CLOSE ON: FRODO’S eyes widen. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MORIA CEMETERY CAVERN - NIGHT They continue up a steep stair, passing through a DWARF CEMETERY. The graves are despoiled ... DWARF SKELETONS are strewn about and GOBLIN GRAFFITI is scrawled on monuments in DRIED DWARF BLOOD. THE ATMOSPHERE is very sinister. CUT TO: 122.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MORIA TUNNEL FORK - NIGHT The path splits into three passages ... each disappearing into dark tunnel. GANDALF pauses, frowning. GANDALF I have no memory of this place. LATER... THE FELLOWSHIP are nervously waiting ... while GANDALF sits, staring intently at the 3 tunnel mouths in front of him. He appears to be in some kind of trance. CLOSE ON: FRODO turns at the sound of a faint noise down the tunnel behind them. PIPPIN Are we lost? MERRY No. I don’t think we are. Shhh, Gandalf’s thinking. PIPPIN Merry! MERRY What? PIPPIN I'm hungry. FRODO’S POV: a sudden glimpse of a creature darting in the darkness. FRODO is nervous...he approaches GANDALF. FRODO (whispers) There's something down there. GANDALF (quietly) It's Gollum. FRODO Gollum! GANDALF He's been following us for three days. (CONTINUED) 123. CONTINUED: TEASING SHOT: An emaciated, leering creature. FRODO (disbelieving) He escaped from the dungeons of Barad-dûr? GANDALF Escaped ... or was set loose. And now the Ring has drawn him here ... he will never be rid of his need for it. He hates and loves the Ring, as he hates and loves himself. Sméagol’s life is a sad story. GANDALF catches FRODO’S look of surprise. GANDALF (CONT’D) Yes ... Sméagol he was once called ... Before the Ring came to him, before it drove him mad. GOLLUM’S withered fingers are gripping the cave wall ... his LARGE LUMINOUS eyes blinking with malice. FRODO (grim) It’s a pity Bilbo didn't kill him when he had the chance. GANDALF Pity? It was pity that stayed Bilbo’s hand. Many that live deserve death, and some that die deserve life. Can you give it to them, Frodo? FRODO frowns. GANDALF (CONT’D) Do not be too eager to deal out death in judgment ... even the very wise cannot see all ends. My heart tells me that Gollum has some part to play yet, for good or ill before this is over. The pity of Bilbo may rule the fate of many. FRODO I wish the Ring had never come to me ... I wish none of this had happened. (CONTINUED) 124. CONTINUED: (2) GANDALF So do all who live to see such times, but that is not for them to decide. All we have to decide is what to do with the time that is given to us. There is a note of finality in GANDALF’S voice. GANDALF (CONT’D) There are other forces at work in this world, Frodo, besides the will of evil. Bilbo was meant to find the Ring. In which case, you also were meant to have it ... and that is an encouraging thought. (sudden brightness) Ah! It's that way. GANDALF points at the right hand tunnel ... the FELLOWSHIP scramble to their feet. MERRY (relieved) He's remembered! GANDALF No. But the air doesn’t smell so foul down here. If in doubt, Meriadoc, always follow your nose! (laughs) Yes...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DWARROWDELF CHAMBER, MORIA - DAY The FELLOWSHIP pass under an arched doorway into a black and empty space. GANDALF pauses... GANDALF Let me risk a little more light. GANDALF taps his staff ... for a brief moment a light blazes ... like a silent FLASH OF LIGHTNING. GREAT SHADOWS spring up and flee... GANDALF Behold! The great realm and Dwarf-city of Dwarrowdelf. (CONTINUED) 125. CONTINUED: ANGLE ON: FRODO gasps at the brief sight of a roof, far above their heads, upheld by many mighty pillars of stone. Before them stretches a huge empty hall, with black walls, polished and smooth as glass. SAM Well, there's an eye opener and no mistake! Ahead of them, a wooden door has been smashed. BLACK ARROWS are embedded in the timbers. TWO GOBLIN SKELETONS lie in the doorway. GIMLI rushes ahead... GANDALF Gimli!! CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BALIN’S TOMB, MORIA - DAY GIMLI rushes into another vast empty chamber ... lit with a narrow shaft of sunlight, beaming in from a small hole near the roof. DWARF AND GOBLIN SKELETONS are piled high. In the far corner sits a stone walled WELL. A SHAFT OF LIGHT falls directly onto a stone table in the middle of the room: a single oblong block, about 4 feet high, topped with a great slab of white stone. GIMLI falls to his knees... GIMLI No...no...oh, no! GIMLI sobs. GANDALF quietly reads an inscription of runes, carved onto the white stone slab. GANDALF “Here lies Balin, son of Fundin, Lord of Moria.” He is dead, then. It’s as I feared. GIMLI (chanting softly, sobbing) Kilmin malur ni zaram kalil ra narag. Kheled-zâram ... Balin tazlifi. (CONTINUED) 126. CONTINUED: GANDALF carefully lifts the rotting remains of a book from the white stone slab. It has been slashed and stabbed ... and appears to be covered in DRIED BLOOD. The pages crack and break as he opens it. LEGOLAS (urgent whisper to Aragorn) We must move on. We cannot linger. GANDALF (reading) “They have taken the Bridge and the second hall: we have barred the gates ... but cannot hold them for long ... the ground shakes ... drums drums in the deep ... we cannot get out. A shadow moves in the dark. Will no-one save us? They are coming.” ANGLE ON: Unnerved, PIPPIN backs away nervously ... He stumbles against the well, sending a precariously balanced ARMORED SKELETON tumbling in! MERRY reaches out, GRABBING hold of PIPPIN before he falls. THE FELLOWSHIP freeze in stunned silence as the armored skeleton clatters down the deep well ... echoing loudly! ANGLE ON: GANDALF turns angrily on PIPPIN. GANDALF (angrily) Fool of a Took! Throw yourself in next time, and rid us of your stupidity! ANGLE ON: PIPPIN, CHASTENED. They fall silent. A low rolling BOOM rises from the depths below ... growing louder ... BOOM ... BOOM ... as if the caverns of MORIA were turned into a vast drum. A great horn blasts nearby ... ANSWERING horns ... running feet ... harsh cries ... CLOSE ON: SAM’S eyes glance at FRODO’S belt... SAM (worried) Mr. Frodo! (CONTINUED) 127. CONTINUED: (2) ANGLE ON: FRODO looks down. A cold blue glow is emanating from STING’S SCABBARD! FRODO draws the SWORD ... and stares at its glowing blade! LEGOLAS Orcs! ARAGORN (to the Hobbits) Get back! Stay close to Gandalf. ARAGORN and BOROMIR slam and wedge the doors. BOROMIR catches sight of something; he turns to ARAGORN with shock in his eyes. BOROMIR They have a cave-troll! ANGLE ON: GIMLI snatches up two rusty Dwarf axes and leaps onto the tomb. GIMLI (yelling) Let them come! There is one Dwarf yet in Moria who still draws breath! BOOM! The door bursts open in a shower of wood fragments, and 20 GOBLINS charge into the tomb, followed by a HUGH CAVE TROLL! ANGLES ON: GIMLI ducks a blow and immediately buries his AXES in 2 GOBLIN HELMETS. ARAGORN and BOROMIR wade into the mass of GOBLINS with their swords. LEGOLAS fires deadly arrows into GOBLIN throats, desperately trying to SHIELD the HOBBITS! GANDALF is clutching his sword, GLAMDRING, and joins in the battle! ANGLES ON: The CAVE TROLL is sweeping his club at ARAGORN ... who stumbles backwards ... the huge club descends for the killing blow ... SUDDENLY, in a FLASH OF STEEL, BOROMIR’S long sword SLICES into the SCALY ARM of the TROLL; it rears back, SPEWING GREEN BLOOD! ANGLES ON: SAM is backed up against a wall .. a sword in one hand, a SAUCEPAN in the other. In desperation he swings wildly at a GOBLIN with the saucepan! It keels over ... SAM looks surprised. He wallops another GOBLIN and it too, drops. SAM I think I’m getting the hang of this. (CONTINUED) 128. CONTINUED: (3) ANGLE ON: The CAVE TROLL lunges forward, thrusting at FRODO’S chest with his spear. FRODO Aragorn! Aragorn! SAM screams as FRODO is lifted off his feet by the spear tip and slammed against the wall. ARAGORN (shocked yell) Frodo! ANGLES ON: The HOBBITS go crazy. SAM slashes at the CAVE TROLL’S knee, bringing him down ... MERRY and PIPPIN jump on him ... LEGOLAS fires an arrow ... and the CAVE TROLL topples, dead. ANGLE ON: ARAGORN rushes to FRODO’S side as he slumps to the floor ... FRODO appears to be dead. CLOSE ON: GANDALF, ARAGORN, HOBBITS looking horrified... SUDDENLY, FRODO coughs ... takes a huge breath. SAM He's alive. FRODO I'm all right. I'm not hurt. ARAGORN You should be dead. That spear would have skewered a wild boar. GANDALF I think there’s more to this Hobbit than meets the eye. ANGLE ON: FRODO opens his shirt to reveal the MITHRIL VEST. The TROLL SPEAR did not pierce the MITHRIL. GIMLI Mithril! You are full of surprises, Master Baggins. BOOM. BOOM. BOOM. the sound of the drums rings out again! GANDALF turns to the other. (CONTINUED) 129. CONTINUED: (4) GANDALF To the bridge of Khazad-Dûm! CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DWARROWDELF CHAMBER, MORIA - DAY GANDALF leads the FELLOWSHIP into the huge DWARROWDELF CHAMBER. GANDALF This way! They hurry towards a distant door ... as GOBLINS start scuttling down the PILLARS behind them, like cockroaches! ANGLE ON: FRODO looks with horror at the overwhelming GOBLIN army that’s rushing towards them! SUDDENLY! A deafening roar fills the air! A fiery light dances down the hallway ... the pillars castings eerie shadows. ANGLES ON: The GOBLINS freeze. They back fearfully away from the approaching beast ... melting into the darkness. BOROMIR What is this new devilry? A HUGE SHADOW, surrounded by FLAME, falls across the hall ... the ground shakes ... an unearthly sound rumbles. GANDALF (quietly) A Balrog ... a demon of the ancient world! This foe is beyond any of you! (urgent yell) Run! Quickly! CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. STAIRWAY OF KHAZAD-DÛM, MORIA - DAY The BALROG, a massive creature rises from a chasm, a great 40- FOOT MAN-BEAST, with a MANE OF FLAMES! In one hand is a BLADE ... like a stabbing TONGUE OF FIRE; in the other, a WHIP of MANY THONGS. ANGLE ON: ARAGORN leads the FELLOWSHIP to the top of a dizzying stairway ... GANDALF follows, leaning heavily on his staff. (CONTINUED) 130. CONTINUED: CLOSE ON: ARAGORN looks at GANDALF, concerned. GANDALF Lead them on, Aragorn! The bridge is near. ARAGORN hesitates ... GANDALF looks at him. GANDALF (CONT’D) Do as I say; Swords are no more use here. The FELLOWSHIP race down the stairway. ARAGORN picks up FRODO ... leaping across a gaping chasm ... GANDALF yells to the others. ANGLE ON: ARAGORN makes to throw GIMLI across the chasm. GIMLI Nobody tosses a dwarf! The BALROG smashes through the wall and spreads its VAST WINGS. It swoops down past the FELLOWSHIP, disappearing into a FLAMING PIT! CUT TO:",FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BRIDGE OF KHAZAD-DÛM, MORIA - DAY The FELLOWSHIP run into the SECOND HALL ... the floor is split with fissures that spit flame. GANDALF (yelling) Over the bridge! Fly! They race towards the slender bridge of stone ... without kerb or rail ... at the far end of the hall. The FELLOWSHIP recklessly hurry over the dizzying bridge .. but GANDALF ... the last ... pauses in the middle of the span ... he faces the BALROG ... staff in one hand ... GLAMDRING in the other! ANGLE ON: FRODO looks back in horror: GANDALF (CONT’D) You cannot pass! (CONTINUED) 131. CONTINUED: FRODO (alarmed yell) Gandalf! GANDALF (yelling) I am a servant of the Secret Fire, wielder of the flame of Anor. The dark fire will not avail you, flame of Udûn. FRODO watches as the BALROG puts one foot on the bridge and draws up to FULL HEIGHT, wings spreading from wall-to-wall. GANDALF is a tiny figure, balanced precariously on the narrow bridge. GANDALF (CONT’D) Go back to the Shadow! The BALROG slashes at GANDALF with its SWORD OF FLAME ... GANDALF blocks with GLAMDRING ... a ringing clash and the BALROG’S SWORD SHATTERS into MOLTEN FRAGMENTS! GANDALF (booming) You shall not pass!! The BALROG places one foot onto the bridge. ARAGORN He cannot stand alone! Elendil! I am with you Gandalf! BOROMIR (raising his sword) Gondor! ANGLE ON: ARAGORN and BOROMIR race forward, swords drawn. GANDALF CRIES ALOUD as he summons his LAST RESERVES OF STRENGTH!! He thumps the bridge with his staff ... a blinding sheet of white flame springs up ... the staff shatters ... the bridge breaks ... right at the BALROG’S feet. The stone bridge drops away into the GULF ... from under the BALROG. For a moment, the great BEAST remains poised in the air ... then it plunges down: (CONTINUED) 132. CONTINUED: (2) SLOW MOTION: RELIEF floods FRODO’S face ... GANDALF remains trembling on the lip of the broken bridge. SLOW MOTION: As the BALROG falls, he lashes out with his whip of fire... SLOW MOTION: The thongs of the whip lash and curl around GANDALF’S knees, dragging him over the brink! GANDALF just manages to hang on by his fingertips. FRODO (screaming) Gandalf! GANDALF (fierce) Fly, you fools! CLOSE ON: GANDALF lets go his grip and falls away ... following the BALROG into the BOTTOMLESS ABYSS! FRODO cries out! BOROMIR scoops him up and carries him away! FRODO No! ARAGORN Gandalf! They rush towards an archway. CUT TO:",FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DIMRILL DALE DOOR - DAY The FELLOWSHIP tumble out of the GREAT EASTERN GATE on to a grassy sunlit hillside. SAM, MERRY, and PIPPIN fall slowly to the ground, SOBBING ... ANGLE ON: ARAGORN turns to LEGOLAS and GIMLI. ARAGORN (urgent) Legolas, get them up. BOROMIR Give them a moment ... for pity's sake! (CONTINUED) 133. CONTINUED: ARAGORN By nightfall these hills will be swarming with Orcs! We must reach the woods of Lothlórien. Come Boromir, Legolas, Gimli, get them up. On your feet, Sam. ANGLE ON: BOROMIR glances towards FRODO, then back at ARAGORN. ANGLE ON: FRODO is walking away, as if in a daze. ARAGORN (CONT’D) Frodo? Frodo! CLOSE ON: FRODO SLOWLY TURNS ... a look of numb shock on his devastated face. The FELLOWSHIP marches on. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DIMRILL DALE HILLSIDE - DUSK ARAGORN scours ahead of the COMPANY, as they stumble on in the fading light ... in the distance the shimmer of a large forest can be seen ... LOTHLÓRIEN!",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. EDGE OF LOTHLÓRIEN - DUSK WIDE ON: The FELLOWSHIP run across a forest floor strewn with YELLOW FLOWERS ... above is a ROOF OF GOLDEN LEAVES, held up by SILVER PILLARS ... the TRUNKS of HUGE, GREY TREES. ANGLE ON: LEGOLAS, taking in the surroundings as if a return home. LEGOLAS (musing) Ah, Lothlórien. The fairest of all the dwellings of my people. There are no trees like the trees of this land, for in autumn the leaves fall not, but turn to gold. Not till the spring comes and the new green opens do they fall, and then the boughs are laden with yellow flowers; and the floor of the wood is golden, and golden is the roof, and its pillars are of silver, for the bark of the trees is smooth and grey. So still our songs in Mirkwood say. (CONTINUED) 134. CONTINUED: ANGLE ON: In contrast, GIMLI looks nervously around... GIMLI Stay close, young Hobbits ... they say a great sorceress lives in these woods. An Elf-witch of terrible power. All who look upon her fall under her spell... CLOSE ON: FRODO hesitates ... a STRANGE VOICE whispers in his head... GALADRIEL (V.O.) Frodo... GIMLI And are never seen again! GALADRIEL (V.O.) ...your coming to us is as the footsteps of doom. You bring great evil here, Ring-bearer. SAM Mr. Frodo? GIMLI Well, here’s one Dwarf she won't ensnare so easily. I have the eyes of a hawk and the ears of a fox! The FELLOWSHIP are suddenly surrounded by ARMED ELVES. DEADLY ARROWS are aimed at their heads. HALDIR, the ELVISH CAPTAIN, steps forward... HALDIR The Dwarf breathes so loud we could have shot him in the dark. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CERIN AMROTH, LOTHLÓRIEN - NIGHT Night is deepening amongst the windy trees. The FELLOWSHIP stands on a platform in the trees. HALDIR greets them. (CONTINUED) 135. CONTINUED: HALDIR (Elvish; with subtitles) Mae govannen, Legolas Thranduilion. Welcome Legolas, son of Thranduil. LEGOLAS (Elvish; with subtitles) Govannas vîn gwennen le, Haldir o Lórien. Our Fellowship stands in your debt, Haldir of Lórien. ANGLE ON: HALDIR glances at ARAGORN. HALDIR (Elvish; with subtitles) A, Aragorn in Dúnedain istannen le ammen. Oh, Aragorn of the Dúnedain, you are known to us. ARAGORN Haldir. GIMLI So much for the legendary courtesy of the Elves! Speak words we can also understand! HALDIR We have not had dealings with the Dwarves since the Dark Days. GIMLI And you know what this Dwarf says to that? Ishkhaqwi ai durugnul! I spit on your grave! ANGLE ON: ARAGORN takes GIMLI by the arm. ARAGORN (stern) That was not so courteous. HALDIR moves on to FRODO. (CONTINUED) 136. CONTINUED: (2) HALDIR You bring great evil with you. (to ARAGORN) You can go no further. HALDIR walks away. ANGLE ON: SAM and PIPPIN turn to look at FRODO. FRODO appears uncomfortable. LATER... The FELLOWSHIP sit while ARAGORN speaks with HALDIR. ARAGORN Boe ammen veriad lîn. Andelu i ven! We need your protection. The road is fell! HALDIR whispers back inaudibly. ARAGORN Merin le telim. I wish we may come with you. HALDIR answers quietly, again so that only ARAGORN can hear his words. ARAGORN Henio, aníron boe ammen i dulu lîn! Please, understand, we need your support! ANGLE ON: FRODO looks to the remainder of the FELLOWSHIP. As they meet his eyes, they look away, as if he has become a scourge to them. ANGLE ON: ARAGORN continues to argue loudly with HALDIR. ANGLE ON: FRODO, looking at his friends, sees blame that does not truly exist anywhere but in his mind. He is alone, it seems. ANGLE ON: ARAGORN pleads with HALDIR. (CONTINUED) 137. CONTINUED: (3) ARAGORN Andelu i ven. The road is very dangerous. ANGLE ON: BOROMIR approaches FRODO. BOROMIR Gandalf's death was not in vain. nor would he have you give up hope. You carry a heavy burden, Frodo. Don't carry the weight of the dead. HALDIR stands before FRODO. HALDIR Very well. Here we will stay awhile, and come to the city of Galadhrim on the morrow.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CERIN AMROTH, LOTHLÓRIEN - DAY ANGLE ON: SAM and FRODO sit on one of the many platforms in the trees at CERIN AMROTH. SAM suddenly looks up and around, with a puzzled expression. He rubs his eyes. FRODO What is it? SAM It’s an odd thing, Mr. Frodo. It’s sunlight and bright day, right enough. I thought that Elves were all for moon and stars. But this is more Elvish than anything I ever heard tell of. I feel as if I was inside a song, if you take my meaning. HALDIR (from behind them) You feel the power of the Lady of Galadhrim. Would it please you to climb with me up Cerin Amroth? WIDE ON: FRODO and SAM follow HALDIR up a long series of platforms until they reach the pinnacle of the trees. (CONTINUED) 138. CONTINUED: ANGLE ON: FRODO and SAM approach the edge of a high platform and look out in wonder. HIGH WIDE SHOT: MIDDLE EARTH stretches out for miles and miles to the NORTH. Far to the NORTH, a shadow lingers over the FOREST OF MIRKWOOD. ANGLE ON: HALDIR points the HOBBITS’ gaze to the dark cloud. HALDIR There lies the fastness of Southern Mirkwood. It is clad in a forest of dark fir, where the trees strive one against another and their branches rot and whither. In the midst upon a stony height stands Dol Guldur, where long the hidden Enemy had his dwelling. We fear that now it is inhabited again, and with power sevenfold. A black cloud lies often over it of late. PAN ON WIDE SHOT: From ORTHANC to the WEST across the magnificent view to MORDOR and BARAD-DÛR in the EAST. HALDIR (CONT’D) In this high place you may see the two powers that are oppose one to another; and ever they strive now in thought, but whereas the light perceives the very heart of the darkness, its own secret has not been discovered. Not yet. ANGLE ON: HALDIR leaves the high place. With a final look, FRODO and SAM follow.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CERIN AMROTH, LOTHLÓRIEN - DAY CLOSE ON: A SMALL GOLDEN FLOWER in someone’s hand. ANGLE ON: ARAGORN, admiring the beauty of this flower. ARAGORN Arwen vanimelda, namárië. ANGLE ON: FRODO approaches. ARAGORN sighs, and then turns to FRODO and smiles. (CONTINUED) 139. CONTINUED: ARAGORN Here is the heart of Elvendom on earth, and here my heart dwells ever, unless there be a light beyond the dark roads that we still must tread, you and I. FRODO Do you believe we may yet succeed in our quest? ARAGORN We shall endure to the last. CUT TO:",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LOTHLÓRIEN HILLTOP - DAY HALDIR leads the FELLOWSHIP onto a HILL TOP. They look with wonderment at the vista spread before them. WIDE ON: Several miles towards the SOUTH, a LARGE HILL rises out of the woods. Upon the hill rise many mighty MALLORN TREES, taller than any others ... NESTLED high in the crown of the mallorns is a BEAUTIFUL CITY. It GLEAMS in the low rays of the late afternoon ... green, gold, and silver. To the east of CARAS GALADHON, the WOODS of LÓRIEN run down the pale gleam of ANDUIN, the great river. Beyond the RIVER, the land appears flat and empty, formless and vague, until far away, it rises again like a dark dreary wall. The SUN that lies on LOTHLÓRIEN has not power to enlighten the shadows that lie beyond. HALDIR Caras Galadon. The heart of Elvendom on earth. This is the city of Galadhrim where dwell the Lord Celeborn and of Galadriel, Lady of Light. CUT TO:",SENTI +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CELEBORN’S CHAMBER, CARAS GALADHON - NIGHT ANGLE ON: THE FELLOWSHIP step onto a wide fleet filled with a soft light. The walls are green and silver, the roof gold and in its midst is the trunk of the mighty MALLORN TREE, now tapering toward its crown. (CONTINUED) 140. CONTINUED: ANGLE ON: CELEBORN steps forward to greet the guests. His hair is long and silver, his face grave and beautiful, with no sign of age upon it. Next to him stands GALADRIEL, the LADY OF THE ELVES. She has hair of deep gold and timeless unsurpassed beauty. ANGLE ON: CELEBORN looks hard at ARAGORN... CELEBORN The enemy knows you have entered here. What hope you had in secrecy is now gone. Eight there are here, yet nine there were set out from Rivendell. Tell me, where is Gandalf? For I much desire to speak with him. I can no longer see him from afar. ANGLE ON: FRODO looks at GALADRIEL, standing silently beside CELEBORN. GALADRIEL (softly aloud) Gandalf the Grey did not pass the borders of this land. He has fallen into Shadow. LEGOLAS He was taken by both Shadow and flame. A Balrog of Morgoth. For we went needlessly into the net of Moria. ANGLE ON: The FELLOWSHIP bow their heads in sadness at the memory of GANDALF. ANGLE ON: CELEBORN appears surprised. GALADRIEL Needless were none of the deeds of Gandalf in life. We do not yet know his full purpose. GALADRIEL surveys the face of the FELLOWSHIP. CLOSE ON: GIMLI looks up as GALADRIEL addresses him. (CONTINUED) 141. CONTINUED: (2) GALADRIEL Do not let the great emptiness of Khazad-dûm fill your heart Gimli, son of Glóin. For the world has grown full of peril, and in all lands, love is now mingled with grief. ANGLE ON: GALADRIEL looks over he FELLOWSHIP again to meet her gaze with BOROMIR’S. CLOSE ON: BOROMIR is suddenly fearful and nervous. CLOSE ON: GALADRIEL’S eyes piercing BOROMIR. ANGLE ON: BOROMIR turns away from her. ANGLE ON: GALADRIEL’S gaze remains on him for a moment before turning to CELEBORN. CELEBORN What now becomes of this Fellowship? Without Gandalf, hope is lost. ANGLE ON: GALADRIEL looks to ARAGORN. GALADRIEL The quest stands upon the edge of a knife. Stray but a little and it will fail, to the ruin of all... Yet hope remains while the company is true. GALADRIEL’S eyes settle on SAM. GALADRIEL Do not let your hearts be troubled. Go now and rest, for you are weary with sorrow and much toil. GALADRIEL’S eyes turn to FRODO ... her voice fades. GALADRIEL Tonight you will sleep in peace. (whispered v/o) Welcome, Frodo of the Shire... CLOSE ON: FRODO looks at GALADRIEL. (CONTINUED) 142. CONTINUED: (3) SUDDEN INSERT: GALADRIEL as she is on the other side ... POWERFUL, DIVINE ... no longer of this world ... a PIERCING white light surrounds her. GALADRIEL (V.O.) (CONT’D) ...one who has seen the eye. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CARAS GALADON, LOTHLÓRIEN - NIGHT GIMLI, LEGOLAS, MERRY, PIPPIN, FRODO, and SAM are in a pavilion set among the trees near the fountain. They lie on soft couches as ELVES leave food and wine for them. MOURNFUL SINGING drifts down from the trees above. LEGOLAS (sadly) A lament for Gandalf... MERRY What do they say about him? LEGOLAS I have not the heart to tell you. For me, the grief is still too near. ANGLE ON: FRODO lies on his bed watching the others. SAM works with PIPPIN. SAM I bet they don’t mention his fireworks. There should be a verse about them. ANGLE ON: SAM stands up to add his own verse to the ELVEN SONG. SAM The finest rockets ever seen They burst in stars of blue and green Or after thunder, silver showers Come falling like a rain of flowers. Oh, that doesn’t do them justice by a long road. SAM sits down, frustrated and disappointed with himself. (CONTINUED) 143. CONTINUED: ANGLE ON: BOROMIR is sitting alone ... ARAGORN approaches him. ARAGORN Take some rest. These borders are well protected. ANGLE ON: Moonlight catches the trace of tears on BOROMIR’S face. ARAGORN kneels beside him. BOROMIR I will find no rest here. I heard her voice inside my head. She spoke of my father and the fall of Gondor. She said to me, “Even now, there is hope left.” But I cannot see it ... it is long since we had any hope. CLOSE ON: BOROMIR looks at ARAGORN in despair. BOROMIR (CONT’D) My father is a noble man, but his rule is failing, and our ... our people lose faith. He looks to me to make things right ... and I would do it, I would see the glory of Gondor restored. Have you ever seen it, Aragorn? The White Tower of Ecthelion, glimmering like a spike of pearl and silver, its banners caught high in the morning breeze ... have you ever been called home by the clear ringing of silver trumpets? ARAGORN I have seen the White City ... long ago. BOROMIR feels ARAGORN’S love for MINAS TIRITH and takes heart. BOROMIR One day, our paths will lead us there, and the tower guard will take up the call “the Lords of Gondor have returned.” ARAGORN returns BOROMIR’S smile ... betraying his disquiet sadness only when BOROMIR looks away. 144. LATER... The FELLOWSHIP are asleep on their beds. GIMLI is snoring loudly. CLOSE ON: BARE FEET treads soundlessly across the lawn. CLOSE ON: FRODO’S EYES FLICKER OPEN ... as if by instinct. ANGLE ON: GALADRIEL, her WHITE dress glowing in the moonlight, glances at him. FRODO follows her ... as if drawn by an invisible force.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. GALADRIEL’S GLADE, LOTHLÓRIEN - NIGHT Upon a low stone pedestal, carved like a branching tree, sits a shallow SILVER BASIN. GALADRIEL leads FRODO into the small GLADE. GALADRIEL Will you look into the mirror? ANGLE ON: FRODO looks with apprehension at the silver basin. FRODO (warily) What will I see? GALADRIEL pours water into the basin from a silver jug ... a GLOW rises from the water. GALADRIEL Even the wisest cannot tell. For the mirror shows many things ... things that were ... things that are ... and some things that have not yet come to pass. FRODO slowly steps up to the PEDESTAL ... he peers into the glossy surface. The night sky is reflected in the water ... suddenly a figure takes form ... the bowed figure of an OLD MAN, CLAD IN WHITE ROBES. He walks down a long road. FRODO leans closer to the mirror’s surface. CLOSE ON: GANDALF LIFTS HIS HEAD AND LOOKS DIRECTLY AT FRODO! FRODO gasps, his face lighting up with hope. FRODO (joyous) Gandalf! (CONTINUED) 145. CONTINUED: GANDALF looks at FRODO with a fierce intensity. FRODO reaches out his hand toward the surface of the mirror. Suddenly the image flares, burning out to white. THE VISION SHIFTS ... FRODO gasps in horror! The SHIRE is in ruins! THE IMAGE SUDDENLY WIDENS TO FILL THE SCREEN ... buildings burning ... bodies strewn about ... DARK SHAPES of ORCS looting and destroying ... BAG END, billowing in flames! The Party Tree is hacked down. ANGLE ON: FRODO reels back as the mirror seems to grow. The nightmarish image sweeps past his head, engulfing him entirely. IMAGE: HOBBITON ... now an INDUSTRIAL WASTELAND. The fields and trees destroyed ... replaced with BRICK FACTORIES belching smoke! IMAGE: ORCS brutally herd manacled HOBBITS into the FACTORIES! We see SAM ... MERRY ... and ROSIE COTTON. SOOT-STAINED and SOBBING, they disappear into the factory hellhole! SUDDENLY, the mirror goes dark ... and out of the black abyss a SINGLE EYE GROWS. CLOSE ON: FRODO IS FROZEN. Unable to move or cry out. The RING dangles from his neck, inches above the water ... not shimmering with curls of steam. FIRE erupts around the EYE. WITH A YELL, FRODO pushes himself away from the pedestal and collapses on the ground. Light instantly fades from the mirror. FRODO comes to his senses ... he is shocked. ANGLE ON: GALADRIEL stands still as a statue, unmoved, untouched by the horror. GALADRIEL I know what it is you saw ... for it is also in my mind. It is the future, Frodo. It is what will come to pass if you should fail. GALADRIEL looks at FRODO intensely ... FRODO looks down ... in his hand he is clutching the RING. FRODO looks up at GALADRIEL. (CONTINUED) 146. CONTINUED: (2) GALADRIEL (CONT’D) The Fellowship is breaking. It is already begun. He will try to take the Ring. You know of whom I speak. One by one, it will destroy them all. FRODO (V.O.) If you ask it of me, I will give you the One Ring. GALADRIEL You offer it to me freely ... I do not deny that my heart has greatly desired this. GALADRIEL suddenly seems to rise in stature before FRODO’S eyes. FRODO is suddenly afraid of her. GALADRIEL In place of the Dark Lord, you would have a Queen, not dark, but beautiful and terrible as the Dawn. Treacherous as the Sea! Stronger than the foundations of the earth ... All shall love me and despair! ANGLE ON: FRODO takes a step away from GALADRIEL... ANGLE ON: GALADRIEL suddenly laughs ... a slender ELF-WOMAN once more, clad in simple white, her voice soft and sad. GALADRIEL (CONT’D) (gently) I pass the test. (laughs) I will diminish, and go into the West, and remain Galadriel. ANGLE ON: FRODO’S confidence drains away. FRODO I cannot do this alone. GALADRIEL You are a Ring-bearer, Frodo. To bear a Ring of Power is to be alone. (CONTINUED) 147. CONTINUED: (3) CLOSE ON: GALADRIEL raises her hand to show FRODO her own RING. GALADRIEL (CONT’D) This is Nenya, the Ring of Adamant. And I am its keeper. GALADRIEL lowers her hand, hiding NENYA once more. GALADRIEL (CONT’D) This task was appointed to you. And if you do not find a way, no one will. ANGLE ON: FRODO realizes what her message is. FRODO Then I know what I must do. It's just I’m afraid to do it. GALADRIEL kneels down to FRODO’S height, staring at him intently. GALADRIEL Even the smallest person can change the course of the future. CLOSE ON: THE RING lies in the palm of FRODO’S hand ... his fingers close over it. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ORTHANC CHAMBER - DAY NAKED, LURTZ’S eyes follow SARUMAN, alight with a mean intelligence. SARUMAN (smiles) Do you know how Orcs first came into being? They were Elves once. Taken by the Dark Powers ... tortured and mutilated ... a ruined and terrible form of life. And now perfected. My fighting Uruk-Hai. Whom do you serve? LURTZ (guttural rasp) Saruman. 148.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAVERNS BELOW ISENGARD - DAY QUICK CUTS: LURTZ is quickly armored ... BREASTPLATE ... LEG GUARDS, HELMET ... a sword is thrust in LURTZ’S hand. The URUK- HAI are smearing themselves in white paint ... a creepy ritualistic ceremony ... the WHITE HAND OF ISENGARD is smeared on bodies, faces, and armor. ANGLE ON: SARUMAN addresses a crowd of 200 fully-armed URUK-HAI. SARUMAN Hunt them down. Do not stop until they are found. You do not know pain. You do not know fear. You will taste man-flesh. SARUMAN turns to LURTZ. SARUMAN (CONT’D) (coldly) One of the Halflings carries something of great value ... bring them to me ... alive and unspoiled ... kill the others.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ISENGARD - DAY LURTZ is leading 200 URUK-HAI out of ISENGARD ... they run fast, their powerful legs carrying them at speed.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SILVERLODE RIVER BANK - DAWN The mists of morning lay heavily along the river. Bare-branched trees arch through the fogs, stray beams of light falling on the cold, blue waters. ANGLE ON: GALADRIEL approaches the bank in an elegant ship, carved in the likeness of a swan. DISSOLVE TO:",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SILVERLODE SHORE, LOTHLÓRIEN - DAWN CLOSE ON: An green, silver-veined ELVEN LEAF-BROOCH is clasped. ANGLE ON: ELVES clasp ELVEN CLOAKS around on the FELLOWSHIP, each with a leaf-brooch. CELEBORN (V.O.) Never before have we clad strangers in the garb of our own people. (CONTINUED) 149. CONTINUED: ANGLE ON: CELEBORN addresses the FELLOWSHIP. CELEBORN (CONT’D) May these cloaks help shield you from unfriendly eyes.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SILVERLODE RIVER BANK, LOTHLÓRIEN - DAWN ANGLE ON: LEGOLAS grabs a couple of packs and puts them in an Elven boat. MERRY and PIPPIN look up as he pulls a small piece of bread from one of the packs. LEGOLAS Lembas. Elvish waybread. He takes a bite. LEGOLAS One small bite is enough to fill the stomach of a grown Man. He stuffs the remaining piece back in the pack and places it in the boats. ANGLE ON: MERRY and PIPPIN nod as he walks away. MERRY How many did you eat? PIPPIN Four. MERRY nods and picks at his teeth. PIPPIN belches. ANGLES ON: The FELLOWSHIP continue to load the boats for their journey ... LEGOLAS helps GIMLI into a boat ... SAM crawls into another boat and quickly reveals he has no measure of sea legs. CELEBORN (V.O.) Every league you travel south, the danger will increase. Mordor Orcs now hold the eastern shore of the Anduin. Nor will you find safety on the western bank. 150.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SILVERLODE SHORE, LOTHLÓRIEN - DAWN ANGLE ON: CELEBORN and ARAGORN walks toward the RIVER. CELEBORN Strange creatures bearing the White Hand have been seen on our borders. Seldom do Orcs journey in the open under the sun, yet these have done so. CLOSE ON: CELEBORN holds a DAGGER out the ARAGORN. ARAGORN takes the dagger and unsheathes it. It is a beautiful, yet deadly work of art. CELEBORN (Elvish; subtitled) Le aphadar aen. You are being tracked. ANGLE ON: ARAGORN replaces the dagger in its sheath. CELEBORN By river you have the chance of outrunning the enemy to the Falls of Rauros.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SILVERLODE RIVER BANK - DAWN The FELLOWSHIP are in three small ELVEN BOATS. ELVES quietly watch them depart. CLOSE ON: LEGOLAS, remembering... GALADRIEL (V.O.) My gift for you, Legolas, is a bow of the Galadhrim. Worthy of the skill of our woodland kin. INSERT FLASHBACK ANGLE ON: LEGOLAS lifts an elegant BOW and tests its strength. ANGLE ON: GALADRIEL smiles and walks to MERRY and PIPPIN. ANGLE ON: MERRY removes a dagger from its sheathe and gazes upon it. (CONTINUED) 151. CONTINUED: GALADRIEL (V.O.) (CONT’D) These are the daggers of the Noldorin. They have already seen service in war. ANGLE ON: PIPPIN looks upon his gift with the fear he may have to use it. He casts his eyes upon GALADRIEL. GALADRIEL (V.O.) (CONT’D) Do not fear, young Peregrin Took. You will find your courage. END FLASHBACK CLOSE ON: MERRY and PIPPIN ride expressionless in their boat. CLOSE ON: SAM, remembering... GALADRIEL (V.O.) (CONT’D) And for you, Samwise Gamgee, Elven rope made of hithlain. INSERT FLASHBACK ANGLE ON: SAM bows to her, accepting his gift. SAM Thank you, my lady. He looks at MERRY and PIPPIN, and then back to GALADRIEL. SAM (hesitantly) Have you run out of those nice, shiny daggers? GALADRIEL smiles, and SAM holds onto his rope, embarrassed. She moves on to GIMLI, who stares at the ground in her presence. GALADRIEL And what gift would a Dwarf ask of the Elves? ANGLE ON: GIMLI shakes his head quickly. GIMLI Nothing. He looks up at her. (CONTINUED) 152. CONTINUED: (2) GIMLI (CONT’D) Except to look upon the lady of the Galadhrim one last time for she is more fair than all the jewels beneath the earth. ANGLE ON: GALADRIEL laughs. GIMLI scowls at his foolishness and turns away. He recovers and turns back to her. GIMLI (CONT’D) Actually... There was one thing. No, no, I couldn’t. It’s quite impossible. Stupid to ask. END FLASHBACK CLOSE ON: GIMLI rides silently before LEGOLAS. He closes his eyes, allowing the memory to flood into his head. CLOSE ON: ARAGORN, remembering... INSERT FLASHBACK ANGLE ON: GALADRIEL stands before ARAGORN. GALADRIEL I have nothing greater to give than the gift you already bear. CLOSE ON: She touches the EVENSTAR PENDANT ARAGORN wears. GALADRIEL (CONT’D) (in Elvish; subtitled) Am meleth dîn. I ant e-guil Arwen Undómiel ... pelitha. For her love, I fear the grace of Arwen Evenstar ... will diminish. ARAGORN (in Elvish; subtitled) Aníron i e broniatha ar periatham amar hen. Aníron e ciratha a Valannor. I would have her leave these shores, and be with her people. I would have her take the ship to Valinor. (CONTINUED) 153. CONTINUED: (3) GALADRIEL That choice is yet before her. You have your own choice to make, Aragorn. ANGLE ON: ARAGORN straightens before her. GALADRIEL (CONT’D) To rise above the height of all your fathers since the days of Elendil or to fall into darkness with all that is left of your kin. Silence follows ... branches shake ... a spider web’s glimmering strands sway in the wind. ANGLE ON: GALADRIEL glances at the pendant, and smiles. GALADRIEL (CONT’D) (in Elvish; subtitled) Namárië. Farewell. ANGLE ON: ARAGORN bows to her and turns to leave. GALADRIEL stops him. GALADRIEL (CONT’D) (in Elvish; subtitled) Nadath nâ i moe cerich. Dan ... ú-'eveditham, Elessar. There is much you have yet to do. We shall not meet again, Elessar. END FLASHBACK CLOSE ON: FRODO rides at the head of his boat. GALADRIEL (V.O.) Farewell, Frodo Baggins. INSERT FLASHBACK GALADRIEL gives FRODO a small CRYSTAL PHIAL. GALADRIEL (CONT’D) I give you the light of Eärendil, our most beloved star. (CONTINUED) 154. CONTINUED: (4) GALADRIEL leans over and kisses his head. END FLASHBACK As the FELLOWSHIP’S boats drift past, GALADRIEL stands alone, watching from the banks of the river. In his head, FRODO still hears her voice... GALADRIEL (V.O.) (CONT’D) May it be a light for you in dark places, when all other lights go out. CLOSE ON: GIMLI riding at the head of his boat, paddled by LEGOLAS. GIMLI I have taken my worst wound at this parting having looked my last upon that which is fairest. Henceforth I will call nothing fair unless it be her gift to me. LEGOLAS What was her gift? GIMLI I asked her for one hair from her golden head. She gave me three. CLOSE ON: LEGOLAS smiles.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. RIVER ANDUIN - DAY The boats pass into the GREAT RIVER ANDUIN. The THREE ELVEN boats carry the FELLOWSHIP steadily southward. GREEN TREES slowly give way to a brown and withered land.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. FOREST - DAY The URUK forces are running through the trees with deadly purpose.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. RIVER ANDUIN - DAY A flock of birds circle high above, BLACK against the PALE SKY. ARAGORN watches them with concern. 155.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. RIVER ANDUIN BANKS - NIGHT The THREE BOATS are safely stored on the bank out of the water. ANGLE ON: BOROMIR hides behind a rock watching the river. CLOSE ON: A LOG floats down the river. A HAND grasps the log and pulls itself onto it. Who or whatever it is seems to be trying to remain concealed from the eyes of the FELLOWSHIP. ANGLE ON: ARAGORN approaches from behind BOROMIR. ARAGORN Gollum. He has tracked us since Moria. GOLLUM’S POV: GOLLUM watches the BOROMIR and ARAGORN stand behind the ROCK. ANGLE ON: The log runs into a rock on the opposite side of the river and stops. ARAGORN (O.S.) I had hoped we would lose him on the river. ANGLE ON: ARAGORN and BOROMIR continue watching GOLLUM. ARAGORN (CONT’D) But he’s too clever a waterman. BOROMIR And if he alerts the enemy to our whereabouts, it will make the crossing even more dangerous. ANGLE ON: FRODO listens to the exchange between ARAGORN and BOROMIR. He looks worried. SAM (O.S.) Have some food, Mr. Frodo. FRODO No, Sam. SAM You haven’t eaten anything all day. You’re not sleeping, neither. Don’t think I haven’t noticed. (CONTINUED) 156. ANGLE ON: SAM moves from the campfire to sit with FRODO. SAM Mr. Frodo- FRODO I’m all right. SAM But you’re not. I’m here to help you. I promised Gandalf that I would. CLOSE ON: FRODO looks at SAM, sadly, with the full weight of the knowledge of what he must do. FRODO You can’t help me, Sam. Not this time. Get some sleep. FRODO turns away from SAM and returns to his own thoughts. Reluctantly, SAM concedes and leaves FRODO alone. ANGLE ON: BOROMIR turns away from the rock to ARAGORN. BOROMIR Minas Tirith is the safer road. You know that. From there we can regroup. Strike out for Mordor from a place of strength. ARAGORN There is no strength in Gondor that can avail us. BOROMIR You were quick enough to trust the Elves. ARAGORN doesn’t respond, but listens impatiently. BOROMIR (CONT’D) (desperately) Have you so little faith in your own people? Yes, there is weakness. There is frailty. But there is courage also, and honor to be found in Men. But you will not see that. ANGLE ON: ARAGORN turns away from BOROMIR. BOROMIR grabs ARAGORN’S tunic, and turns ARAGORN to him. (CONTINUED) 157. CONTINUED: (2) BOROMIR (CONT’D) You are afraid! ANGLE ON: FRODO listens intently to BOROMIR arguing with ARAGORN. BOROMIR (O.S.) (CONT’D) All your life, you have hidden in the shadows. ANGLE ON: ARAGORN calmly listens to BOROMIR’S ravings. BOROMIR (CONT’D) Scared of who you are, of what you are. ARAGORN adjusts his tunic and turns away from BOROMIR. BOROMIR is speechless. ARAGORN turns back to him. ARAGORN I will not lead the Ring within a hundred leagues of your city. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. RIVER ANDUIN - DAY ANGLE ON: BOROMIR, still feeling the defeat from the previous evening, paddles down the river along with the rest of the FELLOWSHIP. He glances scathingly towards ARAGORN. ANGLE ON: ARAGORN refuses to return his glance.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PILLARS OF THE KINGS, RIVER ANDUIN - DAY The THREE ELVEN boats drift slowly through the steep rocky gorge in the PRE-DAWN light. CLOSE ON: ARAGORN, slowly paddling in the stern. ARAGORN (quietly) Frodo. FRODO slowly looks up, his eyes widening with amazement. (CONTINUED) 158. CONTINUED: WIDE ON: TWO ENORMOUS ROCK STATUES, towering like 300 foot pinnacles on either side of the river ... carved images of GONDORIAN KINGS of old. They loom over the boats with power and majesty. ARAGORN (CONT’D) The Argonath... CLOSE ON: ARAGORN ... strangely moved by the beauty of the silent sentinels. He speaks, almost as if to himself. ARAGORN (CONT’D) Long have I desired to look upon the kings of old ... my kin. The FELLOWSHIP stare in stunned silence as the current takes them through the narrow gap at the STATUES’ feet. WIDE ON: CRANING UP past the statues vast crumbling heads, to REVEAL a LARGE LAKE only a mile down river...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SHORE OF NEN HITHOEL - DAY ANGLE ON: THE FELLOWSHIP as they leap out of the boats and clamber onto the wooded shore. ARAGORN We cross the lake at nightfall, hide the boats and continue on foot ... we approach Mordor from the North. GIMLI (gloomy) Oh, yes, just a simple matter of finding our way through Emyn Muil, an impassable labyrinth of razor-sharp rocks. And after that, it gets even better ... a festering, stinking marshland as far as the eye can see. ARAGORN That is our road. I suggest you take some rest and recover your strength, Master Dwarf. GIMLI (indignant) Recover my... (CONTINUED) 159. CONTINUED: ANGLE ON: LEGOLAS turns to ARAGORN with urgency. LEGOLAS We should leave now. ARAGORN No. Orcs patrol the eastern shore. We must wait for cover of darkness. LEGOLAS It is not the Eastern shore that worries me. LEGOLAS casts a glance around into the PARTH GALEN forest... LEGOLAS A shadow and a threat has been growing in my mind. Something draws near, I can feel it. ARAGORN looks at LEGOLAS, knowing full well what he means. ANGLE ON: SAM has slumped asleep. MERRY dumps a small pile of kindling at GIMLI’S feet.... MERRY Where’s Frodo? SAM sits up with a start ... ARAGORN’S head snaps around. His eyes fly to BOROMIR’S shield which lies abandoned by his camp bed. CLOSE ON: ARAGORN ... as he realizes BOROMIR has gone!",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SLOPES OF AMON HEN - DAY FRODO is walking beneath the trees ... lost in thought. His feet hit the rough edge of an ancient stone slab ... his eyes follow an overgrown path towards stone stairs leading to the SUMMIT OF AMON HEN ... the seeing seat. A CRACKLING SOUND! FRODO freezes... BOROMIR (quietly) None of us should wander alone; you least of all. So much depends on you ... Frodo? (CONTINUED) 160. CONTINUED: ANGLE ON: FRODO turns slowly ... he stares at BOROMIR, tense, cautious. BOROMIR I know why you seek solitude. You suffer, I see it day by day. Are you sure you do not suffer needlessly? FRODO stands silent for a moment ... the murmur of the WIND in the trees and the distant roar of the FALLS OF RAUROS can be heard. BOROMIR Let me help you. There are other ways, Frodo ... other paths that we might take. FRODO I know what you would say, and it would sound like wisdom but for the warning of my heart. BOROMIR Warning? Against what? BOROMIR has started forward towards FRODO. FRODO backs away from him. BOROMIR (CONT’D) We’re all afraid, Frodo. But to let that fear drive us to destroy what hope we have ... don't you see that is madness? FRODO There is no other way. BOROMIR I ask only for the strength to defend my people. (angrily drops the wood he has collected) If you would but lend me the Ring... FRODO No... FRODO steps hurriedly away from BOROMIR. (CONTINUED) 161. CONTINUED: (2) BOROMIR Why do you recoil? I am no thief. FRODO (wary) You are not yourself. BOROMIR What chance do you think you have? They will find you, they will take the Ring and you will beg for death before the end. FRODO turns to leave. BOROMIR (CONT’D) You fool! It is not yours, save by unhappy chance. It might have been mine! It should be mine! Give it to me! Give me the Ring. BOROMIR leaps on top of FRODO, grasping for the RING! FRODO has only moments to act. FRODO rips the RING from around his neck ... and rams it on his finger. FRODO DISAPPEARS. BOROMIR spins wildly around, yelling into thin air! BOROMIR I see your mind ... you will take the Ring to Sauron. You will betray us! You go to your death and the death of us all! Curse you! Curse you and all your Halflings! BOROMIR stumbles and falls. His body shakes as if in the THROES of a fit ... slowly, he comes to. BOROMIR (CONT’D) (disoriented) Frodo! Frodo! What have I done? Please, Frodo... 162.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SEEING SEAT - DAY IN THE TWILIGHT WORLD: FRODO races through the misty Twilight world, past the foggy shapes of twisted trees. Somewhere behind him, Boromir’s distraught voice carries, as if from another dimension. BOROMIR (O.S.) I’m sorry, Frodo ... Frodo... FRODO suddenly finds himself on the stone steps ... he clambers up the stairs, onto a high seat, perched on four stone pillars. FRODO cowers on the seat, like a lost child upon the throne of mountain kings. The world of mist swirls around him. FRODO peers out from the seat ... the world seems to shrink. In all directions, VIEWS of far off lands TELESCOPE towards him through the mist. IMAGES: ORCS spilling out of holes in the MISTY MOUNTAINS ... FLAMES rise from MIRKWOOD ... Grim faced EASTERLINGS march to war ... BLACK SHIPS sail to the South. All the power of the Dark Lord is in motion. FRODO moves his gaze to the East ... FIRE explodes against the smoke, as a huge mass of black battlements fills Frodo’s vision. A mountain of iron, immeasurably strong, tower of adamant: BARAD-DÛR, the fortress of SAURON. SUDDENLY! SAURON’S EYE LEAPS TOWARD FRODO LIKE A FINGER OF LIGHT. SAURON (V.O.) (IN BLACK SPEECH) They will fall! ANGLE ON: FRODO leaps off the seat, and tumbles down the stairs! The EYE sweeps AMON HEN like a searchlight, seeking its RING! With a huge effort, FRODO wrenches the RING off his finger...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SUMMIT OF AMON HEN - DAY FRODO lies gasping on the SUMMIT OF AMON HEN ... below the ancient ruins of the seeing seat. AT THAT MOMENT: A BLACK BOOT STEPS INTO SHOT! FRODO looks up as ARAGORN towers over him. ARAGORN Frodo? (CONTINUED) 163. CONTINUED: FRODO (numb) It has taken Boromir. ARAGORN moves towards FRODO... ARAGORN (urgent) Where is the Ring? FRODO backs away from ARAGORN ... ARAGORN is shocked by the movement. FRODO Stay away! ARAGORN Frodo ... I swore to protect you. FRODO Can you protect me from yourself? CLOSE ON: FRODO uncurls his fist ... in his palm lies the RING! It glints, gold and beautiful in the afternoon sun ... ARAGORN’S eyes are drawn to it. FRODO (CONT’D) Would you destroy it? THE RING Aragorn. Aragorn. Elessar. ARAGORN (kneeling to Frodo) I would have gone with you to the end ... into the very fires of Mordor. FRODO I know. Look after the others, especially Sam ... he will not understand. ARAGORN FREEZES! He draws his sword. ARAGORN (urgent) Go, Frodo! FRODO hesitates. (CONTINUED) 164. CONTINUED: (2) ARAGORN (yells) Run. Run! FRODO backs away into the trees... ANGLE ON: ...as 200 URUK-HAI SWARM onto AMON HEN behind ARAGORN! ARAGORN attacks the leading URUK-HAI like a madman ... he brings two down with his sword leaping into the ruins as others close in on him. ANGLE ON: FRODO scrambles down the HILLSIDE, away from the fight. ANGLE ON: ARAGORN battles the URUK-HAI, amongst the pillars and blocks of AMON HEN. Despite his bravery, he is quickly surrounded. SUDDENLY: ELVEN ARROWS smash into the URUK-HAI. LEGOLAS races out of the woods, firing his bow. GIMLI leaps into the battle, wielding his mighty axe.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PARTH GALEN HILLSIDE - DAY FRODO is darting down the steep hillside as heavy feet thunder down after him. SAM Mr. Frodo! ANGLE ON: SAM looks around for FRODO. CLOSE ON: LURTZ ordering his URUKS. LURTZ Find the Halflings ... find the Halflings! ANGLE ON: FRODO stumbles and falls ... quickly he crawls behind a tree ... above him the sound of URUK-HAI crashing through the forest rings out. MERRY (O.S.) (urgent whisper) Frodo! FRODO turns to see MERRY and PIPPIN hiding in a hollow, a few feet away. (CONTINUED) 165. CONTINUED: MERRY (CONT’D) Hide here, quick! PIPPIN Come on! ANGLE ON: FRODO looks at his friends ... slowly shakes his head, a great sadness in his eyes. PIPPIN (CONT’D) What's he doing? ANGLE ON: MERRY’S eyes meets FRODO’S. Understanding. MERRY (softly) He's leaving. PIPPIN No! PIPPIN stands and makes a move toward FRODO .. MERRY grabs at his arm. MERRY Pippin! ANGLE ON: MERRY and PIPPIN look up the slope where a cry has rings out. THEY HAVE BEEN SEEN! MERRY (to Frodo) Run, Frodo. Go on! MERRY waves his arms at the approaching ORCS. MERRY Hey, hey you! Over here! PIPPIN Hey! MERRY Over here! PIPPIN This way! (CONTINUED) 166. CONTINUED: (2) MERRY and PIPPIN run, leading a pack of ORCS. ANGLE ON: FRODO runs to the lake. ANGLE ON: MERRY and PIPPIN, still running from the ORCS PIPPIN It's working! MERRY I know it's working! Run! MERRY and PIPPIN stop ... more URUK-HAI approach from the other direction ... THEY ARE TRAPPED. SUDDENLY! BOROMIR charges up the hillside and blocks the stroke of the leading URUK-HAI. ANGLE ON: THE ECHO OF BOROMIR’S HORN reaches ARAGORN, LEGOLAS, and GIMLI ... they are battling their way down the SLOPES towards the lake. LEGOLAS The horn of Gondor! ARAGORN Boromir! ARAGORN desperately slashes his way towards BOROMIR, felling URUK-HAI in his path ... while LEGOLAS and GIMLI fight a REAR GUARD ACTION. ANGLE ON: Many URUK-HAI fall to BOROMIR’S sword as he tries to protect MERRY and PIPPIN... BOROMIR Run! Run! ANGLE ON: LURTZ takes aim. ANGLE ON: A BLACK ARROW suddenly THUDS into BOROMIR’S chest. Amazingly, BOROMIR continues fighting, but another arrow ... and another, brings him to his knees. ANGLE ON: MERRY and PIPPIN are scooped off their feet by URUK-HAI. (CONTINUED) 167. CONTINUED: (3) MERRY & PIPPIN Aaaaagh! Boromir! Boromir! ANGLE ON: LURTZ aims his bow at BOROMIR’S heart ... suddenly ARAGORN charges at him, smashing the BOW with his sword. They lock into a deadly battle. ANGLE ON: ARAGORN cuts LURTZ down and races towards BOROMIR, who lies slumped against a tree ... URUK-HAI arrows sticking out of his chest. At least 20 dead URUK-HAI lie heaped around BOROMIR. His horn lies at his feet ... CLOVEN in two. BOROMIR (painful gasp) They took the little ones... ARAGORN quickly tries to staunch the flow of BLOOD from BOROMIR’S shoulder. BOROMIR (CONT’D) (panicked) Frodo ... where is Frodo? ARAGORN I let Frodo go. BOROMIR holds Aragorn’s gaze. BOROMIR Then you did what I could not. I tried to take the Ring from him. ARAGORN The Ring is beyond our reach now. BOROMIR Forgive me. I did not see ... I have failed you all. ARAGORN No, Boromir. You fought bravely. You have kept your honor. ARAGORN tries to bind BOROMIR’S wound. (CONTINUED) 168. CONTINUED: (4) BOROMIR Leave it! It is over ... the world of Men will fall and all will come to darkness and my city to ruin ... Aragorn... ARAGORN I do not know what strength is in my blood, but I swear to you ... I will not let the White City fall, nor your people fail... BOROMIR Our people ... our people... ARAGORN places BOROMIR’S sword in his hand. BOROMIR’S fingers tighten around the hilt. BOROMIR (CONT’D) I would have followed you, my brother ... my captain, my king. ARAGORN lays BOROMIR down. He is dead. ARAGORN Be at peace, son of Gondor. ARAGORN bends and KISSES BOROMIR’S forehead. LEGOLAS and GIMLI appear behind him ... ARAGORN stands. ARAGORN (CONT’D) They will look for his coming from the White Tower ... but he will not return.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SHORE OF NEN HITHOEL - DAY On the lakeshore, FRODO stands in front of one of the ELVISH boats, the RING in his palm. ANGLE ON: A distraught SAM ... running as hard as he can through the forest... SAM Mr. Frodo! (CONTINUED) 169. CONTINUED: CLOSE ON: FRODO looks to the far side of the river ... the CAMERA moves in on the RING. FRODO (V.O.) I wish the Ring had never come to me. I wish none of this had happened... Tears fall down FRODO’S face... GANDALF (V.O.) So do all who live to see such times... but that is not for them to decide. All we have to decide is what to do with the time that is given us. With renewed determination, FRODO tucks the RING inside his vest pocket. ANGLE ON: The small figure of FRODO pushing the ELVISH boat into the water... ANGLE ON: SAM bursts through the trees and runs toward the lake ... FRODO is already paddling away. SAM (anguished) Not alone, Frodo. Mr. Frodo! ANGLE ON: FRODO, in the boat, paddling steadfastly away from the shore ... tears in his eyes ... the voice of SAM carried on the wind. FRODO whispers to himself. FRODO No, Sam. ANGLE ON: SAM looks at the water ... then at the boat. SPLASH! FRODO turns to see SAM launching himself into the water. FRODO Go back, Sam! I'm going to Mordor alone. ANGLE ON: SAM splashes hopelessly toward the boat. SAM Of course you are ... and I'm coming with you! (CONTINUED) 170. CONTINUED: (2) FRODO You can't swim. SAM starts to go under, spluttering and coughing... ANGLE ON: FRODO drops his paddle and scramble backwards in the boat... FRODO (CONT’D) (frightened) Sam! ANGLE ON: SAM is underwater ... hands flailing helplessly as he sinks. CLOSE ON: FRODO’S hand grasping SAM’S... ANGLE ON: FRODO pulls a bedraggled and half-drowned SAM into the boat. FRODO and SAM look at each other, out of breath, tears and water streaming down both their faces. SAM I made a promise, Mr. Frodo ... a promise. (fierce passion) “Don't you leave him, Samwise Gamgee.” (sobs) And I don't mean to ... I don't mean to. FRODO (crying) Oh, Sam! FRODO starts to laugh through his tears ... the two friends hug. FRODO (CONT’D) Come on then... The two HOBBITS row through the water...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FALLS OF RAUROS AERIAL - DAY SLOW MOTION: Looking down on swiftly flowing water ... BOROMIR’S body slides under CAMERA. He is lying in one of the boats, his arms across his chest ... his broken horn at his side. (CONTINUED) 171. CONTINUED: SUDDENLY... the boat drops away from CAMERA ... as it plunges over the massive FALLS OF RAUROS, disappearing into the vapor below.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SHORE OF NEN HITHOEL - DAY ANGLE ON: LEGOLAS pushes the last boat into the water. LEGOLAS If we are quick, we will catch Frodo and Sam before nightfall. ARAGORN looks toward the far shore: FRODO and SAM’S small boat can be seen lying on the distant RIVERBANK as FRODO and SAM make off into the forest beyond. He doesn’t react. ANGLE ON: LEGOLAS turns and looks at ARAGORN. LEGOLAS (CONT’D) You mean not to follow them... ARAGORN Frodo's fate is no longer in our hands. GIMLI Then it has all been in vain ... the Fellowship has failed. ARAGORN Not if we hold true to each other. We will not abandon Merry and Pippin to torment and death, not while we have strength left. ARAGORN pulls a HUNTING KNIFE out of his pack and straps it on. ARAGORN Leave all that can be spared behind. CLOSE ON: ARAGORN ... a steely light in his eye. ARAGORN (CONT’D) (grimly) We travel light. Let’s hunt some Orc. GIMLI Yes! Ha! (CONTINUED) 172. CONTINUED: ARAGORN, LEGOLAS, and GIMLI disappear into the WOODS, following the URUK-HAI trail.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. EMYN MUIL HILLTOP - DAY FRODO and SAM scramble onto a high ridge. WIDE ON: A distant line of SAW TOOTHED mountains below a dark, oppressive sky. Black volcanic smoke rises behind the mountains ... MORDOR! ANGLE ON: FRODO and SAM look with grim determination. FRODO Mordor! I hope the others find a safer road. SAM (simply) Strider’ll look after them. FRODO I don't suppose we'll ever see them again. SAM We may yet, Mr. Frodo. We may. FRODO Sam? FRODO looks at SAM with great affection ... despite the grim outlook, SAM is undeterred... FRODO (CONT’D) I'm glad you're with me. WIDE ON: THE TWO HOBBITS SETTING OFF TOWARD MORDOR. TO BE CONTINUED...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PAROLE BOARD HEARING ROOM - WIDER VIEW - MORNING2Three PAROLE BOARD MEMBERS sit opposite Danny, behind atable.BOARD MEMBER #2Mr. Ocean, what we're trying tofind out is: was there a reasonyou chose to commit this crime, orwas there a reason why you simplygot caught this time?DANNYMy wife left me. I was upset. Igot into a self-destructivepattern.(CONTINUED) OCEAN'S 11 - Rev. 1/8/012.2CONTINUED:2BOARD MEMBER #3If released, is it likely youwould fall back into a similarpattern?DANNYShe already left me once. I don'tthink she'll do it again just forkicks.Glances dart between the Board Members.BOARD MEMBER #1Mr. Ocean, what do you think youwould do if released?Danny considers.DANNY(deadpan)I don't know. How much do youguys make a year?3",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MINIMUM-SECURITY PRISON - CHECK-OUT STATION - DAY3GUARD #2Ocean, Daniel.Danny steps forth, and GUARD #1 doles out his possessionsand a form certifying their return to Danny.GUARD #2Sign.(adding a piece of mail to the pile)This came today for you. Rest'llbe forwarded to your paroleofficer.GUARD #1(reading its return address over Danny's shoulder)Those your lawyers?DANNYMy wife's.He opens the letter, and as his eyes gaze over the paperswithin, he smirks just a little.GUARD #1What's it say?(CONTINUED) OCEAN'S 11 - Rev. 1/8/013.3CONTINUED:3DANNYI'm a free man.4",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. CHANGING CUBICLE4Danny pulls on civilian clothes and there's not a barethread among them. He tugs his cuffs and smiles: Theold skin feels good. One last item to don: a silverwedding band. Danny considers it. Will he put it on?5,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MINIMUM-SECURITY PRISON - FRONT GATE - AFTERNOON5A sign reads: ""NEW JERSEY STATE MINIMUM-SECURITYCORRECTIONAL FACILITY."" Someone has graffitied below it:""If you were in prison, you'd be home now.""The great metal door opens, and Danny stands within itsframe, ready for release. (If it matters -- and if younotice -- he's wearing his wedding ring.)He hovers there for a moment, on the precipice offreedom. The WIND WHISTLES a little on the other side ofthe gate, and the view ahead is not pleasant (NewJersey): Life is hard out there.But Danny musters his courage, then takes his first stepinto free America...A6",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. ATLANTIC CITY BOARDWALK - DUSKA6Any empty wintery boardwalk.6,SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CASINO (ATLANTIC CITY) - NIGHT6... And his wingtip lands squarely on plush redcarpeting.As we PULL UP TO Danny's face and SPIN AROUND him, wehear, then see the BUZZ of a CASINO floor: the HUM ofCONVERSATION, the DING-DING-DING and THUNK-THUNK-THUNKfrom the SLOTS, the brisk WHIR of SHUFFLED CARDS.And to Danny, it's a hearth and fire and a comfy chairand a snifter of brandy. He's home.ON DANNY'S WALLETAs he pulls out several crisp one hundreds, sets them ongreen felt, then sees them replaced by a neat pile ofchips. 4.7AT BLACKJACK TABLE7Danny cranes his neck about the casino, looking forsomeone -- a friend, somebody who should be here -- butwithout success. He turns his attention back to hiscards, and the cards of the dealer.Nine-ten. Stay. Dealer -- seventeen. Danny wins.King-four. Dealer shows a six. Stick. Dealer busts.Queen-ace. Twenty-one. Danny wins again.A second dealer relieves the first, and Danny recognizeshim with a smile -- this wasn't the friend he wasscouting for, but two hours out of the joint any familiarface is welcome.DANNYHello, Frank.The new dealer (FRANK CATTON) glances up at Danny, andhis eyes go wide, like a priest who's discovered he'sdealing communion wafers to the pontiff himself. Hequickly hides his astonishment.FRANKI beg your pardon, sir. You musthave me confused with someoneelse. My name is Ramon. See?He taps the name embroidered on his vest, although he isthe most African-looking Ramon you've ever seen. A pitboss circles close by and glares at them both.DANNYMy mistake...(collecting his chips, doubled)Table's cold anyway.FRANKYou might try the lounge at theGrand, sir. It gets busy aroundone.DANNY(as he goes)Thanks.8",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LOUNGE AT GRAND8Danny checks his watch -- 12:58 -- then the lounge aroundhim: prison had more nightlife. He nurses a bourbon,folds back the New York Times and scans.(CONTINUED) OCEAN'S 11 - Rev. 10/24/005.8CONTINUED:8His eyes move down the page and stop at a header --""Vegas' Paradiso to be Razed; Former Owner DenouncesPlans"" -- accompanied by two photographs...The first: Tan, well-coiffed developer and new owner ofthe Paradiso, Terry Benedict, with a beautiful (if barelyvisible) woman on his arm. The second: scowling formerowner, Reuben Tishkoff.FRANK (O.S.)Catching up on current events?Danny lowers the paper; Frank is sitting across from him,changed out of his dealer's threads.DANNYRamon?FRANKGlad to meet you. Frank Cattonwouldn't get by the gaming board.(beat)You just out?DANNYThis afternoon.FRANK(re: Danny's drink and whereabouts)And already turning over a newleaf.Frank signals a passing waitress; she ignores him.DANNY(directly, this is why he's here)You seen him?FRANKLast I heard he was in L.A.Teaching movie stars how toplay cards.(beat)Why? You don't have something planned already?DANNYYou kidding? I just became acitizen again.Frank stares at Danny a moment, finally catches his eye,and Danny can't help but grin: of course he has.(CONTINUED) OCEAN'S 11 - Rev. 1/8/016.8CONTINUED: (2)8Frank turns his eyes to heaven...FRANKJesus...9",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SUB SHOP - NIGHT9MOVING WITH Danny and Frank.FRANKIt's tough now, our line of work.Everybody so serious. Too manyguns, too many computers. Whaddayou gonna do? Steal from ordinarypeople?DANNYThat would be criminal.FRANKSo what's left? Banks? Hah.Banks got no money. It's allelectronic. Only place that stilltakes cash is...DANNYCasinos.FRANK(realizing)Oh, no...DANNYOh, yes...FRANKWhen?DANNYSoon. Interested?Frank smiles. Danny has his answer.10",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SUB SHOP - FOYER - NIGHT10Danny pulls a business card from his jacket, picks up thephone again, and dials the card's number.(CONTINUED) OCEAN'S 11 - Rev. 5/31/017.10CONTINUED:10DANNYYes, Officer Brooks? My name isDanny Ocean. I'm just out, I'msupposed to check in with youwithin twenty-four hours.(listens)No, sir, I haven't gotten intoany trouble. No drinking, no sir.(listens, finishes his bourbon)No, sir, I wouldn't even think ofleaving the state.OFF the sound of a JET fly-over we...CUT TO:A11",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HOLLYWOOD CLUB (DEEP) - REAR ENTRANCE - NIGHTA11PULLING OFF the Capitol Building, we PICK UP Rusty(tall, angular, ebony) leaning against his Ford Falcon.TOPHER (O.S.)Hey! Hey, Rusty!Rusty turns to the voice and --CUT TO:ANOTHER ANGLEMOVING WITH him and Topher Grace, the actor, as they pushdown a back alley.TOPHERHey, I don't know if you're, uh,you know, incorporated or anything,like Rusty Ryan. And, I don't know,incorporated, but you should thinkabout it, really, 'cause I wastalking to my manager yesterday --RUSTYBernie?(CONTINUED) OCEAN'S 11 - Rev. 5/31/018.A11CONTINUED:A11TOPHERNo, not Bernie, I mean not, notthat Bernie, my business manager,he's also Bernie, he was tellingme that since this, what we do,could be considered research for,you know, a future gig, that Ishould be able to write it off asa business expense. So he suggestedthat it'd be better if I wrote youa check, and thereby --Rusty looks at him: are you stoned?TOPHEROr, or we could keep it cash.By this time, they should have entered --11OMITTED11A12",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOLLYWOOD CLUB (DEEP) - NIGHTA12-- where they must weave through hordes of youngHollywood nightclubbers.RUSTYAlright. Who's here?TOPHERJosh is here. Seth is here.David couldn't make it. He's gottwo weeks of reshoots on Lusitaniabecause somebody just figured outforty percent of the budget iscoming from Germany.RUSTYThat's a problem.TOPHERBarry is here.RUSTYI thought they let him out to dothat H.B.O. thing in Vancouver.TOPHERCouldn't work the dates. Oh, andhe brought his girlfriend.(CONTINUED) OCEAN'S 11 - Rev. 5/31/019.A12CONTINUED:A12RUSTYNot the one from --TOPHERUh-huh.RUSTY(beat)I quit watching when Kate left Donafter his accident.They pass on, and into --12OMITTED12A13",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BACK ROOM - NIGHTA13Small but stylish. Rusty enters, Topher in tow.RUSTYGood evening, guys. Let's playsome cards...A glance at the table reveals: the three waiting playersare all young TV stars (Josh Jackson, Seth Green, BarryWatson) here for a group poker lesson with Rusty. (Onestar, indeed, has brought his girlfriend, Katie, alsoa known actress, to observe.)A glance back at Rusty reveals: he's in for a longnight.RUSTY... and let's play some cards.AT TABLE - LATERThe group lesson has begun.TOPHERA hundred bucks to me...(mulling it over)Ah, what the hell. Pocketchange. Call.Rusty leans into Topher's ear, whispering:(CONTINUED) OCEAN'S 11 - Rev. 5/31/0110.A13CONTINUED:A13RUSTYWhy you bet a certain way is yourbusiness. But you have to makethem think you're betting for areason. Understand?SAME SCENE - LATERTo another player:RUSTYSeth. You know what you have.Looking at them doesn't changethem. Leave 'em where they areand make your bet.SAME SCENE - LATERTo another player:RUSTYYou're showing. Yeah, I know she'syour girlfriend, Barry, but youcan't... Thank you.SAME SCENE - LATERTo another:RUSTYJosh. Deal to your left.SAME SCENE - LATERA WAITRESS enters from the club, and DANCE MUSIC withher. As she distributes a fresh round:WAITRESSOne McCallum neat. And fourbottled waters.Rusty takes in the sight -- bottled fucking water on apoker table.SETH(triumphantly)Two pair -- nines and twos.Rusty checks his hand: a full-house full of face cards.(CONTINUED) OCEAN'S 11 - Rev. 5/31/0111.A13CONTINUED: (2)A13RUSTY(folding)You got me.(as Seth rakes in his winnings)Let's take a little break.13OMITTED13A14",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOLLYWOOD CLUB (DEEP) - NIGHTA14At the bar, Rusty orders a double. He needs it.BARTENDER(shouting over music)How's the game going?!!RUSTYIt's been the longest hour ofmy life.BARTENDERWhat?!RUSTY(at the same volume)I'm running away with your wife.The Bartender, not able to hear him, smiles and flashesa thumbs-up before moving away.BARTENDERCool, man!Behind the bar two go-go dancers writhe behind red-light-district windows, and Rusty catches his own fatiguedexpression in their reflection. Then, out the cornerof his eye, he catches sight of a man passing throughthe pulsating crowd. Someone familiar to him. Hefollows.14OMITTED14A15",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOLLYWOOD CLUB (DEEP) - BACK ROOMA15Rusty returns.TOPHERHey, Rusty, we got another player,if that's alright.(CONTINUED) OCEAN'S 11 - Rev. 5/31/0112.A15CONTINUED:A15Topher indicates the new arrival: Danny. Rusty looksas if there's a bad smell in the room.RUSTYWhat's this?DANNYThe bouncer mentioned there wasa game in progress. I hope I'mnot intruding.TOPHERNo intrusion at all --RUSTYWhat was his name, the bouncer's?DANNYI don't remember.RUSTYA card player with amnesia. Thisshould be fun.AT TABLE - MOMENTS LATERRusty deals the next hand.TOPHERWhat do you do for a living,Mr. Ocean? If you don't mindmy asking.DANNYWhy should I mind? Two cards,please...(long beat)I just got out of prison.TOPHERReally?(a glance among the other players)Really...RUSTY(half to divert attention)Barry, you're showing again.BARRY (O.S.)Sorry.(CONTINUED) OCEAN'S 11 - Rev. 5/31/0112A.A15CONTINUED: (2)A15JOSHWhat'd you, uh, go to prison for?DANNYI stole things.JOSHWhat, like jewels? Diamonds?A beat, then:RUSTYIncan matrimonial headmasks.Looks are exchanged. Everyone digests that.JOSHFrom a museum?DANNYGallery.SETHThere a lot of money in those?Incan matrimonial...DANNYHeadmasks. Some.RUSTYDon't let him fool you, Seth.There's boatloads. If you canmove the things...(finishing his deal)One card to me.(to Danny, pointedly)... but you can't.DANNYMy fence seemed confident enough.RUSTYIf you're dealing with cash, youdon't need a fence.DANNYSome people just lack vision.RUSTYProbably everybody in cell block E.(CONTINUED) OCEAN'S 11 - Rev. 5/31/0112B.A15CONTINUED: (3)A15Now the other players realize. These guys have arelationship. In fact, a criminal one. And, judgingfrom their steely glares across the table, not a happyone.DANNYWell, that's all behind us now.RUSTYI should hope so.Danny smiles, icily -- of course, it's not -- then pullsout his wallet.DANNYI raise you five hundred dollars.A hush in the room. Danny has thrown down the gauntlet.He and Rusty hold each other's stares.RUSTYGuys: Day One: what's the firstrule of poker?BARRYUm, never bet on, uh, ona --TOPHER'Leave emotion at thedoor.'RUSTYThat's right. My friend here justraised me out of pique.(beat)Today's lesson. How to draw outa bluff. This early in the game,that much money, I'm thinking he'sholding nothing better than a pairof face cards.(beat)Seth, raise him.SETHOkay. Uh, your five hundred and...another two?Rusty nods, and Seth pushes in his chips.RUSTYTophe...TOPHERSeven to me. Plus three. Whatthe hell.(CONTINUED) OCEAN'S 11 - Rev. 5/31/0112C.A15CONTINUED: (4)A15RUSTYIndeed. But be careful you don'tpush him too high too fast. Wantto keep him on the leash. I call.It's Josh's turn. He hesitates...JOSHWhat's that to me? A thousand?RUSTYAll you have to do is call.DANNY(off Josh's further hesitation)What? Your girlfriend holdingyour purse?That does it. Josh is in. The bet's to Danny. He checks his hand, and Seth starts to whisper to Topher.DANNYContrary to what Mr. Ryan may say,Seth, I always check my cardsbefore I make a bet. But becafeful. I could tell from yourface you're holding three of akind or better.(digging his wallet out)Five hundred to call. And twogrand more.Danny stares Rusty down. The others look a little pale.RUSTYGuys, you're free to do what youlike. It's a lot of money. ButI'm staying in. He's trying tobuy his way out of his bluff.Nobody looks too eager to call, but nobody wants toleave a grand on the table, either. Finally, Sethponies up, and the others -- not be outdone -- do, too.RUSTYWe call.Danny sets down his hand. Four nines. It's a winner.The others, jaws dropped, throw in their cards. For thefirst time tonight, Rusty blanches.(CONTINUED) OCEAN'S 11 - Rev. 5/31/0112D.A15CONTINUED: (5)A15RUSTYShit. Sorry, guys. I -- I wassure he was bluffing.As Rusty plummets in the estimation of all the guysaround him, Danny rakes in his pot.DANNYThanks for the game, fellas.(then)Hey, I hate to ask this, butcould you sign something for me?It's for the guys in the jo",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",int.They just love all your shows.15OMITTED15A16,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HOLLYWOOD CLUB (DEEP) - NIGHTA16A queue of clubgoers erupt in a frenzy as Topher andcompany exit, and they begin signing autographs. Dannyand Rusty exit, too, but of course nobody gives a shitabout them.16",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RUSTY'S FALCON - MOVING - NIGHT16Danny and Rusty ride silently, staring out oppositewindows at Sunset Boulevard.RUSTYThat was, that was just...DANNYUnprofessional.Rusty agrees.RUSTYHow was the clink? You get thecookies I sent you?DANNYWhy do you think I came to see youfirst?Danny pulls out a wad of bills from his jacket, peels offhalf, and hands it to Rusty.DANNYTen grand. Half of it's yours.(CONTINUED) OCEAN'S 11 - Rev. 5/31/0112E.16CONTINUED:16RUSTYYou barge into my new workplace,ruin my professional reputation,least you could do is tell meyou've got something better forme.DANNYI've got something better foryou.17",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CANTER'S DELI - NIGHT17They're sitting in a booth over coffee.RUSTYHow's Tess?Danny stares at him: next subject, please.RUSTYAlright. Tell me.DANNYIt's tricky. No one's ever doneit before. Needs planning, alarge crew.RUSTYGuns?DANNYNot loaded ones. It has to bevery precise. There's a lot ofsecurity. But the take...RUSTYWhat's the target?DANNYEight figures each.RUSTYWhat's. The. Target.(CONTINUED) 13.17CONTINUED:17DANNY(deep breath, then)When's the last time you were inVegas?RUSTYWhat? You wanna knock over acasino?Danny puts down his coffee. And shakes his head. Andlifts three fingers: three casinos. Rusty must put downhis coffee, too.18",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DOWNTOWN L.A. - NIGHT18It's after hours downtown. Dark, empty, dead...19",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LIBRARY TOWER - 40TH FLOOR CORRIDOR - NIGHT19Lights out on the 40th. Engraved brass announces: J.A.KUEHN & ASSOCIATES, ARCHITECTS.Two flashlight beams strafe wood-paneled, elegantoffices: Danny and Rusty on late-night reconnaissance.As Danny prowls a cabinet full of blueprints, Rustypasses the time switching papers from a desk's in box toits out box.At last, Danny finds the right set of blueprints anddrapes it across the desk; we, however, never see it.DANNYThe vault at the Bellagio.A beat as Rusty scans the document, then anotherunderneath it.RUSTYIf I'm reading these right -- andI think that I am -- this isprobably the least accessiblevault ever designed.(beat)Oops. Actually, you know what,I'm wrong. It's definitely theleast accessible vault everdesigned.DANNYYep.Rusty's brow furrows just a little.(CONTINUED) OCEAN'S 11 - Rev. 1/8/0114.19CONTINUED:19RUSTYYou said three casinos...DANNY(flips to next blueprint)These feed into the cages at boththe Mirage and the M.G.M. Grand.(tapping vault)But every dime ends up here.RUSTYThe Bellagio, Mirage, and... Theseare Terry Benedict's places.DANNYYes, they are. Think he'll mind?RUSTYMore than somewhat.20AT 40TH FLOOR ELEVATOR BAY20No ding. The elevator just arrives. Its doors part toreveal a SECURITY GUARD within, here to make his tour; alarge fellow, he has to duck to exit.21BACK WITH DANNY AND RUSTY21As Danny rolls up the set of blueprints, Rusty considersthe plan (which, in our absence, Danny has pitched him).RUSTYYou'd need at least a dozen guys,doing a combination of cons.DANNYLike what, you think?RUSTYWell, off the top of my head, I'dsay you're looking at a Boesky, aJim Brown, a Miss Daisy, twoJethros, and a Leon Spinks. Oh,and the biggest Ella Fitzgeraldever.(beat)Where do you think you're gonna getthe money to back this?(CONTINUED) OCEAN'S 11 - Rev. 1/8/0115.21CONTINUED:21DANNYAs long as we're hitting thesethree casinos, we'll get ourbankroll. Terry Benedict has alist of enemies.RUSTYBut does he have enemies withloose cash and nothing to lose...(smiles, realizing)Aha.DANNY(smiles, too)Aha.RUSTYReuben.22MOVING WITH SECURITY GUARD22as he approaches Danny's and Rusty's voices...23BACK WITH DANNY AND RUSTY23DANNYSo...RUSTYSo, here's what I think: Youshould take this plan, kick itaround for a week or two. Sleepon it. Turn it over in your head.Then: never bring it up to meagain.DANNYUh-huh. So what are you saying?RUSTYI'm saying: this is like tryingto build a house of cards on thedeck of a speeding boat.DANNYReally? I thought it was muchharder than that --Suddenly the Security Guard's flashlight beam hits themsquare in the eyes. Danny and Rusty put their hands upto block the light.DANNYJesus, Oscar, lower it a little,will ya?(CONTINUED) OCEAN'S 11 - Rev. 10/24/0016.23CONTINUED:23SECURITY GUARDSorry.(lowers beam)You two done up here? Find whatyou wanted?DANNYYeah, thanks. You mind if weborrow a couple drawings for thenight? Make some copies.SECURITY GUARDWhatever you need.Danny withdraws his money clip, peels off a couplehundreds, and buries them in the Security Guard's hand.DANNY'Preciate it.24AT 40TH FLOOR ELEVATOR BAY24Danny and Rusty wait for an elevator. When its doorsopen, Rusty stops Danny from boarding.RUSTYI need a reason. And don't saymoney.(beat)Why do this?DANNYWhy not do it?Rusty stares at him: enough bullshitting around.DANNYBecause yesterday I walked out ofthe joint wearing my entirewardrobe and you're colddeckingTeenBeat coverboys.(beat)Because the house always wins.You play long enough, neverchanging stakes, the house takesyou. Unless, when that specialhand comes around, you bet big.And then you take the house.A beat. Rusty smiles.(CONTINUED) 17.24CONTINUED:24RUSTYYou're been practicing thatspeech, haven't you?DANNYA little. Did I rush it? It feltlike I rushed it.RUSTYNo, it was good.They step aboard the elevator. As the door closes:RUSTYI wonder what Reuben will say?Danny and Rusty look at each other. TISHKOFF (V.O.)You're out of your goddamn minds.25",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. TISHKOFF'S OPULENT BACK YARD (LAS VEGAS) - DAY25REUBEN TISHKOFF, the grimace of a man in mid-movement,forever cemented on his face, scrutinizes his two lunchguests (Danny and Rusty) at his poolside.TISHKOFFAre you listening to me? You are,both of you, nuts. I know moreabout casino security than any manalive. I invented it, and itcannot be beaten. They gotcameras, they got watchers, theygot locks, they got timers, theygot vaults. They got enough armedpersonnel to occupy Paris. Okay,bad example...DANNYIt's never been tried.TISHKOFFOh, it's been tried. A few guyseven came close. You know thethree most successful robberies inVegas history?26FLASHBACK -",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. SANDS CASINO FLOOR (1965)26An Adlai Stevenson-lookalike approaches a lockbox carrierfrom behind and snatches the box.(CONTINUED) 18.26CONTINUED:26He takes almost three steps before five security men leapat him and -- FREEZE FRAME on his wide-eyed expression ofhorror...TISHKOFF (V.O.)Number three. The bronze medal.Pencilneck grabs a lockbox at theSands. He got two steps closer tothe door than any living soulbefore him.RESUME ACTION: Adlai Stevenson gets a taste of what NFLquarterbacks experience every Sunday... five fold.27,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FLAMINGO CASINO FLOOR (1971)27A hippie races toward the electronic sliding doors,clutching a tray full of chips, and as the doors begin topart for him -- FREEZE FRAME: A billy club appears outof nowhere...TISHKOFF (V.O.)Second most successful robbery.The Flamingo '71. This guyactually smelled fresh oxygenbefore they got him.RESUME ACTION: The billy club comes down -- whap! --across the hippie's skull and it's Chicago '68 all overagain.TISHKOFF (V.O.)Course, he was breathing out of ahose the next three weeks, goddamnhippie.28",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. REUBEN TISHKOFF'S BACK YARD - DAY (PRESENT)28TISHKOFFAnd the closest any man has gottento robbing a Las Vegas casino...29FLASHBACK -,FLASHBACK +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CAESAR'S PALACE ENTRANCE (1987)29Tourists and valets scatter as a Euro-thief (pastelT-shirt beneath a white linen suit) bursts from thecasino and takes five steps before -- FREEZE FRAME:GLASS EXPLODES from three different doors behind him andhe arches his back in agony...(CONTINUED) 19.29CONTINUED:29TISHKOFFOutside of Caesar's in '87. Hecame, he grabbed, he gotconquered.RESUME ACTION: BULLETS rip the man to shreds and hecollapses on Caesar's steps a bloody pulp.30",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. REUBEN TISHKOFF'S BACK YARD - DAY (PRESENT)30TISHKOFFBut what am I saying? You guysare pros, the best. I'm sure youcan make it out of the casino. Ofcourse, lest we forget, onceyou're out the front door, you'restill in the middle of the fuckingdesert!Both Danny and Rusty look chastened.RUSTYYou're right.(to Danny)He's right.DANNYReuben, you're right. Our eyesare bigger than our stomachs.RUSTYThat's exactly it. Pure ego.TISHKOFFYeah yeah blah blah.DANNYThank you so much for setting usstraight. Sorry we bothered you.They both rise to go.TISHKOFFLook, we all go way back. I oweyou from that thing with the guyin the place, and I'll neverforget it.DANNYIt was our pleasure.RUSTYI'd never been to Belize.(CONTINUED) 20.30CONTINUED:30TISHKOFFGive Dominic your addresses, I gotsome remaindered furniture I wannasend you.Danny and Rusty begin to circle the pool to leave.Tishkoff, of course, won't let them go that easily.TISHKOFFJust out of curiosity, whichcasinos did you geniuses pick torob?Danny stops, almost as if he's been waiting for thisquestion, which of course he has.DANNYThe Bellagio, Mirage, and theM.G.M. Grand.TISHKOFF(nostrils flared, smelling a rat)Those are Terry Benedict'scasinos.RUSTYSay, you know, he's right.Tishkoff waves them back, sipping on his umbrellaedcocktail.TISHKOFFYou guys... Whadda you got againstTerry Benedict?DANNYWhat do you have against him?That's the real question.TISHKOFFHe torpedoed my casino, muscled meout, now he's gonna blow it upnext month to make way for anotherfuckin' eyesore. Don't think Idon't see what you're doin'.RUSTYWhat are we doing, Reuben?(CONTINUED) OCEAN'S 11 - Rev. 1/8/0121.30CONTINUED: (2)30TISHKOFFYou gonna steal from TerryBenedict, you better goddamn know.This sorta thing used to becivilized. You'd hit a guy, he'dwhack you. Done. But Benedict...(bristles)At the end of this he better not know you're involved, not knowyour names, or think you're dead.Because he'll kill you, and thenhe'll go to work on you.DANNYThat's why we've got to be verycareful. We have to be precise.We have to be well-funded.TISHKOFFYeah, you gotta be nuts, too. Andyou're gonna need a crew as nutsas you are.(pregnant silence)Who do you have in mind?Danny and Rusty both smile; they've hooked their fish.And so it begins...RUSTY (V.O.)Alright. Who's in?DANNY (V.O.)Frank C. is in.31",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CASINO OFFICE (ATLANTIC CITY)31Frank Catton coughs mightily into a handkerchief. Acrossa desk, his boss fills out paperwork.DANNY (V.O.)Frank C. has developed a bad caseof bronchitis and is putting infor a transfer to warmer climates.32",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LAS VEGAS AIRPORT - DAY32Frank carries his bag toward the taxi bay. He stops tolight a cigarette, inhales with deep satisfaction beforea banner: ""WELCOME TO LAS VEGAS.""DANNY (V.O.)What about drivers? OCEAN'S 11 - Rev. 1/8/0122.33",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. VACANT, WEEDY DRAG RACETRACK - DAY33CLOSE ON a souped-up tractor-wheeled monster truck, itsENGINE ROARING before a starting line, itching to crossit. Now take a step back...That souped-up monster truck stands a foot-and-a-half offthe ground and sprouts an antenna from its back bumper.It's a remote-controlled toy.The ROARING ENGINE comes from the vehicle next to it: anactual monster truck. Both vehicles peer down the trackat a finish line a hundred yards away. This is a race.The drivers stare each other down: TURK (behind thewheel of the truck) and VIRGIL (track-side, remotecontrol in hand) MALLOY. They're nice boys. Really.Peckerwoods, sure, but nice.RUSTY (V.O.)I talked to the Malloys yesterday.DANNY (V.O.)The Mormon twins?RUSTY (V.O.)They're both in Salt Lake City,six months off the job. I got thesense they're having troublefilling the hours.Lights flash red-to-yellow-to-green and while the TRUCKCOATS RUBBER on the track, Virgil's toy zips to a lead.It's looking to be an embarrassment for Turk until hejerks his wheel a little and -- ka-thunk -- flattens hisbrother's vehicle.Virgil pouts as he plucks up the wreckage of his entry.DANNY (V.O.)Electronics?RUSTY (V.O.)Livingston Dell.34",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SURVEILLANCE VAN - DAY34On a black and white monitor: Two mobsters, on a meet ina public park, peer over their shoulders, making certainno one is watching them. Little do they know...... LIVINGSTON DELL, audio-visual junkie, and victim of acontinual flop sweat, crouches before their image,masterfully controlling his surveillance camera with ajoystick in his left hand. He is flanked by FBI MEN.(CONTINUED) OCEAN'S 11 - Rev. 1/8/0123.34CONTINUED:34RUSTY (V.O.)Livingston's been doing freelancesurveillance work of late for theF.B.I. Mob Squad.DANNY (V.O.)How are his nerves?RUSTY (V.O.)Okay.(beat)Not so bad you'd notice.As a FBI Man reaches to adjust a monitor...LIVINGSTOND-don't, don't-don't... touch... it.FBI MAN #1What?LIVINGSTONDo you see me pulling the gun outof your holster and firing it?FBI MAN #2Hey, Radio Shack: relax.35",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. SANTA MONICA BOARDWALK - LATER35Livingston walks down the boardwalk. A rollerblader with adog on a leash approaches and Livingston gets caughtbetween the two. As he struggles to untangle himself fromthe leash...36,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. CAFE36With a view of Livingston on the boardwalk... Danny andRusty wait for him over espressos.RUSTY(next item on his list)Munitions.DANNYPhil Turentine.RUSTYDead.(CONTINUED) OCEAN'S 11 - Rev. 1/8/0123A.36CONTINUED:36DANNYNo shit? On the job?RUSTYSun cancer.DANNYYou send flowers?RUSTYDated his wife a while.DANNY(onto next candidate)Basher...(CONTINUED) OCEAN'S 11 - Rev. 10/24/0024.36CONTINUED: (2)36RUSTY(checks his watch)We may be too late.37,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BANK - CLOSE ON BASHER TARR - NIGHT 37the explosives expert. A pair of goggles over his eyesreflects a match being struck, then touched to a fuse.BASHERSweet...BANG! Wood shards and SPLINTERS of GLASS fly all around;Basher merely ducks his head and whistles. As the dustsettles, three men move quickly past Basher and into(what the settling fog now reveals to be) a dynamitedbank vault. ALARMS begin to sound: this is bad news.BASHER(to the rest of his gang, his temper flaring)You know, you guys had one job todo.38",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BANK - ONE MINUTE LATER38The men exit through the front doors, their hands overtheir heads, Basher trailing them. Policemen and SWATmembers encircle the group, weapons trained on them,chock full of instructions.39",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. POLICE CAR - LATER39Basher sits in the rear, handcuffed behind his back, feeton the pavement. An explosives COP kneels in front ofhim.(CONTINUED) OCEAN'S 11 - Rev. 1/8/0125.39CONTINUED:39COPAnd that's all you used during theevent? Nothing else?BASHERAre you accusing me of booby-trapping?COPWell, how 'bout it?VOICE (O.S.)Booby traps aren't Mr. Tarr's style.The Cop turns; standing behind him, stone-faced, isRusty, in a dark suit and shades.RUSTYIsn't that right, Basher?BASHERThat's right.RUSTY(flashing badge, briefly)Peck, A.T.F. Let me venture a guess. A simple G4 mainliner,double-coil, backwound, quickfuse with a drag under 20 feet.(off Cop's reaction)That's our man. Tell me somethingelse. Have you checked him forbooby traps on his person? I meanreally checked, not just forweapons...The Cop looks bewildered. Rusty steps forward, yanksBasher onto his feet, spins him around. He moves hishands up and down Basher's legs, around his waist, underhis arms.RUSTYWill you go find Griggs and tellhim I need to see him?COPWho?(CONTINUED) OCEAN'S 11 - Rev. 1/8/0126.39CONTINUED: (2)39RUSTY(loud)Just go find him, will you?(as Cop stalks off; under his breath)How fast can you put somethingtogether with what I passed you?BASHERDone. Thirty seconds all right?RUSTYFrom when?BASHER(as we hear something SNAP from behind his back)Now.40MOVING WITH RUSTY AND BASHER40They're hurrying; ahead of them is a wall of squad cars,a police cordon, and a crowd of onlookers.RUSTYTen seconds?BASHERNot quite. Is Danny here?RUSTYAround the corner.BASHERBe good working with professionalsagain.(beat)Okay: go.And they both start running.RUSTYEveryone down! Get down! There'sa bomb in the...And behind them the SQUAD CAR ERUPTS with a BANG! Acollective SCREAM rises from the crowd, everyone ducks,cops hit the ground and cover their heads. Rusty andBasher move briskly past them, dodging their splayed legslike tires on an obstacle course. By the time theExplosives Cop thinks to look around for Basher, they've both disappeared. OCEAN'S 11 - Rev. 1/8/0127.41OMITTED4142",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. UNDER BIG TOP - DAY42The Chinese National Circus, currently on tour in theWestern United States. Trapeze artists, gymnastic teams,and trampoline daredevils fly, somersault, spin, andswing through the air.A full house applauds every feat. Danny and Rusty sit inthe bleachers, surrounded by parents and kids munching onspindles of cotton candy. Tough guys in toyland.ANNOUNCER (V.O.)(in Chinese, then English)Ladies and gentlemen: the amazingYen.A funambulist (YEN) begins his high-wire act...DANNYSo he can walk on a rope.RUSTYMore than that.DANNYSo he can juggle. We need agrease man, not an acrobat. Whoelse is on the list?RUSTYHe is the list.(CONTINUED) OCEAN'S 11 - Rev. 10/24/0028.42CONTINUED:42DANNYWho else?RUSTYWatch.Halfway across the wire, the funambulist sits. And veryslowly, but without hesitation, he contorts himself intoa ball, never losing his balance. Even Danny isimpressed.RUSTYThere's your grease man.43",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SANTA MONICA PIER PARKING LOT - DAY43Danny and Rusty exit the circus tent, head for their car.DANNYWe need Saul.RUSTYHe won't come. He swore off thegame a year ago.DANNYHe get religion?RUSTYUlcers.DANNYYou can ask him.Rusty stops, stares at Danny, sighs.(CONTINUED) 29.43CONTINUED:43RUSTYI can ask.44",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DOG TRACK/BETTING WINDOW (MIAMI, FLA) - DAY44SAUL BLOOM, 50s, befuddled, wearing a corduroy jacketpatched at the elbows and a duffer's hat, counts outmoney through the window, lists his bets. He checks histickets, plunges them into his pants pocket, and movesoff...45THROUGH TRACK LOBBY45Rusty appears in the f.g. behind a pillar, as dapper asSaul is down-at-heel, watching him go. When Sauldisappears into the tunnel, he moves.46IN INFIELD46Saul sits on one of the long, general admission stepsunder the box seats. He produces an orange from hispocket, starts to peel it. A pair of well-shined shoesappears behind him. Saul senses their presence, butdoesn't turn around.SAULI saw you in the paddock beforethe second race, outside the men'sroom, when I placed my bet. I sawyou before you even got up thismorning.RUSTYHow ya been, Saul?SAULNever better.RUSTYWhat's with the orange?SAULMy doctor says I need vitamins.RUSTYSo why don't you take vitamins?For the first time, Saul cranes his neck and shoots alook up at Rusty.(CONTINUED) 30.46CONTINUED:46SAULYou come here to give me aphysical?RUSTYI got a box seat. Come on.47",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BOX SEATS - LATER47A waiter serves coffee to Rusty and Saul.RUSTYI thought you drank bloody Mary'sat the track, Saul.SAULA man shouldn't drink on the job.RUSTY(re: race)Who we rooting for here?SAULNumber four.There's the BELL; the electronic rabbit is released andthe dogs break out of the gate. From this point onSaul's eyes never leave the race.SAULYou gonna ask me? Or should Ijust say no and get it over with?RUSTYSaul, you're the best there is.You're in Cooperstown. What doyou want?SAULNothin'. I got a duplex now, Igot wall-to-wall and a goldfish,I'm seeing a nice lady, she worksthe unmentionables counter atMacy's. I've changed.RUSTYGuys like us don't change, Saul.We stay sharp or we get sloppy,but we don't change.SAULQuit connin' me.(CONTINUED) 31.47CONTINUED:47They watch the race.RUSTYThat your hound way in the backthere?SAULHe breaks late. Everyone knowsthis.On the track: The dogs are now coming around the backstretch, and the crowd on the bleachers rises, cheering.SAULYou gonna treat me like a grownupat least? Tell me what the scamis?Under the noise: Rusty leans in and whispers in Saul'sear. Saul's eyes widen, then glaze over as all aroundhim people are standing and shouting.Rusty places an envelope in Saul's lap, then gets up andwalks out as, on the track, the #4 dog crosses the finishline... last by several lengths.Saul considers his options. In one hand: a fan oflosing tickets. In the other (courtesy of Rusty): aticket to Las Vegas.DANNY (V.O.)And Saul makes ten.48",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BAR - NIGHT48Danny and Rusty look weary from all this recruitment. Anearby TV with the sound off plays a promo for anupcoming Tyson fight.DANNYTen should do it, don't you think?(as Rusty shrugs)You think we need one more?(as Rusty shrugs)You think we need one more.(as Rusty shrugs)Okay. We'll get one more.49",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CROWDED SUBWAY CAR (CHICAGO)49Native Chicagoans demonstrate their indigenous sixthsense -- L-car balance -- as the TRAIN bends and SHAKESat a corner.(CONTINUED) 32.49CONTINUED:49One passenger in particular keeps his footing, a youngman in a frayed jacket: LINUS.Two overgroomed STOCKBROKERS stand with their backs tothe young man, yammering about high interest yields, andconsequently they don't notice (and neither do we, not atfirst) that Linus is slowly picking one of their pockets.The thievery is glacier-paced: Linus, his face alwaysforward and inscrutable, gingerly raises one tail of histarget's Brooks Brothers jacket and then, withincomparable dexterity, unbuttons his wallet pocket witha flick of his thumb and forefinger.From halfway down the train car, nothing appears amiss,and no passenger looks the wiser. Or so it seems...A copy of the Chicago Sun-Times, opened and upheld,lowers just enough to allow its reader a peek at Linus.It is Danny, smirk on his lips: He (and he alone) isaware of the ongoing heist.Back to Linus, his spoils (a Gucci wallet) now in sight,but he waits for just the right moment, and then, whenthe train hits another curve...... he stumbles forward, his left hand finding support onthe Stockbroker's shoulder as his right relieves the manof his wallet.LINUSSorry 'bout that.STOCKBROKERNo problem, guy.The Stockbroker resumes his yacketing, oblivious, asLinus tucks his prize into his own jacket pocket, facebetraying nothing. Only Danny appreciates the artistryperformed here today. He folds the Sun-Times under hisarm as...50",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. UNION STATION - SUBWAY STATION50... The SUBWAY SQUEALS to a stop. Linus jumps out,leaving his prey aboard, and a few moments later, Dannysteps off, too.51",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. UNION STATION - EVENING51The hurly-burly of rush hour in Union Station.(CONTINUED) OCEAN'S 11 - Rev. 10/24/0033.51CONTINUED:51Commuters zig and zag, this way and that, all on furiousschedules, and Linus slips blithely through them, in nohurry, a man who's pulled this job a thousand timesbefore.He dodges and sidesteps crazed commuters, and except fora brief brush with one well-dressed man (the Sun-Timestucked under his arm), he escapes the station withoutincident.52",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. UNION STATION - EVENING52Linus exits, casually reaching into his jacket to counthis winnings. And his face falls.All he finds where the stolen wallet once resided is acalling card. On one side, in engraved printing:""DANIEL OCEAN."" On the flip side, in handwriting: ""Nicepull. Murphy's Bar, Rush & Division.""53",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MURPHY'S BAR - FIVE MINUTES LATER53On a tabletop: the Gucci wallet beside a half-drunkGuinness. Linus enters the front door, cases the joint,spots the wallet on the table, and Danny behind it.DANNYHi, Linus. Sit down.LINUSWho are you?DANNYA friend of Bobby Caldwell's. Sitdown.Linus balks, prideful, but sense finds a way, and hesits.DANNYBobby told me about you. Said youwere the best set of hands he eversaw. Didn't expect to find youworking wallets on the subway.LINUSThat wasn't work, that waspractice.Danny reaches into his jacket and sets a plane ticket onthe table. He keeps his hand over it.(CONTINUED) 34.53CONTINUED:53DANNYYou're either in or out, rightnow.LINUSWhat is it?DANNYA plane ticket. A job offer.LINUSYou're pretty trusting prettyfast.DANNYBobby has every faith in you.LINUSFathers are like that.(off Danny's reaction)He didn't tell you?(as Danny shakes his head)He doesn't like me trading on hisname.DANNYYou do this job, he'll be tradingon yours.LINUSWhat if I say no?DANNYWe'll get someone else who won'tbe quite as good. You can go backto feeling up stockbrokers.Linus considers. He looks down at the ticket, then atthe wallet. It's one or the other.A waitress passes, and Danny signals her for his bill.When his attention returns to Linus, the walletremains... but the ticket beneath his hand is gone.Linus is reading it.DANNYThat's the best lift I've seen youmake yet.LINUSLas Vegas, huh?(CONTINUED) OCEAN'S 11 - Rev. 10/24/0035.53CONTINUED: (2)53DANNYAmerica's playground.And our MAIN THEME KICKS IN as we...CUT TO:54LAS VEGAS - AERIAL VIEW - ESTABLISHING - DUSK54The city looms out of the desert like an infernalmachine, lights flashing, skyline pulsing, a neonfortress.One thing in particular catches our eye: an enormousbillboard with an ad for the upcoming boxing matchbetween Mike Tyson and Lennox Lewis. Below it, apromoter hands out fliers for strip joints and call girls.55OMITTED5556",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. REUBEN TISHKOFF'S MANSION (LAS VEGAS) - NIGHT56Frank Catton is already here, mixing a drink, when --DING DONG -- the DOORBELL CHIMES. Tishkoff shufflestoward the front (he's given the help the night off) andopens his door to find...LIVINGSTONTrick or treat.... Livingston, Basher, Yen, the Malloys, Saul and Linuscrowding his doormat. A taxi-van pulls away behind them.TISHKOFFWhat, you guys get a group rate orsomething?57",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TISHKOFF'S LIVING ROOM - LATER57Along one wall, a buffet table has been set up, and whileVirgil and Turk pile shrimp onto plates, Saul pockets anorange for later.TURKYou make it out to Utah much,Saul?(CONTINUED) OCEAN'S 11 - Rev. 10/24/0036.57CONTINUED:57SAUL(last man you'd see in the Tabernacle)Not as much as I'd like.TURKYou should. You'd like it. You'dlike Provo.VIRGIL(scarfing a jumbo shrimp)Anybody see the salsa goes withthis?At the wet bar, Basher mixes a drink for Livingston; on acouch, Yen balances coffee-table ornaments into askyscraper, to Frank's astonishment. In a corner, off onhis own, Linus watches the company, his eyes narrowing,wary. Until...DANNY (O.S.)Gentlemen: welcome to Las Vegas.Danny stands at the top of the stairs leading into theroom, flanked by Rusty and Tishkoff. He starts down...DANNYEverybody eaten? Good. Everybodysober? Close enough. Most of youknow each other already. Youprobably haven't met LinusCaldwell before, he's Bobby's kid outta Chicago.Linus trades nods around the room.DANNYOkay. Before we start, nobody'son the line here yet. What I'mabout to propose to you happens tobe both highly lucrative andhighly dangerous. If that doesn'tsound like your particular brandof vodka, help yourself to asmuch food as you like and safejourney. No hard feelings.(pauses, soberly)Otherwise, come with me.He turns and walks out of the living room, into another.Rusty is close behind; he turns briefly, casts an eyeover the assembled and keeps going. The guys look eachother over, sizing things up.(CONTINUED) OCEAN'S 11 - Rev. 10/24/0037.57CONTINUED: (2)57BASHERWhat the hell.And he follows, along with Frank and Livingston. ThenVirgil, Turk and Yen. Then Saul. That leaves Linus,watching the line of men disappear. He turns to findTishkoff by his side, staring at him.LINUSHi.TISHKOFFYou're Bobby Caldwell's kid, huh?LINUSYeah.TISHKOFFFrom Chicago?LINUSYeah.TISHKOFFIt's nice there. You like it?LINUSYeah.TISHKOFFThat's wonderful. Get in thegoddamn room.58",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GAME ROOM58A tournament-level pool table holds center stage here.Atop its green felt sits a raised, elaborate miniature ofTerry Benedict's Las Vegas: three casinos and hotelswith the Strip running between them.As the eleven surround the table and the model...DANNYGentlemen: the 14000 block of LasVegas Boulevard. Otherwise knownas the Bellagio, the Mirage,the M.G.M. Grand. Together,they're the three most profitablecasinos in Las Vegas...(CONTINUED) OCEAN'S 11 - Rev. 10/24/0038.58CONTINUED:58Danny removes the Strip from the model. Revealed beneathis a complex substructure, featuring three tunnels, eachleading from a casino to a single freight-sized elevatorshaft which descends into an enormous vault.DANNYGentlemen: the Bellagio vault.Located below the Strip, beneathtwo hundred feet of solid earth.It safeguards every dime thatcomes through each of the threecasinos above it.(beat)And we're going to rob it.Everyone takes a breath, awed.LINUSSmash-and-grab job, huh?RUSTYIt's a little more complicatedthan that.Danny picks up a remote control and flips on a panel ofTvs.DANNYCourtesy of Frank Catton, newblackjack dealer at the Bellagio,security tapes from the threecasinos.On the monitors: three montages of black-and-whitesecurity tapes, starting within the three casinos' cages,moving into the tunnels, then (as the TVs unite in theirimages) pushing into the elevator and eventually thevault.As the group's glances shoot back and forth from the TVto the corresponding section of the model, i.e. from aPOV of the tunnel to the miniature tunnel itself...(CONTINUED) 39.58CONTINUED: (2)58DANNYOkay. Bad news first. This placehouses a security system whichrivals most nuclear missile silos.First: we have to get within thecasino cages --RUSTY(indicating)-- here, here, and here --DANNY-- which anyone knows takes morethan a smile. Next: throughthese doors, each of whichrequires a different six-digitcode changed every twelve hours.Past those lies the elevator, andthis is where it gets tricky: theelevator won't move withoutauthorized fingerprintidentifications --RUSTY-- which we can't fake --DANNY-- and vocal confirmations fromboth the security center withinthe Bellagio and the vault below - -RUSTY-- which we won't get.DANNYFurthermore, the elevator shaft isrigged with motion detectors --RUSTY-- meaning if we manually overridethe lift, the shaft's exit willlock down automatically and we'llbe trapped.DANNYOnce we've gotten down the shaft,though, then it's a walk in thepark: just three more guards withUzis and predilections toward notbeing robbed, and the mostelaborate vault door conceived byman. Any questions?(CONTINUED) OCEAN'S 11 - Rev. 10/24/0040.58CONTINUED: (3)58Silence. For a moment, each man keeps his two dozenquestions or more to himself. At last, one speaks up...The Amazing Yen. In Cantonese. Of course, no oneunderstands him. Except Rusty.RUSTY(in response)No. Tunneling is out. There areRichter scales monitoring theground for one hundred yards inevery direction. If a groundhogtried to nest there, they'd knowabout it. Anyone else?Another silence. Either the guys are too dumbfounded bythat bilingual exchange or too numbed by the task aheadof them to speak.TURKYou said something about goodnews...DANNY(smiles, happy someone asked)The Nevada Gaming Commissionstipulates: a casino must hold inreserve enough cash to cover everychip at play on its floor. As Imentioned, this vault serviceseach of the three casinos aboveit. That means: during the week,by law, it must hold anywhere fromsixty to seventy million dollarsin cash and coin. On a weekend,between eighty and ninety million.On a fight night, like the one twoweeks from tonight, the nightwe're going to rob it, at least ahundred and fifty million. Without breaking a sweat.(gazing about room)Now there are eleven of us. Eachwith an equal share. You do themath.MOVING AROUND the table ON ten faces, as everyone doesprecisely that, in their heads, except for Virgil whodoes it on his fingers. He whistles.RUSTYThat's what I said.(CONTINUED) OCEAN'S 11 - Rev. 10/24/0041-43.58CONTINUED: (4)58Everyone seems suitably impressed by their share.SAULI have a question.(as Danny turns to him)Say we do get into the cage, andthrough the security doors there,and down the elevator we can'tmove, and past the guards withguns, and into the vault we can'topen...RUSTYWithout being seen by the cameras.DANNY(off everyone's astonishment)Oh, right. Sorry. I forgot tomention that.SAULSay we do all that. We're justsupposed to walk outta there witha hundred million dollars in cashon us without getting stopped?Danny smiles, his broad, sure-of-himself grin, the oneRusty couldn't deny earlier and these guys won't denynow.DANNYYeah.Saul looks panic-stricken; like that, his ulcer has flared up, and he pops a Rolaid in his mouth.DANNYAlright. Here's how we'll begin.59OMITTED5960",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MGM GRAND CASINO - DAY60MOVING WITH a cash cart as security guards push it pasttourists, past cocktail waitresses, past Linus sitting ata blackjack table.(CONTINUED) 44.60CONTINUED:60DANNY (V.O.)First task: reconnaissance. Iwant to know everything that'sgoing on in all three casinos.From the rotation of the dealersto the path of every cash cart...61",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BELLAGIO - BREAK ROOM - DAY61Two security TECHNICIANS on a smoke break grumble abouttheir sex lives. Across the room, Frank sits innocentlydoing a crossword.DANNY (V.O.)I wanna know everything aboutevery guard, every watcher, anyonewith a security pass. I wannaknow where they're from, whattheir nicknames are, how they taketheir coffee...BETTER VIEWREVEALS: On his crossword, Frank has scribbled atranscript of the Technicians' conversation. As heglances up at an electronic keycard clipped to oneTechnician's belt...62",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MIRAGE CASINO - DAY62... an identical keycard is swiped through a keypad, itslight flashing red to green, admitting a guard into an""Employees Only"" doorway.The Malloys, who've shadowed the guard here, note asentry standing watch by the door as well as a securitycamera embedded in the ceiling above: No one walksthrough that portal unchecked.DANNY (V.O.)Most of all, I want you guys toknow these casinos. They werebuilt as labyrinths, to keeppeople in. I want you guys toknow the quick routes out.Their job done, the Malloys start toward the casino'sexit... in different directions. They begin to argue:The exit's that way -- no, it's that way. 45.63",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LAS VEGAS BOULEVARD - OUTSIDE THREE CASINOS - DAY63With two dozen other tourists, Basher crosses the streetand when he meets a manhole cover he stops and,extracting a small metal hook from his jacket, removes itfrom its perch, so casual about the action that nopasserby looks twice at him.DANNY (V.O.)Second task: power. On the nightof the fight, we're gonna throwthe switch on sin city. Basher,it's your show.Basher drops into the hole, pulling the cover over him,as we PULL UP OVER the Bellagio and...DISSOLVE TO:64",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BELLAGIO SECURITY CENTER - EYE IN THE SKY64Dozens of monitors manned by dozens of watchers canvasdozens of casino tables; only NASA's control rooms housemore technology.Apart from the fray, another bank of monitors manned bytwo watchers (let's call them, for no particular reason,FAT and SLIM) oversee a different section of the casino:the cage, its tunnels, the elevator, and the vault itleads to; everything, in fact, which our team saw in thegame room.DANNY (V.O.)Third task: surveillance. Casinosecurity has an eye and ear oneverything, so we'll want an eyeand ear on them. Livingston...65",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BELLAGIO - LIVINGSTON'S ROOM - CLOSE ON SET OF 65SCHEMATICS OF BELLAGIO - NIGHTA page of the set Danny and Rusty ""borrowed"" from Kuehn &Associates. Danny and Livingston study it.WIDERLIVINGSTONWell, it's not the leastaccessible system I've seen, butit's close. I don't suppose theyhave a closed-circuit feed I couldtap into?(CONTINUED) 46.65CONTINUED:65Danny shakes his head: no such luck.LIVINGSTONThen this is definitely a blackbag job. Do they employ an in-house technician?Danny looks to Rusty who, behind them, tampers withLivingston's audio-video setup: several portablemonitors, a laptop and modem, telephone headset, etc.RUSTYTwo. And one of them is lonely.DANCE MUSIC overwhelms the SOUNDTRACK...66",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. OLYMPIC GARDENS STRIP CLUB - NIGHT66... as we join a lap dance already in progress. Asecurity Technician (one of the two Frank eavesdropped onin the break room) shells out twenty bucks every threeminutes for a DANCER to grind her pelvis against hischest...... and while the Technician grins not-very-soberly andogles her perfect breasts and paws at her midriff, theDancer secretly removes the keycard from his belt.DANCERI'll be right back, honey. Don'tmove a muscle.TECHNICIAN(drunk and in love)Depends on the muscle.She pouts, flirtingly, as she does for every idiot whodrops a line like that, then makes her way to...67",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. OLYMPIC GARDENS STRIP CLUB - NIGHT67... where Rusty waits for her, and when she slips him thekeycard, he slips her a c-note.RUSTYThanks, Charmaine. I'll have itback within the hour.(as he goes)Say hello to your mom for me.DANCERSay it yourself. She'll beonstage in five minutes. 47.68",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BELLAGIO CASINO - NIGHT68FOLLOWING a bunch of balloons -- all congratulating""Happy Anniversary!"" -- as a delivery boy carries themthrough the casino, and just as he's passing an""Employees Only"" door (complete with sentry and embeddedceiling camera)...... he bumps into a TOURIST, and the balloons drift outof his hand and into the camera...TOURISTHey, watch it, bud...69",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BELLAGIO SECURITY CENTER - EYE IN THE SKY69As the balloons fill the frame of one monitor...SLIM433, we have visual impairment onthe east door camera.70",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BELLAGIO CASINO - BY CAGE DOOR - NIGHT70The SENTRY (#433) hears this and spots the balloonscovering the embedded camera and approaches the deliveryboy (who by freak accident happens to be VirgilMalloy)...SENTRYExcuse me, sir: You're going tohave to move your balloons.... but Virgil's too busy picking a fight with theTourist (surprise, surprise: Turk Malloy) to listen.VIRGILWho you calling 'bud,' pal?TURK (TOURIST)Who you calling 'pal,' friend?VIRGILWho you calling 'friend'...(can't think of another)... bud...And with the Sentry out of position...... Livingston (dressed now in a technician's uniform,don't worry about how he got it) goes quickly to the doorand swipes the newly-acquired keycard and when it flashesred-to-green, he enters... OCEAN'S 11 - Rev. 10/24/0048.71",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAGE - HALLWAY71He's in. Livingston takes a moment, his brow perspiring(he's in the lions' den now), then checks his palm:drawn there in ballpoint is a diagram of the cagecorridors.72",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BELLAGIO SECURITY CENTER - EYE IN THE SKY - ON 72MONITOR NEXT TO BALLOON-CLOUDED ONELivingston appears and, as nonchalantly as he can, heambles down a hallway, then another, until he reaches...73",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. CAGE - HALLWAY73... an unmarked door next to the entrance to the securitycenter. Livingston swipes his keycard to enter...74,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CIRCUITRY ROOM74A giant walk-in closet/switchboard full of wires, plugs,lights, etc. Livingston goes to work: FLURRY OF SHOTSHe splices into all sorts of wires and lines and cables.Meanwhile...75",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BELLAGIO CASINO - BY CAGE DOOR - NIGHT75... Virgil and Turk argue, nose-to-nose, ""accidentally""blocking the Sentry from the balloons...VIRGILYou hear about this new medicaldiscovery they made? It's calleda 'sense of direction.'Apparently we're all supposed tohave one...TURKYeah yeah yeah, whatever, balloonboy.SENTRYGentlemen, gentlemen... 49.76",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CIRCUITRY ROOM76Livingston's work here is almost done: he clips a smallmechanism (known in his industry as a ""spider"" -- it'ssmall, black, antenna-less and hides in dark places) to amain conduit, then verifies a tiny receiver he holds ispicking up the spider's feed.One last click into place...77",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BELLAGIO SECURITY CENTER - EYE IN THE SKY77... causes a brief, unnoticed blip on Slim's monitors...78",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. BELLAGIO - LIVINGSTON'S ROOM - NIGHT78... and transmits all the views of the cages onto themonitors upstairs. Danny and Rusty witness theirappearance.DANNYWhy do they paint hallways thatcolor?RUSTYThey say taupe is very soothing.79,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAGE - HALLWAY79Livingston steps outside. His job done, he exhales andwipes the sweat from his brow and checks his palm fordirections and...Whoops. His sweat just smeared the ballpo",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int. He'sflying blind. He looks left down a corridor, then right,trying to remember which way he came from. No idea.80",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. BELLAGIO - LIVINGSTON'S ROOM80DANNYUh-oh.81,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAGE - HALLWAY81MOVING WITH Livingston as he tries to find his way out.He takes a left...Whoops again: here comes Fat, dead ahead. Livingstonhas no recourse but to march right by him.(CONTINUED) 50.81CONTINUED:81FATHiya.LIVINGSTONFine, thanks.Livingston continues on, and maybe for a second he thinkshe's in the clear, especially when he sees the exitlooming ahead, but then Fat turns behind him and hailshim back...FATHey...82",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BELLAGIO CASINO - BY CAGE DOOR - NIGHT82At last, the Sentry outmaneuvers Virgil and Turk andgrabs the balloons himself. Virgil quickly snatches themback...VIRGILHey... get your own balloons.83",FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAGE - HALLWAY 83Livingston approaches the exit's keypad and swipes hiskeycard: the light does not flash red-to-green.FAT(on his tail)Hey...Livingston looks: he swiped the wrong side of hiskeycard. He tries again. Red flashes to green. Hepulls the door...... but Fat blocks it. Livingston peers up, certain he'shad it.84",TWIST +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. BELLAGIO - LIVINGSTON'S ROOM 84Danny and Rusty simultaneously lean forward.85,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. CAGE - HALLWAY 85FATYou dropped this.Fat holds out Livingston's receiver and drops it in hishand.(CONTINUED) OCEAN'S 11 - Rev. 1/8/0151.85CONTINUED:85LIVINGSTONThanks.And he's out.86,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. BELLAGIO - LIVINGSTON'S SUITE - NIGHT86Danny and Rusty exhale.DANNYWell...RUSTYYeah...DANNYFourth task: construction...87,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. WAREHOUSE - DAY87The gang hauls building materials -- lumber, tools, paint, etc. -- and Yen hauls three times his share,carrying objects on his head/shoulders/arms, a circusact in a hardware store.DANNY (V.O.)We need to build an exact, workingreplica of the Bellagio vault.RUSTY (V.O.)For practice.DANNY (V.O.)Something like that.As Linus hauls in materials, Danny takes him aside.DANNYFifth task: intelligence. Weneed those codes, Linus. From theonly man who has all three.LINUSBenedict.DANNYLearn to love his shadow.(back to the team)Sixth task: transport...(CONTINUED) OCEAN'S 11 - Rev. 1/8/0152.87CONTINUED:87LINUS(young and eager)Wait, wait, wait. All I get to dois watch him?DANNYFor now. You gotta walk beforeyou crawl.RUSTY(to Linus, correcting Danny)Reverse that.DANNY(toward the Malloys)Sixth task: transport...88",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BILLY TIM'S VAN AND TRUCK DEALERSHIP - OFFICE - DAY88Outside a window: Turk and Virgil jump up and down onopposite bumpers of a van, testing its durability.Inside, Frank negotiates with BILLY TIM, a Cal-Worthingtonesque redneck car dealer, who half-paysattention to him, half-frets over the Malloys outside.BILLY TIMI'm sorry: eighteen-five each isthe best offer I can make you.FRANK(playing a bit of a dandy)Oh, I understand perfectly. Theyare beautiful vans. Well, I thankyou for your time, Mister...?BILLY TIMDenham. Billy Tim Denham.FRANKYes, Denham, like a jean.(they shake)You know: you have lovely hands-- do you moisturize?BILLY TIMI'm sorry?(CONTINUED) OCEAN'S 11 - Rev. 1/8/0153.88CONTINUED:88Frank's not letting go of the man's hand, the object nowis to force Billy Tim into lowering his price just to getFrank out of his office.FRANKI swear by it. I try all sorts oflotions. I went through afragrance-free period last year,but now I'm liking this new brandfortified with rose hip. Mysister, you know, she uses thealoe vera with the sun screenbuilt in...BILLY TIM(just can't get his hand back)Uh-huh. You said you'd be willingto pay in cash?FRANKI did. You know: they saycinnamon is wonderful for yourpores. Read that on the internet.And that ideally you should bewearing gloves to bed, but I findthat would interfere with mysocial agenda. Problem is: I geta reaction to camphor so I can'tuse traditional remedies...BILLY TIMIf you could pay cash, I couldprobably drop the price a little.To, say, seventeen...(as Frank squeezes a little)... sixteen each.FRANK(big smile)That would be lovely.89",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. WAREHOUSE - BACK TO DANNY - DAY89overseeing the construction, reviewing his list of taskson his fingers, suspecting he's missed one.DANNY... Power, surveillance,transport...(CONTINUED) 54.89CONTINUED:89TISHKOFFAnything I can do?Danny's eyes flash from Tishkoff to Saul, behind him,dressed in his usual frumpy attire: that's what hemissed.DANNYGet your wallet.90",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HABERDASHERY90A tailor fits Saul for the finest suits Tishkoff's moneycan buy. As Saul smoothes out a coat sleeve...SAULThis is nice material.DANNYIt's Armani, Saul.SAULIt's very nice.Saul's not fooling anyone: he's scared, right down tohis Florsheims. Danny nods to the tailor: ""Give us amoment.""DANNYSaul, you sure you're ready to dothis?Saul turns away, and when he faces Danny again, hisentire aspect has changed: His features stone, his eyesicicles.SAULIf you ever question me again,Daniel, you won't wake up thefollowing morning.They exchange a long, fierce glance; Saul's eyes neverwaver.DANNYYou're ready.Danny signals Tishkoff: let's pay, and Saul immediatelyslumps into his old self. To a mirror, he practices...SAULHello. My name is Lyman Zerga...(this time a little deeper)My name is Lyman Zerga... 55.91",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LIMOUSINE - DAY91Saul's dressed completely (and immaculately) now inArmani, with his hair slicked back, a brief moustache onhis lip, and impenetrably dark glasses riding the bridgeof his nose. He continues to practice, his accent evendeeper now and specifying no geographic origin -- couldbe Scottish, could be Israeli...SAULMy name is Lyman Zerga... My nameis Lyman Zerga...Danny passes him an envelope full of $100 bills.DANNYThere's a little over twenty grandthere, Saul. Try to make it last.Saul pats down his pockets for something he can't find...SAULYou seen my...DANNY(handing him Rolaids)Bought you a fresh roll.The limo pulls to a stop, and outside there is a flurryof FOOTSTEPS before Saul's door swings open, and Turk andVirgil (both costumed as bodyguards) stand waiting forhim.VIRGILMr. Zerga, we're here.DANNYGood luck, Lyman.SAUL(hesitates, then gets out)Luck is for losers.92",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BELLAGIO CASINO - DAY92Saul, as Lyman Zerga, makes as low-profile an entranceinto the Bellagio as he can with bodyguards preceding andtrailing him. He approaches a V.I.P CONCIERGE...V.I.P. CONCIERGEGood afternoon, sir. How can I beof service?(CONTINUED) OCEAN'S 11 - Rev. 1/8/0156.92CONTINUED:92SAULMy name is Lyman Zerga. I'd likea suite, please.V.I.P. CONCIERGEDo you have a reservation with us?SAUL(long glare at him)I don't make reservations.A longer glance at Lyman's bodyguards tells the Conciergethis is not a man to be denied. As he jumps to it...A93",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. OUTSIDE RESTAURANT'S ENTRANCE - DAYA93Outside a restaurant's entrance, Rusty and Linus sitbefore two slot machines, idly dropping in quarters asthey watch Saul receive the royal treatment.RUSTYOkay. Tell me about Benedict.LINUSThe guy is a machine.93",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BELLAGIO CASINO - DAY (SUPER SLOW MOTION)93TERRY BENEDICT emerges from a Town Car and, from hishaircut to his smile to his pant-cuffs, he is effortlessperfection. He is Vegas royalty, yet he denies eyecontact to no man. He strides into his casino and,appearing behind a pillar, Linus follows him in.LINUS (V.O.)He arrives at the Bellagio everyday at two p.m. Same Town Car,same driver. Remembers everyvalet's name on the way in. Notbad for a guy worth three-quartersof a billion.94",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BELLAGIO - ELEVATOR BAY (SUPER SLOW MOTION)94The doors open, and Terry Benedict steps out. Linuswatches from a craps table.LINUS (V.O.)Offices are upstairs. He workshard, hits the lobby floor atseven on the nose. OCEAN'S 11 - Rev. 1/8/0157.95",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BELLAGIO CASINO - NIGHT (SUPER SLOW MOTION)95From a balcony, Benedict stands overlooking the casinofloor. His CASINO MANAGER approaches and they confer.LINUS (V.O.)Spends three minutes on the floorwith his casino manager.RUSTY (V.O.)What do they talk about?LINUS (V.O.)All business. Benedict likes toknow what's going on in hiscasinos. There's rarely anincident he doesn't know about or handle personally.96",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HIGH ROLLERS' ROOM (SUPER SLOW MOTION)96Benedict works the room. He speaks to a Japanese HighRoller in Japanese, to a Swiss in German, etc.LINUS (V.O.)He spends a few minutesgladhanding the high rollers.He's fluent in Spanish, German andItalian, and he's taking Japaneselessons, getting pretty good atit. He's out by seven-thirty,when an assistant hands him ablack portfolio. Contents: theday's take and new security codes.Then he heads to the restaurant.Indeed, as Benedict makes his exit, an assistant handshim a black portfolio.97",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BELLAGIO CASINO - OUTSIDE RESTAURANT97Rusty and Linus watch the entrance: No one enters.LINUSGive him another ten seconds.Around the corner comes Benedict, carrying his blackportfolio.LINUSAs I said: a machine.RUSTYAnd that portfolio contains thecodes to all the cage doors?(CONTINUED) OCEAN'S 11 - Rev. 3/30/0158.97CONTINUED:97LINUSTwo minutes after they've beenchanged, he's got 'em in hand.(beat)I'll tell you: you guys pickeda helluva target. He is as smartand ruthless as they come. Thelast guy caught cheating here,Benedict not only sent him up forten years, he got the bank toseize the guy's home andbankrupted --RUSTY-- his brother-in-law's tractordealership, I heard.LINUSHe doesn't just go after yourknees, he goes after yourlivelihood. And everyone-you-ever-met's livelihood.RUSTYYou scared?LINUSYou suicidal?RUSTYOnly in the morning.(beat)Now what?LINUSNow comes the girl... if she comesin after he does, that meansthey're in a snit.RUSTYWhere's she come from?LINUSThe museum downstairs. She's thecurator there. Wait... here sheis. You'll like this.Rusty looks up as...... a beautiful woman (the one Danny saw on Benedict'sarm in the New York Times photo) appears. Elegantlydressed, a knockout, she moves very much in her ownprivate space. And Rusty's face just about drops at thesight of her.(CONTINUED) OCEAN'S 11 - Rev. 3/30/0158A.97CONTINUED: (2)97LINUSI don't know if we can use heryet. I haven't even caught hername.RUSTYTess.LINUSWhat?RUSTY(looks very certain about this, very certain and very upset)Her name is Tess. OCEAN'S 11 - Rev. 1/8/0159.98",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. WAREHOUSE - NIGHT98Construction continues into the wee hours.99,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. WAREHOUSE - NIGHT99A facsimile of the Bellagio vault sprouts into shape. Livingston fixes a security camera in a corner, thenmatches its image (of Frank staple-gunning floorboardinto place) to a security tape of the real McCoy.On the other side of the garage, Turk and Virgil go towork on their newly-purchased vans, with wrenches andblow torches. Tishkoff recognizes a gasket Virgilhandles.TISHKOFFThis looks familiar. Where'd youget this?VIRGILOff your Rolls.TISHKOFFDanny! Tell 'em not to touch theRolls!Overlooking the whole enterprise is Danny, grinning fromear to ear, happy in his work. He checks a stopwatch inhis hand as...... the false top to the cash cart before him flies open,revealing Yen within, his arms, legs and torso foldedinto a three-by-four foot space. He whips an air hosefrom his mouth and inhales deeply. Danny checks hiswatch.DANNY29:47. Everything okay in there?Yen responds. Of course, Danny doesn't understand him.But Rusty does, appearing behind him.RUSTYBut what doesn't beat the shit outof being a circus performer?Danny turns to Rusty: he looks very, very serious.100",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. WAREHOUSE - NIGHT100Danny and Rusty adjourn from the warehouse.(CONTINUED) 60.100CONTINUED:100DANNYWhat is it?RUSTYTell me this isn't about her. OrI'll walk off the job right now.(off Danny's reaction)Tess. She's with Terry Benedictnow. Tell me this isn't aboutscrewing the guy who's screwingyour wife.DANNYEx-wife.RUSTYTell me.DANNYIt's not. About that. Entirely.A beat.DANNYYou said you needed a reason.Well, this is mine.(beat)When we started in this business,we had three rules. We weren'tgonna hurt anybody. We weren'tgonna steal from anybody didn'thave it coming. And we were gonnaplay the game like we had nothingto lose. Well, I lost something.Someone. That's why I'm here.A beat.RUSTYHere's the problem: we'restealing two things now. And whenpush comes to shove, if you can'thave both, which are you gonnachoose? And remember: Tessdoesn't divide eleven ways.A beat.DANNYIf things go to plan, I won't bethe one who has to make thatchoice.The two men stand quietly for a moment.(CONTINUED) 61.100CONTINUED: (2)100DANNYHow'd she look by the way?Tess...RUSTYI've seen her happier.CLOSE ON PICASSO'S WOMAN WITH GUITARTESS (V.O.)'Radiant' is the word. Absolutelyradiant.101",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BELLAGIO ART GALLERY - DAY101The painting hangs under a portrait lamp on a wallbetween a van Gogh and a Monet.At a distance, admiring it, are Tess, the SELLER and theseller's AIDE-DE-CAMP. A staff photographer and otherpersonnel mill nearby.Off to the side, in a sharp blazer, Tess standstransfixed by the painting.TESSHe painted it in the summer of1912, after the break-up withFernande Olivier.SELLERShe must have put him throughhell.TESSYou can see the conflict. Hemakes her both erotic andgrotesque. He's hopelessly drawnto her, and yet she drives himcrazy.AIDE-DE-CAMP(checking his watch)Mr. Santaniello has an earlyflight. Do you think Mr. Benedictwill be late?TESSMr. Benedict is never late.Just then the double doors to the gallery swing open, andTerry Benedict enters, right on time.(CONTINUED) OCEAN'S 11 - Rev. 5/31/0162.101CONTINUED:101He is elegant, beaming, commanding. All that's missingis a blare of trumpets.BENEDICTAm I late?TESSNot at all, Mr. Benedict.(greeting him)Allow me to introduce to you Mr.Jean Santaniello.BENEDICT(to Seller)Mr. Santaniello, I apologize if Ikept you. I had to iron out a fewissues with my fight promoter. Igave him an unlimited budget, andhe exceeded it.SELLERI understand it's going to be ahell of a fight.BENEDICTWe hope.Tess angles Benedict toward the painting.TESSHere it is.Benedict moves toward the painting, and as he does hecatches Tess in his glance, and his smile deepens. Then:BENEDICTMagnificent! I've been followingher for fifteen years now. Atlast I've made her a home.(to Tess)All the arrangements and soforth...SELLERDone. She's yours.BENEDICTNot mine. She belongs to everyonewho comes into my hotel. Isn'tthat right, Ms. Ocean?(CONTINUED) 63.101CONTINUED: (2)101TESSYes, Mr. Benedict.BENEDICTShe's lovely, isn't she?(as the Seller is confused; Benedict specifies painting)I can't be the only one who wasafter her.SELLERYou're the only one who met myprice.BENEDICTAh, but this... You can't put aprice on beauty. But I shouldn'tphilosophize. I own casinos,after all.AIDE-DE-CAMPCan we get a quick shot? Mr.Santaniello has a plane to catch.BENEDICTOf course, of course.Tess understands: she is not to be part of the photo.Benedict and the Seller pose together and...Flash!102",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BELLAGIO ART GALLERY - LATER102The Seller exits with the Aide-De-Camp in tow. Benedictremains, enthralled by the painting. Tess appears besidehim.TESSYou like it?BENEDICTI like that you like it.(beat)I have some bad news from theworld of high fashion. It seemsMike Tyson will be wearing red onSaturday night. Red trunks with awhite stripe.TESSOh?(CONTINUED) OCEAN'S 11 - Rev. 1/8/0164.102CONTINUED:102BENEDICTAnd you, as I recall, will bewearing a red Donna Karan? Andwhen the TV cameras pick us up inthe front row, that red dress...TESSI see.BENEDICTHe's a charming man, but no one'sgoing to be watching him when theycan make a study of you. I've asked Paolo to find three or fourthings for you to try. I hopeyou're not too disappointed.She is, but she buries it.BENEDICTAre you sure?She nods, smiles faintly.BENEDICTI'll see you tonight.Instinctively she leans in to kiss him. He recoils ever so slightly.TESSWhat? We're alone.He lets his eyes wander along the length of the ceiling,over all the eye-in-the-sky cameras hidden there. Shefollows his look.BENEDICTIn my hotels, there's alwayssomeone watching.But he kisses her anyway.TESSI'll see you tonight.He glances once more on the Picasso as he moves away.BENEDICTActually, I do like it.And Tess remains, thinking: he's rich, he's handsome andwooing, but is she happy? OCEAN'S 11 - Rev. 10/24/0065.103OMITTED103thruthru105105106",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HIGH ROLLERS' ROOM - NIGHT106Quiet, elegant, tense. One table is operating only, inthe corner, and at it Saul, as Lyman Zerga, furtivelypeels at the roll of Rolaids and slips one in his mouth.HIGH ROLLER #1Weak stomach, Mr. Zerga?SAULI don't believe in weakness. Itcosts too much. I don't believein questions, either.(CONTINUED) 66.106CONTINUED:106This shuts the High Roller up fast. Saul looks up fromthe table, just perceptibly, to spot Terry Benedict, onhis way in, right on schedule. He approaches the PITBOSS by the entrance.BENEDICTEddie. Anything for me?PIT BOSSMr. Zerga, sir. Lyman Zerga. Inthe third position. Wishes tospeak with you privately.BENEDICTWho is he?PIT BOSSBusinessman of some kind, workingmostly in Europe. He's veryvague, but I asked around. Wordis he deals primarily in arms.One of the biggest.BENEDICTZerga? Never heard of him.PIT BOSSYessir. That's why I don't doubtit.BENEDICTHe's staying here?PIT BOSSChecked in two nights ago, sir.He's in the Mirador suite.BENEDICTHow's he doing?PIT BOSSUp. Almost forty grand.BENEDICT(knowing he can't duck this)Good for him...107",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BELLAGIO - RESTAURANT - SAME TIME107Tess Ocean sits in a booth and sips at a glass of wineand checks her watch: Benedict is late or very close tobeing so...(CONTINUED) OCEAN'S 11 - Rev. 10/24/0067.107CONTINUED:107... when a pair of hands slips over her shoulders andstarts to caress her arms.TESS(without looking at him)You're thirty seconds late. I wasabout to send out a searchparty...(recognizing the hands, she turns, stunned)Danny...DANNY(standing over her, grinning)Hello, Tess.TESS(thrilled and petrified and stunned to see him, but outraged mostly)What are you doing here?DANNYI'm out.TESSYou're out.DANNYOf prison. You remember. The dayI went for cigarettes and nevercame back. You must have noticed.TESSI don't smoke.(as he sits)Don't sit --DANNY(but he does)They said I'd paid my debt tosociety.TESSFunny, I never got a check.Danny smiles. Tess stares daggers.TESSYou can't stay.DANNYIt's good to see you.(CONTINUED) 68.107CONTINUED: (2)107DANNYYou're not wearing your ring.A beat.TESSI sold it. And I don't have ahusband. Or didn't you get thepapers?DANNYMy last day inside.TESSI told you I'd write.Danny reaches his hand (ringed) for hers (ringless), butshe removes it from the table.TESSDanny. Go. Now. Before...DANNYBenedict?She freezes: Danny knows. He smiles: it's okay. Then,to a passing waiter:DANNY(his fingers two inches apart)Whiskey and --(then one inch apart)-- whiskey.TESSDanny...DANNYYou're doing a great job curatingthe museum.She sighs, exasperated.DANNYThe Vermeer is quite good. Simplebut vibrant. Although his workdefinitely fell off as he gotolder.TESSRemind you of anyone?(CONTINUED) OCEAN'S 11 - Rev. 1/8/0169.107CONTINUED: (3)107DANNYAnd I still get Monet and Manetconfused. Which one married hismistress?TESSMonet.DANNYRight. Manet had syphilis.TESSThey also painted occasionally.A beat.DANNYYou don't know how many times Iplayed this conversation out in myhead the last two years.TESSDid it always go this poorly?DANNYYes.TESSSounds frustrating.DANNYYou were never easy.(as she shrugs)Okay. I'll make this quick. I camehere for you. I'm gonna get on withmy life, and I want you with me.TESSYou're a thief and a liar.DANNYI only lied about being a thief.But I don't do that anymore.TESSSteal?DANNYLie.TESSI'm with someone now who doesn'thave to make that kind ofdistinction.(CONTINUED) OCEAN'S 11 - Rev. 03/20/0170.107CONTINUED: (4)107DANNYNo, he's very clear on both.TESSNice. Work on that for two years, too?DANNYYear and a half.A light smile from Tess.TESSDo you know what your problem is?DANNYI only have one?TESSYou've met too many people like you.(then)I'm with Terry now.DANNYDoes he make you laugh?TESSHe doesn't make me cry.108",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HIGH ROLLERS' ROOM - SAME TIME108At the table, Saul bets heavily for the bank. Benedictapproaches, stands off to the right, watching.HIGH ROLLER(to Saul, noticing his heavy bet)You don't want to get in the holetoo heavy to this Benedict. Afriend of mine once borrowed ahundred g's from the guy. Twomonths went by, Benedict hadn'theard from him, he calls my friendup, asks 'Where's my money?' I'llget to it when I get to it,' myfriend says. Half hour laterBenedict's in my friend's hotelroom, dangling him off his 10thfloor balcony by his feet. 'Yougonna get to it now?'High Roller turns over a nine. Saul wins.(CONTINUED) OCEAN'S 11 - Rev. 03/20/0170A.108CONTINUED: (A1)108FRANKBank wins -- natural nine.Benedict steps forward.HIGH ROLLERHiya, Terry.BENEDICTMr. Weintraub. How's everything?HIGH ROLLEREh. They put too much grenadinein my Shirley Temple.BENEDICTAnd here I thought you weredrinking vodka.(turning attention to Saul)Mr. Zerga.SAULMr. Benedict. I recognize youfrom the TV. You know, ninecasinos out of ten, owner comesup in the middle of the hand toask me what I want. I respectyour waiting.(CONTINUED) OCEAN'S 11 - Rev. 10/24/0171.108CONTINUED:108BENEDICTYou're the guest, sir.SAULAnd I have to impose on yourhospitality. Can you sit in for ahand?BENEDICTI'd love to, Mr. Zerga, but thegaming board would feed me to mywhite tigers.SAULThat's a shame. You're the kingof Vegas and you have to playcraps in the alley.BENEDICTNo shame at all. Reminds me of myyouth.CORNER - MOMENT LATERBenedict and Saul are huddled in a corner.SAULThe fight is Saturday, is it not?BENEDICTYes. I can get you seats...SAULNo, no. Hand-to-hand combatdoesn't interest me. I have apackage arriving here Saturdayevening. A black briefcase, standard size, the contents ofwhich are very valuable to me.BENEDICTI'd be happy to put it in thehouse safe for you.SAULThe house safe is for brandy andgrandmother's pearls. I'm afraidI need something more secure.BENEDICTI can assure you, the house safeis utterly...(CONTINUED) 72.108CONTINUED: (2)108SAUL(his looks stops Benedict)I can assure you, Mr. Benedict,your generosity in this matterwill not go overlooked. Now:what can you offer me besides thesafe?Saul's eyes are pure steel: he is not a man familiarwith being denied. And Benedict recognizes that fact.109",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BELLAGIO - RESTAURANT - SAME TIME109TESSSee, the kind of people you stealthings from, they have insuranceto compensate them. They get madewhole again. I had to leave NewYork to get away from whathappened. How do I get my fiveyears back, Danny?DANNYYou can't. But what you can do isnot throw away another five years.TESSYou don't know anything about --DANNY(leaning in)Listen, you don't love me anymore,you want to make a life withsomeone else? Fine, I'll have tolive with that. But not him.TESSSpoken like a true ex-husband.DANNYI'm not joking, Tess.TESSI'm not laughing.(beat)You have to admit there's aconflict of interest when you giveme advice about my love life.Danny exhales and leans back.(CONTINUED) OCEAN'S 11 - Rev. 1/8/0173.109CONTINUED:109DANNYYes. But that doesn't mean I'mwrong.She looks at him, and maybe part of her knows that heisn't. She looks down at his ring, somewhat wistful. He sees her looking at it.TESSDo you remember what I said to youwhen we first met?DANNYYou said: you better know whatyou're doing.TESSDo you? Now? Because -- truly --you should walk out the door ifyou don't.DANNYI know what I'm doing.BENEDICTWhat are you doing?Terry Benedict is hovering over them, fresh from hismeeting with Saul.DANNYCatching up.TESSTerry, meet my ex-husband...DANNY(extending his hand)Danny Ocean.BENEDICT(taking it)Mr. Ocean.(to Tess)Forgive me for being late. Aguest required my attention.TESSDanny was just walking through therestaurant and spotted me.BENEDICTIs that right?(CONTINUED) OCEAN'S 11 - Rev. 1/8/0174.109CONTINUED: (2)109DANNYI was shocked myself. Imagine the odds.BENEDICT'Of all the gin joints in all theworld...'(beat)You've been in prison untilrecently, isn't that right? Howdoes it feel to be out?DANNYAbout the same. Everything you want is still on the other side.BENEDICTThere's the human condition foryou.TESSTerry, Danny was just about to...DANNYI just wanted to say hello. Forold time's sake.BENEDICTStay for a drink, if you like.TESSHe can't --DANNY(simultaneously)-- I can't.An awkward silence. Benedict takes Tess's hand in his.BENEDICTWell, then I don't imagine we'llbe seeing you again, Mr. Ocean.DANNYYou never know.BENEDICTI know everything that happens inmy hotels.DANNYSo I should put those towels back.BENEDICTThe towels you can keep.(CONTINUED) OCEAN'S 11 - Rev. 10/24/0075.109CONTINUED: (3)109DANNY(smiles, rises)Good seeing you, Tess.TESSTake care, Danny.Danny goes. When he's out the door...TESSI'm sorry --BENEDICT(like lightning)Don't be.110OUTSIDE RESTAURANT110MOVING WITH Danny as he exits, his fingers snapping, hesaw the mist in Tess's eyes just now, he knows he's got afighting chance with her, but what he does not know is...... Linus is tailing him, ten steps back. He stops,glances back at the restaurant quizzically, thencontinues following Danny.111",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BASHER TARR'S HOTEL ROOM - DAY111Nobody lights a match, this place is a powder keg.Basher sits on his bed, surrounded by combustibles,whittling and polishing a plastic explosive into anemerald shape. There's a KNOCK at the door...MAID (O.S.)House cleaning.BASHER(eyes never leave his work)Just jumping into the shower, canyou come back later?The maid moves on, on TV: A Reporter broadcasts live...REPORTER (V.O.)We're here at the historicParadiso Hotel and Casino, oncethe prize resort of Las Vegas, nowseconds away from demolition... OCEAN'S 11 - Rev. 10/24/0076.112",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PARADISO HOTEL (ON STRIP) - DAY112Just down the block from the Terry Benedict Trinitystands (for a few remaining moments) the edifice of theParadiso, Reuben Tishkoff's bankrupted hotel-casino.A crowd has gathered to witness its destruction: TerryBenedict, for one, his finger on the button and his facein the spotlight; Tess another, standing (near)by herman; Danny, too, hidden within the masses, eyes fixed onhis ex; and Linus, who keeps a steady bead on Danny.REPORTER... and here's Reuben Tishkoff,former owner of the Paradiso, cometo bid farewell to his fabledresort and wish Terry Benedict allthe best with his future plans forthe property...Terry greets Reuben before the TV cameras and newspaperreporters, and everyone's smiling and shaking hands, butbehind those smiles and under their breaths...BENEDICTGood to see you.REUBENGo shit in your mouth.Tess, her eyes roaming the crowd, finds a pair staringback at her: Danny's. She holds his glance a moment --long enough for both Linus and Benedict to notice --before turning away, to...... Benedict, who puts his public smile back on and stepsup to a podium alongside MIKE TYSON and LENNOX LEWIS, andtogether they all put their hands on ""the plunger"" andBenedict leans into a microphone...BENEDICTI hope there's as much dynamite inthe Paradiso as there will be inthis Saturday's fight.... and -- WHOOMPH -- the PLUNGER comes down and -- writeyour own onomatopoeia here -- the PARADISO IMPLODES.Reuben wipes a tear from his eye.REUBENG'bye, honey...113",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BASHER TARR'S HOTEL ROOM - SAME TIME113As the Paradiso crumbles outside his window, the lightsand TV in his room flicker and go out.(CONTINUED) 77.113CONTINUED:113BASHERShit.As he scrambles out the door, making sure to post a ""DoNot Disturb"" sign...RUSTY (V.O.)Saturday day is yours. Dowhatever you like with it.114",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TISHKOFF'S - GAME ROOM - NIGHT114FROM ABOVE, SLOWLY DESCENDING: Ten of our eleven (Basheris missing) surround the model of the three casinos.Rusty leads everyone in a run-down of the heist...RUSTYCall is at five-thirty. Makeupand costume. Saul's packagearrives at seven-fifteen, andLinus grabs our codes. All goeswell there and we're a go. Seven-thirty Virgil and Turk deliver Yenand we're committed. From thatpoint, we have thirty minutes toblow the power or he suffocates.We DESCEND ONTO the miniature of the vault, then --DISSOLVE TO:115",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BELLAGIO VAULT - NIGHT115FROM ABOVE, DESCENDING STILL: This is the Real Deal.The Bellagio vault. A clock reads: 8:03.RUSTY (V.O.)Once the electricity goes, allentry points to the vault and itselevator will automatically lockdown for two minutes. That's whenwe make our move...Two guards wheel in a cash cart and leave it in thevault's center and march out again, closing the thickmetal door behind them. When the vault LOCKS CLICK...... We STOP DESCENDING, just above the cash cart. Thereis silence for a spell, the lights flicker out, then...... the false top of the cart springs open, revealing Yenwithin, folded neatly.(CONTINUED) OCEAN'S 11 - Rev. 1/8/0178.115CONTINUED:115He inhales deeply, then slowly unspools himself from thecash cart until, at last, he crouches atop it. He takesin the room: vacant and silent.Except for Rusty, who walks right by him, incongruously.RUSTYOkay: they've put you in themiddle of the room, far fromeverything. You have to get fromhere to the door without touchingthe floor. What do you do?A WIDER ANGLE reveals we're...116",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. WAREHOUSE - NIGHT116The Bellagio vault has been fully reproduced here, andwhat we've been watching has been a trial run. Ten ofthe eleven (Turk and Virgil in guard costumes, Basher isstill missing) watch from offstage, like a film crewwatching a dress rehearsal.FRANKFin says he shorts it.LIVINGSTONMake it a sawbuck.From a dead squat, Yen leaps, hands first, from the cashcart to a ledge five yards away, and grips it safely withboth hands without touching the floor. From thisposition, he'll inch his way to a counter, then, to thedoor...Frank pays up. Behind him, a DOOR SLAMS, and he turns tosee Basher, at last. Sniffing the air, he double-takes-- Basher's covered head-to-toe in sewage.BASHER(and he's not happy)We're in deep shit.117",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. WAREHOUSE - NIGHT117Linus hoses Basher off, his accent angry and thick as hespits out water and the story of his afternoon and ifnobody understands a word he's saying, that's okay...(CONTINUED) OCEAN'S 11 - Rev. 10/24/0079.117CONTINUED:117BASHERThe damn demo crew didn't use acoaxial lynch to back themainline! Onioned the mainframe couplet!Reuben leans into Livingston...REUBENYou understand any of this?LIVINGSTONI'll explain later.BASHERBlew the backup grid one by one!Like dominoes!DANNY(as he hardly understands this either)Basher. What happened?118FLASHBACK -",FLASHBACK +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. VEGAS SEWERS - THAT AFTERNOON118A cabal of city engineers investigates subterranean fuseboxes, and Basher tails them, hiding near a waterfall ofeffluent.BASHER (V.O.)They did exactly what I planned todo. Only they did it by accident.Now they know their weakness. Andthey're fixing it.An ECHOING FOOTSTEP draws the attention of the cityengineers, and Basher retreats into the waterfall.119",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TISHKOFF'S LIVING ROOM - NIGHT (PRESENT)119Basher towels off his hair...DANNYSo...BASHERSo unless we decide to do this jobin Reno, we're screwed.Danny rises and paces, frustrated. He's come too far forthings to go awry now.(CONTINUED) OCEAN'S 11 - Rev. 10/24/0080.119CONTINUED:119RUSTYWe could --DANNYBy tomorrow?Danny keeps pacing; Rusty hangs his head and thinks;Basher dries his hair.BASHER(an idea occurs to him)We could use a pinch.Danny stops; Rusty looks up.DANNYWhat -- is a pinch?120",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LAB - DAY120Scientists demonstrate the pinch, a lithium wire in a glass vacuum tube the size of a small refrigerator. BASHER (V.O.)A pinch is the equivalent of acardiac arrest for any broad-bandelectrical circuitry. Or betteryet: A pinch is a bomb... but without the bomb. Every time a nuclear weapon detonates, itunleashes an electromagnetic pulsewhich shuts down any power sourcewithin its vicinity. That tendsnot to matter in most casesbecause the nuclear weapondestroys everything you might needpower for anyway. Now a pinch creates a similar electromagneticpulse, but without the headache ofmass destruction and death. Soinstead of Hiroshima, you get the Seventeenth Century.A121",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TISHKOFF'S LIVING ROOM - NIGHTA121RUSTYFor how long?BASHERAbout ten seconds.(CONTINUED) OCEAN'S 11 - Rev. 1/8/0181.A121CONTINUED:A121DANNYCould a pinch take out the powerof an entire city? Like, Idon't...BASHERLas Vegas?(beat)But there's only one pinch in theworld big enough to handle it.Danny and Rusty trade a look: They have their answer.DANNYWhere?BASHER(a beat, then balefully)Pasadena.B121",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CAL TECH CAMPUS - NIGHTB121Headlights hit a sign: ""Cal Tech. HIGH-SECURITY AREA.KEEP OUT."" A white VAN SHOOTS PAST it.121OMITTED121122",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. WHITE VAN - NIGHT122Turk and Virgil man the front seats as Danny, Basher, Yenand Linus huddle in the back. Basher and Yen bothprepare equipment for their raid: hooks and a rope forYen, a small blowtorch and a drill for Basher.DANNY(to Basher and Yen)You two ready?They nod and, with Danny, start out the van's rear door.Linus starts to follow but...DANNYWhat are you doing?LINUSComing with you.Danny smiles and shakes his head.LINUS(furious)But...(CONTINUED) OCEAN'S 11 - Rev. 1/8/0182.122CONTINUED:122The van door slams in his face.123",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LABORATORY - AT PERIMETER DOOR - NIGHT123Danny picks a lock, then he, Yen, and Basher disappearinto the lab's interior.124",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. WHITE VAN124Linus twiddles his thumbs, tired of being seated at thekids' table. Meanwhile, up front, another Mensa meetinghas been called to order...VIRGILAre you a man?TURKYes. Nineteen.VIRGILAre you alive?TURKYes. Eighteen.VIRGILEvel Knievel.TURKShit! Okay, your turn...SAME SCENE - LATERVIRGILCo-sign squared over .0455.TURKNo. Co-sign squared over .0415.VIRGIL.04-five-five.TURKOne-five.VIRGILYou're so wrong.TURKYou don't know your string theory,bitch.(CONTINUED) OCEAN'S 11 - Rev. 1/8/0183.124CONTINUED:124SAME SCENE - LATERAfter a spell of silence...VIRGILMom told me she loves me more.TURKShe told me she was going to tellyou that.ON LINUSTURK (O.S.)Stop it.VIRGIL (O.S.)Make me.TURK (O.S.)Stop it.VIRGIL (O.S.)Make me.They can be heard WRESTLING. Linus has had enough. Hesneaks out the van's back door without the Malloyshearing him.125AT PERIMETER DOOR125Linus sulks along the laboratory's perimeter, finds thedoor Danny pick-locked, and disappears inside.A moment passes.A moment passes.And the next door opens, and Danny, Basher, and Yenappear, pinch in hand -- they've succeeded. They weave apath to the van...126",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. VAN126Turk and Virgil are still wrestling as the trio appears.Danny, Basher and Yen pile in the back...DANNYWe got it. Let's go.Turk floors it, and they're off.(CONTINUED) OCEAN'S 11 - Rev. 1/8/0184.126CONTINUED:126DANNYWait a minute.Turk brakes, and they're not.DANNYWhere's Linus?Everyone realizes: he's not here. Just then:SIRENS and ALARMS and lights come to life. Uh-oh.Danny spins to look out the back of the van, Basher byhis side. His eyes scan the compound, then:DANNYThere he is.DANNY'S POVof the lab, and its beveled-glass stairwell. Linusscrambles up its steps, a flight ahead of a duo of chasingguards. As he ascends out of sight...Danny shifts his focus to -DANNY'S POVThe other side of the building, and two more guardsarriving on the roof and moving toward the staircase:Linus will be trapped.BACK TO SCENEDanny, Basher, and Yen squat side-by-side-by-side,watching all this. Yen makes a colorful observation aboutLinus's predicament; of course, no one understands it.VIRGIL (O.S.)One of us should help him.BASHER(who speaks Danny's mind)Then there'll be two of us whoneed saving.DANNYHe knows where we are.(CONTINUED) OCEAN'S 11 - Rev. 1/8/0185.126CONTINUED: (2)126DANNY'S POVBoth sets of guards appear on the rooftop, and find noLinus between them -- he's disappeared.TURK (O.S.)Where'd he go?BACK TO SCENEDanny and Basher slowly turn: Turk and Virgil crouchinches behind them, wanting to spectate as well.TURK(off Danny's look)What?(then, realizing their goof, to his brother, remonstratively)Would you -- shouldn't someone bebehind the wheel?CRASH!127OMITTED127&&128128129",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LABORATORY - NIGHT129A second-story WINDOW EXPLODES as a desk chair fliesthrough it, followed shortly by Linus who leaps onto a steel-mesh overhang running alongside the building.130OMITTED130A131",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. VANA131DANNYAlright, back it up, back it up!Virgil leaps into the driver's seat, shifts into reverse.B131",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. VANB131Linus runs along the overhang, then leaps down, onto thereversing van, and rolls along its roof and down itswindshield.(CONTINUED) OCEAN'S 11 - Rev. 1/8/0186.B131CONTINUED:B131THROUGH the windshield: Virgil jabs his thumb over hisshoulder: get in the back.DANNY(appearing from the rear doors)C'mon, c'mon...Linus scrambles back over the van, and Danny and Yen pullhim in. Virgil hits the gas for a quick getaway, but hedoes so before the rear doors are closed, and one of themslams shut right on Yen's hand -- CRUNCH!YENAhhh!131",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. WHITE VAN131as it hurtles away. Basher tends to Yen, cradling hishand, and Danny stares down Linus, breathless.DANNYI say stay in the van, you stay inthe van, got it? 'Cause you losefocus for one second in this game,and someone gets hurt.LINUS(he's had just about enough of Danny's shit)I got it.They continue staring daggers at one another as...A132",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. VANA132The van pulls away into the night...JIM LAMPLEY (V.O.)It's fight night in Las Vegas...132,FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. LAS VEGAS - DAY132Incoming lanes of the I-15 reflect bumper-to-bumpersteel; planes in the air are stacked for five miles overthe desert; even Gila monsters below seem Vegas-bound.(CONTINUED) OCEAN'S 11 - Rev. 1/8/0187.132CONTINUED:132JIM LAMPLEY (V.O.)... people are flooding in fromall over the country to see whathas been dubbed the 'Fight to EndAll Fights'...133,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LAS VEGAS - DAY133JIM LAMPLEY broadcasts live from a mobbed Strip.JIM LAMPLEY... and even though it's stillfive hours 'til the opening bell,the energy here is fever-pitched.134",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BELLAGIO CASINO134Every table is in play, every seat filled. 88.135",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. BELLAGIO SECURITY CENTER - THE EYE IN THE SKY135The Bellagio's CASINO MANAGER (the one Linus spied withBenedict before) checks in with his watchers.MANAGERHow we doing?136,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MIRADOR SUITE - DAY136Livingston has moved A/V operations into Lyman Zerga'ssuite. As he scours the same images the watchersdownstairs do, he eavesdrops on their communicationsthrough his headset.WATCHER (V.O.)(over Livingston's headset)Cotton couldn't be taller.137IN MIRADOR SUITE BATHROOM137Lost in the luxury his role dictates, Saul floats in afull-sized Jacuzzi and chews on a hundred dollar cigar;Reuben, meanwhile, paces the floor, nervously.TISHKOFFWhere are they? That's what Iwant to know. Where are they?SAUL(as Lyman)They'll be here.TISHKOFF(to himself, mocking ""Lyman"")'They'll be here.' Thanks a lot,Fidel.138AT LIVINGSTON'S CONSOLE138Punching up a new set of views from the Eye In The Sky,Livingston thrusts forward, alarmed by one.LIVINGSTONYikes.139",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BELLAGIO CASINO - LOBBY - DAY139Rusty keeps watch on the hotel's side entrance.(CONTINUED) 89.139 CONTINUED: 139He glances at his watch, then outside again as the whitevan arrives, dropping off only Linus and Danny, who slapsthe van's roof before it pulls away.As Danny and Linus enter the lobby, Rusty falls into stepwith them, exchanging a smile with Danny but not Linus,he still looks chastised from the car-trailer.140",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ELEVATOR140Riding up...RUSTYYou boys have a nice trip?Rusty, smiling, looks to Linus, glowering, then to Danny.Before Danny can explain the doors part at the MiradorSuite, where Livingston greets them urgently.LIVINGSTONWe have a problem.141",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MIRADOR SUITE - ON LIVINGSTON'S LAPTOP - DAY141A mug-shot of Danny, complete with vital information:height, weight, criminal history.LIVINGSTONYou've been red-flagged. It meansthe moment you step on the casinofloor, they'll be watching you.Like hawks. Hawks with videocameras.DANNYThis is a problem.A pall falls over the room: this is more than a problem,this is disastrous. Only SAUL dares make a noise,HUMMING and SPLASHING in the next room.RUSTYSaul: time to get out.SAUL (O.S.)(as Lyman)It's time when I say it is.RUSTYNow!We hear HIM JUMP-TO-IT out of the tub...(CONTINUED) OCEAN'S 11 - Rev. 10/24/0090.141 CONTINUED: 141SAUL (O.S.)(himself again)I'm out.RUSTY(back to Danny)You have any idea how thishappened?Before Danny can answer...LINUSI do. He's been chasingBenedict's woman. Got into a realsnarl with him two nights ago.(off Danny's look)I was tailing you.DANNYWho told you to do that?Before Linus can answer...RUSTYI did.(he and Danny hold a stare)I knew you couldn't leave Tessalone.TISHKOFFWho's Tess?DANNYMy wife. RUSTYEx-wife.SAUL(appearing in a bathrobe)Tess is here?RUSTY(eyes still on Danny)I'm sorry. I didn't know if itwould sting you, but it did.(the most difficult words he's ever had to say)You're out, Danny.(CONTINUED) OCEAN'S 11 - Rev. 10/24/0091.141 CONTINUED: (2) 141TISHKOFFHe's out?!RUSTYIt's that or we shut down rightnow. His involvement puts us allat risk.Danny and Rusty face off, furious with each other.DANNYThis isn't your call.RUSTYYou made it my call. When you puther ahead of us. You made it mine. DANNYThis is my job.RUSTYNot anymore.Danny stares daggers at Rusty. But he can see: everyonein the room is on Rusty's side. Defeated, he stalks outof the room, onto a balcony, but not without staring downLinus.TISHKOFFBut, but... he can't just be out. Who's gonna take his place?Rusty turns to Linus.RUSTYKid, you up for it?Linus's eyes drift to Danny outside -- whatever acrimonyhe felt before, he never meant to kick Danny off the job.He nods, half-cocksure/half-scared-pissless: he's up forit. RUSTY(to Livingston)Find everyone else. Let 'em knowthe change in plan. Curtain goesup at seven.Livingston exits. Everyone else in the room staggers about, like witnesses after an execution. Rusty steps out onto the balcony, perhaps to console Danny, but (as Linus watches them from inside) their words cannot be heard.(CONTINUED) OCEAN'S 11 - Rev. 10/24/0092.141 CONTINUED: (3)141SAULTess is with Benedict now?(as nobody responds)She's too tall for him.142OMITTED142&&143143144","THE POSSIBLE GENRES ARE: + +DRAMA" +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BENEDICT'S SUITE - DRESSING ROOM - NIGHT144Tess, readying herself for the big evening, meets her ownglance in a dressing mirror, then spots Benedict in itsreflection, pacing the bedroom behind her.BENEDICT(on phone)Yes. Yes. No. Very much no.(beat)Then inform Mr. Levin he'll find abetter view of the fight in frontof his television. Surely he musthave H.B.O.Hanging up, Benedict approaches her, puts his hands onher shoulders...BENEDICTWhat are you thinking about?TESSYou.She smiles at him in the mirror. His glance in it,turns from her to himself.145",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. EXECUTIVE ELEVATOR145Riding down, Terry Benedict checks his watch. Theelevator doors open and...146",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BELLAGIO CASINO - ELEVATOR BAY146... he steps onto his casino's floor, the king of LasVegas.The time is 7:00. OCEAN'S 11 - Rev. 10/24/0093.147ON BALCONY OVERLOOKING CASINO FLOOR147Benedict meets his casino Manager, according to schedule.BENEDICTAny sign of Ocean?MANAGER (WALSH)Not in a couple hours. You wanthim out? I can bounce him fromthe state for parole violation ifyou like.BENEDICT(shakes his head)Put a guy on him. He's here for areason. I'd like to know what itis. But if he comes anywhere nearTess, take it to the next level.MANAGERBruiser?Benedict nods, goes on his way.148AT CASINO ENTRANCE148Saul, as Lyman Zerga, stands ramrod straight, lookingthrough sliding glass doors out at the valet station.From behind, Terry Benedict approaches, two securityguards walking half a pace behind him. Saul spots him inthe glass's reflection; he does not turn.SAULMr. Benedict.BENEDICTMr. Zerga. It's a very busy nightfor me. Are we on schedule?SAULI have no reason to suspectotherwise. My couriers should behere momentarily.A beat as Benedict studies Saul.BENEDICTIt's a nice evening. Shall we wait outside? OCEAN'S 11 - Rev. 10/24/0094.149POV THROUGH BINOCULARS - ON BELLAGIO VALET AREA149Benedict and Saul emerge, guards positioned around them.TURK (V.O.)They're in position.LIVINGSTON (V.O.)(over STATIC)Okay. We're a go.150",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BELLAGIO CASINO - VALET AREA - SUNSET150A white, unmarked van pulls in from the street and racesup to the curb where Saul and Benedict wait.Turk Malloy gets out the passenger's side, a briefcasehandcuffed to his wrist, as Virgil comes around from thedriver's side, both of them dressed in their bodyguardsuits.TURKMr. Zerga. A gift from Mr. Hesse.Turk extends the briefcase to Saul, so that they bothclasp the handle, as Virgil produces a key, unlocks thecuff on Turk's wrist, transfers it to Saul's, clamps itshut, and hands Saul the key.SAULThank you, Friedrich, Gunther. He turns, nods to Benedict, and they retreat into thehotel, the security guards and Malloys flanking them.151",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BELLAGIO CASINO151Frank deals blackjack to a full table. His eyes gazepast his players to Saul, the guards and Benedict passingby.FRANK(as he busts)Lookin' like a bad night for thehouse.MOVING WITH Benedict as he spies out of the corner of hiseye Danny, lurking at a slot machine. To one of his guards...BENEDICTFind Mr. Walsh. Tell him Mr.Ocean's in the west slots.(CONTINUED) OCEAN'S 11 - Rev. 10/24/0095.151CONTINUED:151The guard goes, and Benedict continues with Saul...BENEDICTI'm afraid I can't allow my private security personnel inside the casino cages. I hopeyou don't mind...SAULOf course not.Saul turns to dismiss Virgil and Turk when...... passing by, on his way to a sports betting window, anold RACETRACK DENIZEN happens past this cabal and, worseyet, happens to recognize Saul.RACETRACK DENIZENSaul? Saul Bloom, is that you?Saul does his best to ignore the man. But even Benedictnotices: this guy seems to know Lyman Zerga.RACETRACK DENIZENSaul, it's me. Bucky Buchanan, remember? From Saratoga.At last Saul turns to face this man, with shark's eyes.SAULFriedrich, Gunther.An order: dispose of this man. Virgil and Turk pick upthe Denizen by his elbows and haul him away.SAULMr. Benedict...(gesturing to the cage; re: his briefcase-cuff)Please: I have never enjoyed thetouch of steel to my skin.They proceed.152AT SLOTS152Danny sits in a row of octogenarians, all vacantlydropping $1 coins and pulling levers. As he watches Sauland Benedict disappear into the cage...(CONTINUED) OCEAN'S 11 - Rev. 10/24/0096.152CONTINUED:152DING! DING! DING! DING! Four cherries. Danny smiles,a big winner, but he's got bigger pots to win tonight.He steers a neighboring senior citizen (blind as a bat)to his slot machine...DANNYPops, you won.... then slips away.A153",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MIRADOR SUITEA153Linus stands dressed in a sharp, conservative suit -- a far cry from the threadbare thief in Chicago. Rusty circles him, inspecting.RUSTYWhere you gonna put your hands?Linus clasps them.RUSTYNo...Linus goes for his pockets.RUSTYNot the pockets, either. And don't touch your tie. Look at me...Linus does.RUSTYThat how you gonna stand?Linus shifts his balance.RUSTYWrong again. I ask you a question, you have to think of the answer, where you gonna look?Linus looks down.RUSTYDeath. You look down, they knowyou're lying --Linus looks up.(CONTINUED) OCEAN'S 11 - Rev. 1/8/0197.A153CONTINUED:A153RUSTY-- and up they know you don't knowthe truth. Don't use three wordswhen one will do, don't shift youreyes, look always at your mark butdon't stare, be specific but notmemorable, funny but don't makehim laugh, he's gotta like youthen forget you the moment you'veleft his sight, and for God'ssakes whatever you do, don't underany circumstances --LIVINGSTON (O.S.)Rust, can you come here a sec?RUSTY(wandering off)Sure thing.Linus is left utterly bewildered, a thousand commandmentsto remember and fifteen minutes to remember them in.153",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. ALLEY - DUSK153Turk and Virgil's white van whips around a corner andshoots inside...154,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. WAREHOUSE - SECOND VAN POV154Of which, importantly, we never see the exterior, just anair freshener hanging from the rearview mirror...The white VAN SCREECHES to a halt inches from Basher whostands ready beside the pinch (and the now-gutted anddismantled mockup of the Bellagio vault) and faster than a NASCAR pit crew Basher, Turk and Virgil load the pinchinto the white van's rear and before you can say""electromagnetic pulse"" the VAN SCREECHES back out of thewarehouse fully loaded.The time is 7:16.155",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BELLAGIO CAGES - EMPTY COUNT ROOM155The room is empty save for a large table. Saul placeshis briefcase on it, adjusts its numbered combinationlocks, and opens it.Inside the case: five rows of glittering emeralds.(CONTINUED) OCEAN'S 11 - Rev. 10/24/0098.155CONTINUED:155BENEDICTThey're very beautiful. A gift.Saul stares at him: none of your fucking business.BENEDICTCan you lift them out, please?Saul lifts the velvet tray out of the case, and Benedictpats down the case's interior. Saul replaces the tray.BENEDICTAlright, Mr. Zerga. I acknowledgethat the case does not contain anydangerous or illicit material. Ifurther agree to take custody ofyour case for a twenty-four hourperiod to store in our securedvault. While I cannot permit youto accompany the case to thevault...SAULWhy not?BENEDICTInsurance, for one. Security,another. And I don't trust you.There is a KNOCK at the door, and Walsh the casinomanager enters. He speaks low in Benedict's ear.WALSH (MANAGER)I put two plainclothes on Ocean.He's at the keno bar now.Walsh nods, and Benedict turns back to Saul.BENEDICTMr. Zerga, this is Mr. Walsh, mycasino manager. If you will allow,he will arrange for your briefcaseto be stored inside our vault whileyou watch on a security monitor.(beat)Those are my terms. Yes or no?Saul and Benedict eyeball each other.SAULYou leave me no choice.Saul unlocks the cuff from his wrist. OCEAN'S 11 - Rev. 10/24/0098A.156",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BELLAGIO CASINO - KITCHEN ENTRANCE - NIGHT156The white van slows enough to unload Virgil and Turk, changed into waiter uniforms, and they hurry a table-clothed room service cart inside as Basher pulls away.157",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BELLAGIO CASINO - BY CAGE DOOR - NIGHT157RISING FROM a spotless pair of wingtips shifting side-to-side, OVER hands flexing and stretching, UP TO Linus Caldwell. He keeps an eye on the cage door, waiting forBenedict to appear, as he tries anything to shake out hisnerves. Then, from a discreet earpiece he wears, comes:LIVINGSTON (V.O.)Deep breaths. You'll do fine.LINUS(breathes deep)Thanks.LIVINGSTON (V.O.)No sweat, kid. You're a rock.(as Linus smiles, feeling good about himself)Now don't fuck up.158",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MIRADOR SUITE - ON LIVINGSTON'S MONITOR - NIGHT158Linus's smile disappears as he continues to bounce.There's a KNOCK at the door.(CONTINUED) 99.158CONTINUED:158VOICE (O.S.)Room service.Rusty checks through the peephole, then ushers in Turkand Virgil in costume with their room service cart.TURKWho ordered the penne?Livingston raises a hand, and as Turk serves him hisplate, Virgil whips off the cart's tablecloth:underneath it's the false-lid cash cart. Rusty turns toa corner.RUSTYYou ready?In it, Yen finishes bandaging his busted hand and nods.159",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BELLAGIO SECURITY CENTER - THE EYE IN THE SKY159Fat and Slim sit before their monitors, feet kicked up,as behind them Walsh, Benedict, and Saul enter.WALSHThis is our security center, wherewe oversee all gaming in thecasino as well as our vault.You'll be able to monitor yourbriefcase from here.Walsh, finding Fat and Slim as they are, coughs; the twowatchers leap immediately to their feet. Benedict checkshis watch.SAULDon't let me keep you.BENEDICTMr. Zerga...And Benedict takes his leave...160",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MIRADOR SUITE - NIGHT160RUSTYLinus... you're up.161,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BELLAGIO CASINO - BY CAGE DOOR - NIGHT161Linus nods, shakes out his hands some more...(CONTINUED) OCEAN'S 11 - Rev. 10/24/00100.161CONTINUED:161LINUSDeep breaths, deep breaths.... and here comes Benedict, exiting the cage just as hisassistant arrives with his portfolio. As he turns towardthe restaurant...LINUSMr. Benedict...BENEDICTYes?LINUS(presents proper identification)Sheldon Wills. Nevada GamingCommission. Could I have twominutes of your time?Benedict sighs -- his evening's been sidetracked enoughalready -- but...BENEDICTOf course. Anything for theN.G.C.162AT KENO BAR162Danny watches Benedict escort Linus toward the blackjacktables, unaware that TWO PLAINCLOTHES SECURITY GOONSwatch him from across the bar, and when he turns in theirdirection, they look away, acting incognito, but it's notthem he's turning toward...... it's Tess, rounding a corner toward the restaurant.Danny jumps to his feet, throws a tip on the bar, andgoes.163",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MIRADOR SUITE - NIGHT163The time is 7:27.Yen tucks himself into the cash cart's hidden compartmentwith a slim oxygen tank for company. Meanwhile, Rusty drills Virgil and Turk...RUSTYOkay: when do you make thedeposit?(CONTINUED) OCEAN'S 11 - Rev. 10/24/00101.163CONTINUED:163TURKNot until we get your signal.VIRGILHey. What do we look like: acouple of peckerwood jackasses orsomething?No one responds.RUSTY(turning his attention to Yen, squeezed into the cart)Amazing: how's it feel? Youalright?(as Yen nods)Want something to read? Magazine?From the tangle of limbs, a middle finger protrudes toshow Rusty what he can do with a magazine.RUSTYOkay. I'm counting down. Thirtyminutes of breathing timestarts... now.On ""now"" a RUNNING CLOCK APPEARS ON-SCREEN, descendingfrom 29:59. It will REMAIN there for the duration of thepre-pinch heist, jumping at times BETWEEN SCENES.Rusty seals Yen inside the cash cart, then gives the topa tug: it's shut tight. As Virgil redresses it with thetablecloth, Turk snatches back Livingston's penne on theway to the door.LIVINGSTONYou get no tip.164",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CASINO FLOOR - 28:37 164and counting. MOVING WITH Benedict and Linus into thePit Boss's station.LINUSIt only came to our attention thismorning, Mr. Benedict. Apparentlyhe has a record longer than myarm.BENEDICTIf he is who you say he is.(hailing a PIT BOSS)Charlie. Call over RamonEscalante.(CONTINUED) 102.164CONTINUED:164PIT BOSSCertainly, Mr. Benedict.Benedict and Linus wait, side-by-side. While Linus doeshis best to play it cool, Benedict dips into hisportfolio.165",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MIRADOR SUITE - ON LIVINGSTON'S MONITOR - NIGHT165An overhead view of Benedict as he pulls out thecombination to the vault, reads it, then buries it in hisjacket pocket.RUSTYDid you make it out?LIVINGSTONHis head blocked the last twonumbers.(into his microphone)We missed it, Linus. You gottagrab the combination yourself.166",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BELLAGIO CASINO - NIGHT166Linus half-nods in response, and Benedict notices.Suspicious of the young man, he decides to test him.BENEDICTYou new at the commission?LINUSBeen there about two years.BENEDICTI know Hal Lindley over there.You work with him at all?LINUS(a pause; will he pass?)Not since he died last year.He passes. The Pit Boss returns with Frank in tow.BENEDICTMr. Escalante. Would you comewith us, please?FRANKWhat's this about?(CONTINUED) OCEAN'S 11 - Rev. 10/24/00103.166CONTINUED:166BENEDICTI think it's better if we talkedoff the floor.Linus and Benedict lead Frank away. As they pass anelevator...... its doors open, revealing Turk and Virgil, dressednow as security guards, pushing out the false-lid cashcart. They leave behind a pile of dishes, waiteruniforms, a tablecloth.167",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RESTAURANT - 24:26 167and counting. A MAITRE D' scours his reservations list,then peers up to find Reuben Tishkoff approaching, oneither side of him two gorgeous young women, all blondehair and breasts and legs, women who wouldn't give Hefnerthe time of day.MAITRE D'Good evening, Mr. Tishkoff.TISHKOFFGood evening, Marcel. My niecesand I would like a table.Something quiet before the fight.MAITRE D'I can put you at 19 in just acouple minutes.TISHKOFFQuick as you can.(re: the girls)The meter's running here.The Maitre d' turns to his next customer: Tess. She, ofcourse, merits a table instantly.MAITRE D'Good evening, Miss Ocean. Rightthis way...Reuben can't help but stare as Tess passes by. His eyeslinger a little too long and a little too low...VOICE (O.S.)Hey...Reuben pivots; it's Danny, and he strolls past Reuben and his lady friends and into the restaurant...(CONTINUED) OCEAN'S 11 - Rev. 10/24/00104.167CONTINUED:167DANNYTry to keep your tongue in yourmouth.TISHKOFF(shocked to see Danny; thinks he's off the job, but covering)Yeah, pal, well only if you takeyour thumb out of your...... Reuben gets brushed from behind by the twoPlainclothes Goons following Danny.TISHKOFF(outraged)Hey: you have any idea who Ithink I am?168AT TESS'S USUAL TABLE168Just as she's sitting, Danny approaches. She goesstraight at him, apoplectic.TESSDanny: No.DANNYI'll just be a moment.TESSI'm having you thrown out of here.She starts past him; he grabs her arm to keep her, andshe wheels on him.TESSYou're up to something, Danny.What? And don't say you came herefor me. You're pulling a job,aren't you?DANNYTess...TESSWell, know this: no matter whatit is, you won't win me back. Ican't afford it.DANNYI just came to say good-bye. (CONTINUED) OCEAN'S 11 - Rev. 10/24/00105.168CONTINUED:168This surprises Tess, and, truth be told, saddens her; shestudies him a moment, unsure of what to say.TESSOh... then... good-bye.DANNYGood-bye.Danny starts for her cheek, stops to see if it's alrightwith her -- she, sad-eyed, does not recoil -- and thengently kisses it...DANNYBe good.Danny leaves her. Tess watches him go.TESS(already missing him)Good-bye, Danny.169AT RESTAURANT'S ENTRANCE169Danny runs smack into the Plainclothes Goons.PLAINCLOTHES GOON #1Mr. Ocean. Mr. Benedict wouldlike to see you.DANNY(resignedly, these men are much too big to tangle with)I thought he might.The Plainclothes Goons escort Danny away, right pastReuben who frowns, concerned.170",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BELLAGIO CASINO MANAGER'S OFFICE - 18:25170Frank stands at attention before Linus and Benedict.Linus, straddling a desk, takes a beeper off his beltwhen it pinches him. Benedict checks his watch: thefight's opening bell is growing closer and closer.LINUSThank you for your cooperation,Mr. Escalante.(as Frank nods, not at all)Or should I call you Mr. Catton?(CONTINUED) OCEAN'S 11 - Rev. 10/24/00105A.170CONTINUED:170Frank bristles, tries not to let it show. Linus pullsout a Xeroxed mug shot and bio of him.LINUSYou are Frank Catton? Formerly ofthe Tropicana, the Desert Inn andthe New York State penitentiarysystem?(MORE)(CONTINUED) 106.170CONTINUED:170LINUS (CONT'D)(as Frank remains quiet)Your silence suggests you don'trefute that.(to Benedict)Mr. Benedict, I'm afraid you'vebeen employing an ex-convict. Asyou know, the N.G.C. strictlyforbids...FRANK(under his breath)Goddamn cracker...LINUS(a pause; he can't believe he just heard that)Pardon me.FRANK(leering at Linus, simmering)You heard me. Just 'cause a blackman tries to earn a decent wage inthis state...LINUSThat has nothing to do with...FRANK(over him, ranting)... some cracker cowboy like you'sgotta kick him out on the street.Want me to jump down, turn around,pick a bale of cotton, won't letme deal cards, might as well callit whitejack.LINUS(a beat, then)I resent your implication thatrace has anything to do with this.(to Benedict)Now, as I was saying, the NevadaGaming Commission strictly forbidsthe employment of the colored...(whoops)... I mean...That does it: Frank attacks Linus, lunging at the man,and as Benedict steps in to separate the two...(CONTINUED) OCEAN'S 11 - Rev. 3/30/01107.170CONTINUED: (2)170... Linus's hand dips into his tuxedo jacket andwithdraws the vault combination.FRANKOkay, okay, I'm cool.BENEDICT(to Linus)You alright?LINUS(a beat, then)Yeah.171",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MIRADOR SUITE - NIGHT171RUSTY(hearing this)He's got it.(into his mike)Virgil, Turk: deliver yourpackage.172",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BELLAGIO CASINO - BY CAGE DOOR - 14:05172Two guards stand sentry outside the cage door. Virgiland Turk move up with their cash cart, and when Virgilreaches for his keycard... it's gone.VIRGILAw, I think... Jesus. I lost mycard.The guards frown at him. A SECURITY OFFICER approaches.SECURITY OFFICERWhat's going on here?VIRGILI think... Jesus! I lost mykeycard.SECURITY OFFICER(and this, he knows, will get this guard fired)Okay. Leave the cart. Go findit.(to one of the sentries)Take this cart inside.The sentry nods, swipes his keycard, and enters with thecash cart. Turk and Virgil hesitate a moment to watch itenter, then hurry off. OCEAN'S 11 - Rev. 1/8/01108.173",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BELLAGIO SECURITY CENTER - EYE IN THE SKY173On a monitor: The sentry pushes the cart down a cagecorridor. On another: Saul's briefcase is escorted byanother guard to the vault elevator. On another: Dannyis escorted inside the cage by the Plainclothes Goons.WALSHThere it is now.SAUL(beginning to sweat this a bit, nerves overtaking him)Wonderful.ON MONITORSThe yen-filled cash cart joins Saul's briefcase on theelevator. PULL OUT to...174",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MIRADOR SUITE - 11:19174RUSTYThat's my cue.(as he exits)Give Basher the go.LIVINGSTON(into mike)Bash, what's your status?175",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BELLAGIO PARKING LOT - MOVING WITH BASHER - NIGHT175driving the white van, listening to a books-on-tape of Jane Eyre.LIVINGSTON (V.O.)Bash!BASHER(turning Bronte down)No need to yell.LIVINGSTON (V.O.)What's your status?BASHERI'm there.And he SCREECHES to a halt on the parking structure's top level. Vegas can be seen in every direction. OCEAN'S 11 - Rev. 10/24/00109.176",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAGE/HALLWAY - 08:36176and counting. Benedict exits the casino Manager's officewith Linus and Frank. Benedict hails two GUARDS...BENEDICTPlease show this man off thepremises.(to Frank)Don't step foot in my casinoagain.FRANK(as he's led away, over his shoulder, to Linus)Cracker.Benedict checks his watch again: he's really runninglate.BENEDICTMr. Wills, if you don't mind...(as Linus forgets to respond)Mr. Wills?LINUSOf course.They start toward the exit. But halfway there...LINUSMy beeper. I'm sorry. I forgotit.Benedict hesitates: He's in an enormous hurry now, he'sbehind schedule -- he hates being behind schedule -- butleaving even a member of the Gaming Commission alone inhis cage is a security risk. One glace at the camerasall about and he decides to risk it.BENEDICTYou know how to get back out?LINUSOf course. Enjoy the fight.BENEDICT(shaking his hand, then hurrying away)Thank you.Linus smiles after him, withdrawing the page ofcombinations he lifted off the man. OCEAN'S 11 - Rev. 10/24/00110.177",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BELLAGIO CASINO - 06:47177and counting. The Guards show Frank out. Frank triesto tip them...FRANKThanks, fellas.... but they snarl at him before returning inside. Franksmiles and goes on his way, his job complete.178",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. INTERROGATION ROOM - 06:36178Danny sits opposite two Plainclothes Goons in absolutesilence, waiting.DANNYHow much longer do you think Mr.Benedict will be?GOON #1Just a few minutes more.He scans the room.DANNYNo cameras in this room, huh?Don't want anyone seeing whathappens here?The Goons say nothing. Danny checks his watch.DANNYHe's not coming, is he?The Goons look at each other; Danny has called theirbluff.DANNYWho is?There's a KNOCK at the door, and the Goons smile:Danny's about to find out who. One Goon rises to usherin...... the BRUISER, come to beat the shit out of DannyOcean. The guy's at least six-six, three hundred pounds,but it's not his size that draws attention, it's histeeth...(CONTINUED) OCEAN'S 11 - Rev. 10/24/00111.178CONTINUED:178... or the lack thereof; the Bruiser doesn't hold asingle incisor, molar or bicuspid in his mouth. Gumcity. And there's something really terrifying about thesight.DANNYI guess Mr. Benedict didn't likeme talking to his girl.The Goons shake their heads. Danny smiles at theBruiser, and the Bruiser snarls back, showing off thosegums. He rolls up his shirtsleeves, itching to tear ahole in this man. The Goons head for the door.GOON #1We're gonna step outside now.Leave you two alone to talk thingsover.The Goons exit. Danny and the Bruiser face off. And asDanny opens his mouth to speak, Bruiser's fist flashes out and knocks him down. Danny rises, wiping a littleblood from his lip.DANNYJesus, Bruiser, not 'til later.BRUISERSorry, Danny. I -- I forgot.DANNYS'okay.(shaking it off)How's the wife?BRUISERPregnant again.DANNYThen we better get to work.179OUTSIDE INTERROGATION ROOM 179Standing guard outside, the Goons hear PUNCHES and GROANSfrom inside as...180",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. INTERROGATION ROOM180... Danny climbs onto Bruiser's shoulders and pushesthrough the ceiling rafters, groaning every time Bruiserslaps his fist into his hand. OCEAN'S 11 - Rev. 1/8/01112.A181",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. VAULTA181A guard wheels in the Yen-filled cash cart, parks it in a station next to its twin, then -- as an afterthought --plants Saul's briefcase right on top if it -- clunk -- anunforeseen obstacle to Yen's escape.B181",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MIRADOR SUITE B181LIVINGSTONOh shit...181,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BELLAGIO SECURITY CENTER - 04:30181Saul witnesses this, too, and stifles a reaction.WALSHDoes that satisfy you, Mr. Zerga?SAULYes, I'm very satisfied. WALSH(to Slim)Close it up.On the monitor, the vault door closes, but Saul looks anything but satisfied. He's sweaty, his mouth's so dryhe can't swallow, and he keeps patting down his pocketsfor his Rolaids, without finding them.FATYou alright, sir?182",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAGE/HALLWAY - MOVING WITH LINUS - 04:02182as he circumspectly approaches the vault-elevator door,checking up and down hallways for guards.183",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MIRADOR SUITE - NIGHT183On a monitor, Linus comes into view...LIVINGSTONAlmost there, kid.184",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BELLAGIO SECURITY CENTER - EYE IN THE SKY184... and Saul spots him, but so does Fat...(CONTINUED) OCEAN'S 11 - Rev. 1/8/01112A.184CONTINUED:184FATWho's that?... and Saul can't handle the suspense: He grips his armand groans and this is no ulcer problem, this is a full- fledgedcardiac, and Walsh, Fat, and Slim all attend tohim, their backs turned as...185",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAGE/HALLWAY - 03:42185... Linus hurries to the elevator, punching Benedict'scombination into a keypad. The elevator doors open forhim. OCEAN'S 11 - Rev. 10/24/00113.186",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MIRADOR SUITE - NIGHT186Livingston punches a few keys...LIVINGSTONGoing to video now.187,SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BELLAGIO SECURITY CENTER - EYE IN THE SKY187As Saul and his heart attack hold the spotlight, asecurity monitor flips from a shot of Linus entering theelevator to a Livingston-fed videotape of an empty lift.WALSH(as Saul passes out)Call for a doctor.188",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ELEVATOR - 03:15188Linus immediately reaches up to the elevator's ceiling,rips down its panel to reveal a trap door. As he startsto push it open...... a hand yanks it free from above. It's Danny.DANNYYou didn't really think I wasgonna sit this one out, did you?LINUSWhat, didn't you trust me?DANNYI do now.He reaches down and pulls Linus, wide-eyed, up to theroof of the elevator.189",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MGM GRAND GARDEN ARENA - 3:00 189The boxers enter the ring before a full, cheering house.Benedict and Tess find their ringside seats, a row infront of Reuben and his ""nieces.""RING ANNOUNCERLadies and gentlemen!!190",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. BELLAGIO CASINO - BY CAGE DOOR - 02:56190Rusty approaches the sentry on duty at the cage door.RUSTYSomeone called for a doctor? OCEAN'S 11 - Rev. 10/24/00114.191,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ELEVATOR SHAFT - ABOVE ELEVATOR - 02:21191Danny rips off his jacket and shirt to expose a rappellingline wrapped around his torso. Linus does the same.LINUSHow'd you get here?DANNYCrawlspace. And I had to giveaway a couple mil.LINUSBut what about -- I mean, thatwhole thing with Rusty...Danny just smiles at him.A192FLASHBACK -",FLASHBACK +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MIRADOR SUITE - BALCONY A192Earlier that night, just after Rusty kicked Danny off the job. As Linus watches from inside, deaf to theirconversation, blind to their expressions, Danny and Rusty confer.DANNYYou think the kid bought it?RUSTYHell, I think Reuben bought it, and he knew we were screwing around.(beat)You sure about this?DANNY(nods)Bobby Caldwell threw me into thepool first time. Least I could dois give his kid a push.B192",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ELEVATOR SHAFT - ABOVE ELEVATOR (PRESENT)B192LINUSWhy'd you make me go through allthis? Why not just tell me?DANNYWell, where's the fun in that?(starting toward elevator shaft ladder)C'mon: Yen's got about three minutes of air left.(CONTINUED) OCEAN'S 11 - Rev. 10/24/00115.B192CONTINUED:B192Danny leads Linus down and around the elevator and side-by-side they crawl onto the bottom of the elevator,gripping the undercarriage of the lift to keep fromfalling. Meanwhile, we DESCEND QUICKLY DOWN the shaft,just to illustrate how very high up they are.192",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BELLAGIO SECURITY CENTER - 00:53192Rusty, playing doctor, inspects Saul. At the same time,he inspects a monitor: the vault door closing with theYen-filled cash cart and Saul's briefcase inside.Rusty stops, listens to Saul's chest, then drops his head...RUSTYHe's gone.Walsh, Fat and Slim all bow their heads. At the door, two paramedics arrive with a stretcher.WALSHYou're too late, guys. He's dead.The first paramedic turns to his partner and admonishes him:VIRGIL(to Turk)I told you to hurry.193",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ELEVATOR SHAFT - BELOW ELEVATOR - 00:42193As Danny and Linus work, affixing suction-cupped anchorsto their rappelling lines...DANNYWho do you like tonight?LINUSHuh?DANNYTyson or Lewis.(CONTINUED) OCEAN'S 11 - Rev. 10/24/00116.193CONTINUED:193LINUSThe fight...?(as Danny nods)Lewis.(as Danny shoots him a look)You like Tyson?(as Danny nods)How strongly do you feel about it?DANNYYou looking for action?LINUS(shrugs)I'd go in for a buck.DANNYA buck it is.And they're ready, poised at the top, looking into theabyss of an elevator shaft scattered with infraredsensors.DANNY(into his mike)Livingston, we're set.A194",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CASINO FLOOR - OUTSIDE CAGES A194Rusty leads the ""paramedics"" out, with ""dead"" Saul ontheir gurney.RUSTY(into his mike)Livingston, we're set.194",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MIRADOR SUITE - 00:21194LIVINGSTON(hearing this, into his mike)Basher, we're set.195",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. BELLAGIO PARKING LOT - TOP LEVEL - 00:17195BASHER(fixing the pinch atop his van)Just give me a minute.(CONTINUED) OCEAN'S 11 - Rev. 10/24/00117.195CONTINUED:195LIVINGSTON (V.O.)We don't have a minute. Yen'sgonna pass out in thirteenseconds.BASHERThen give me thirteen seconds.And Basher leaps down to hook up the pinch's wires to hisvan's engine.196,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MGM GRAND GARDEN ARENA - 00:10196The opening BELL RINGS -- round one. The fighters breakfrom their corners, feinting, jabbing...Sitting ringside: Benedict looks at Tess and smiles asshe winces at the first sharp blow.197",FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ELEVATOR SHAFT - BELOW ELEVATOR - 00:05197Peering down into blackness, Danny and Linus prepare tolet go any moment...LINUSYou ever rappelled before?DANNYNever. You?LINUSNope.198",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BELLAGIO PARKING LOT - TOP LEVEL - 00:01198Basher finishes preparations.BASHER(into his mike)Ready.LIVINGSTON (V.O.)(over earpiece)Then hit it.Basher flips the switch. BOOM! A quick TREMOR, thenstillness. He picks a point on the horizon, like BabeRuth, and suddenly...BASHER... One... OCEAN'S 11 - Rev. 10/24/00118.199HIGH ABOVE LAS VEGAS199whole blocks of lights disappear. Casinos vanishing one-by-one.FLAMINGOEvery pink light vanishes.BELLAGIOThe fountain goes flaccid.BASHER (V.O.)... two, three...NEW YORK, NEW YORKThe roller coaster stops dead; its passengers keep theirarms raised, not sure what to do.200MGM GRAND GARDEN ARENA200Both fighters move in simultaneously, sweat flying, bothreach back, both going for the lights-out power cut tothe jaw, when... lights out.BASHER (V.O.)... four, five...201OMITTED201202",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ELEVATOR SHAFT202Blip -- out go the infrared sensors.DANNYNow!And he and Linus lean forward and fall...203HURTLING WITH DANNY AND LINUS203DOWN the elevator shaft.Upside down, heads curled, and all we hear is the WHOOSHof their bodies in motion and the WHIRL of their CORDSUNCOILING.(CONTINUED) OCEAN'S 11 - Rev. 10/24/00119.203CONTINUED:203BASHER (V.O.)... six, seven.....And now, looking STRAIGHT DOWN, the ground is rising upfast to meet them, a flat slab of gray concrete -- fiftyfeet, forty feet, thirty feet, twenty...BASHER... eight, nine...And SNAP -- the CORDS reach their full extension, andDanny and Linus bounce up, watching the floor recede.LINUSAaaaahhhhh!204",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BELLAGIO PARKING LOT - TOP LEVEL - NIGHT204BASHER... ten...In the distance, lights come up again, first at theMirage, then the MGM, gradually approaching...205",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ELEVATOR SHAFT - BOTTOM205Coming to a rest about ten feet from the floor, Dannyquickly pulls a slim blade and slashes the two coils straight across. He and Linus go tumbling to the flooras their drop lines recoil lightning fast to their elevator anchors, just before...... the infrared lights go back on-line.206",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MGM GRAND GARDEN ARENA206The lights suddenly flash back on, revealing...... both fighters standing, and Tyson takes advantage ofLewis's disorientation and throws a sucker punch to hisjaw. Down goes Lewis, and up goes the crowd, roaring.REF... One, two, three...Benedict makes a quick survey; the arena is apoplecticfrom the blackout-knockout.BENEDICTWhat the hell was that?(CONTINUED) OCEAN'S 11 - Rev. 1/8/01120.206CONTINUED:206He cranes his neck, looking around the room, surveyinghis empire: he smells a rat. His eyes fall on Reubenbehind him, but Reuben just shrugs: ""I didn't pull theplug.""BENEDICT(to himself)The first goddamn round.207",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BELLAGIO PARKING LOT - TOP LEVEL - NIGHT207All the lights are back on, and Basher observes hisachievement with great pride, his job complete.BASHERViva Las Vegas.208",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ELEVATOR SHAFT - BOTTOM208Linus and Danny arise from where they've fallen,clutching their heads and rubbing bruises. Danny doesn'trecover as quickly.LINUSYou alright?DANNYNo, but you're sweet to ask.209",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BELLAGIO VAULT209Lights are just flickering on here when...... the false lid of the cash cart thrust upward slightly. It's Yen trying to get out, out of air and only now alert to Saul's heavy case resting atop him.210",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MIRADOR SUITE - NIGHT210Livingston watches this on his monitors, just coming back on, his finger poised on a play button, as Frankcomes in the door.FRANKAre they in?LIVINGSTONOne second.(a look at him)I thought you got kicked out?(CONTINUED) OCEAN'S 11 - Rev. 1/8/01121.210CONTINUED:210Frank shrugs. Suddenly one of the monitors aligns itself,and Livingston presses play.ON MONITOR AOverhead security-cam view of the vault corridor: thethree Uzi guards stand idly, on duty. And of the vaultitself: Yen trying to get out of the cash cart.ON MONITOR BOverhead security-cam view of the vault corridor: thethree Uzi guards stand idly, on duty... and in totallydifferent positions. Of the vault: no cash cart, but noZerga briefcase, no Yen.LIVINGSTONLIVINGSTONThis tape's from last night. Sameguards, same...His eyes fixing on Saul's briefcase pushing closer to the edge of the cash cart as Yen tries to free himself.LIVINGSTON... shift.211",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BELLAGIO SECURITY CENTER - EYE IN THE SKY211The room is abuzz with activity. The monitors hereflicker back on, too, displaying the images from monitorB, but every watcher in the place is watching a tablebecause...212",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BELLAGIO CASINO - NIGHT212... the floor is going nuts. After the ten seconds ofdarkness, all bets are off. Some players doubled-downduring the blackout, others miraculously halved theirbets. Consequently, Livingston's video feed switch goesunnoticed.213OMITTED213 OCEAN'S 11 - Rev. 1/8/01122.214",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CORRIDOR/OUTSIDE VAULT214Danny and Linus pry open the elevator doors and squeezeout. Just beyond the next doorway stand...... three UZI-CARRYING GUARDS, hovering outside the vaultdoor and wondering what the hell just happened to thelights. A215",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. VAULT A215Yen continues to push up on the cash cart lid, and the more he pushes, the more Saul's briefcase slides off. Yen stretches his hand out to grab it, but it's slid beyond his reach, to the edge of falling.B215",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CORRIDOR/OUTSIDE VAULTB215The Uzi-Carrying Guards turn their backs to the elevatorshaft...... and Linus and Danny appear in the doorway; they both snap gas pellets and slide them into the corridor.UZI-CARRYING GUARD #1(sniffing something)Jesus, Ron, was that you?215OUTSIDE VAULT CORRIDOR215Linus and Danny wait, Danny silently mouthing a three-count before... THUD, THUD, THUD. They peer around thecorridor to find...All three Uzi-carrying guards lie unconscious on theground. Linus starts in, Danny holds him back...DANNYNot yet.(a beat; another beat; then)Okay.216",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. VAULT CORRIDOR216Danny and Linus enter, waving the faint remnants of thegas from their noses, tiptoeing past the guards' bodies.LINUSYou think Yen made it out okay?DANNYI'm sure he's fine. OCEAN'S 11 - Rev. 1/8/01122A.A217",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. VAULTA217Saul's briefcase inches closer to falling off the cash cart,which of course would trigger the floor sensor and terminatethis heist here and now. Yen's hand stretches farther out tograb it, pushing up just a little more on the false liduntil...... the briefcase tumbles toward the floor...... but not before Yen snags the handcuff chain attached to it and swings it round. He's got it. That threat over, hethrows open the cash cart lid and takes the biggest breath of his life.B217",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. VAULT CORRIDOR B217Linus punches in the code for the door to the vault anteroom (the one he stole from Benedict). He steps back as it slides open, revealing -- -- the vault door: it is sleek and immense and impregnable.LINUS(jaw dropping)Jesus...DANNYThere's a Chinese man with a hundred sixty million dollars behind that door. Let's get him out.Danny takes a flat hand and slaps the door hard.217",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. VAULT217Yen now sits perched atop the cash cart, Saul's briefcase opened beside him (he has removed half of Lyman's ""emeralds""). He hears the muffled Danny's slaps and he knows: it's time for his leap. It's the same distanceas the leap he made in the practice session, but thistime he's only got one good hand.218",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MIRADOR SUITE218Frank and Livingston watch nervously.FRANKFin says he shorts it.LIVINGSTONNo bet. OCEAN'S 11 - Rev. 1/8/01123.219,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. VAULT219Yen prepares for his leap, then springs...... across the room, to the ledge he must grab...... and he grabs it, but with only one hand he's slippingright away, and in a second he'll hit the sensoredfloor...... but, in a flash, he spins and splits his legs,propping himself up between two walls, inches above thefloor. An acrobatic wonder.220",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MIRADOR SUITE220Frank and Livingston exhale.LIVINGSTON(wishing he had bet)Shit.221OUTSIDE VAULT221Danny, oblivious to this close call, slaps the dooragain. A moment passes, then: Yen responds with a slap,too.DANNYOkay.222",FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MIRADOR SUITE - NIGHT222As Basher enters, Livingston and Frank watch on a monitorLinus punching in the combination he stole from Benedictas Danny unravels a thin electrical wire connected to adetonator.FRANKThat's it?LIVINGSTONThere's still the five pins and the floor sensor. Not much we cando about that from this side ofthe door. But from this side...He punches up the image of Yen in the vault.BASHER... a little bit of Semtex shoulddo the trick. OCEAN'S 11 - Rev. 1/8/01124.223",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. VAULT223Yen sets the last of Lyman's emeralds against the vault door like a plastic explosive... which, of course, it is.He affixes a detonator receiver (the size of a golf ball pencil) to it, then slaps the door twice: all set.A224OUTSIDE VAULTA224Danny responds with two slaps of his own. He steps back, detonator in hand, its wires attached to the vault door.DANNYCounting down from twenty -- (checking watch)-- now.B224",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. VAULTB224Yen starts his retreat from the door, but gets yanked back.His hand's bandage is caught on the door.C224OUTSIDE VAULTC224DANNY-- seventeen, sixteen, fifteen --D224",FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. VAULTD224Yen tries to free himself, but he can't use his other hand lest he drop to the floor. He tries gnawing at his bandage, which brings his face within inches of a plastic explosive.E224OUTSIDE VAULTE224DANNY-- eleven, ten, nine -- F224",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MIRADOR SUITEF224Livingston et al. are alert to the danger.LIVINGSTON(into his mike)Linus, can you read me? Linus, do not blow the door, you're about to kill Yen. OCEAN'S 11 - Rev. 1/8/01124A.G224OUTSIDE VAULTG224Linus hears nothing through his earpiece.LINUS-- five, four, three -- H224",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. VAULTH224Yen finally frees himself just as -- -- ZOOMING INTO a plastic explosive -- I-224OUTSIDE VAULTI-224DANNY-- one -- He presses his detonator.Nothing.J224,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. VAULTJ224Yen, still on the door, remains frozen. Trembling.A beat.Then, he starts to creep back, leaping onto a money shelf, then another, as far from the explosives as he can get.K224OUTSIDE VAULTK224Danny presses it again. Still nothing.LINUSWhat's wrong?DANNYI don't know.Linus comes over to look.LINUSYou check the batteries?Danny blanches. Linus shoots him a look. OCEAN'S 11 - Rev. 1/8/01124B.224",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MIRADOR SUITE - NIGHT224Livingston, Frank, and Basher watch the monitors indisbelief...Saul enters, alive and dressed as himself again. His job is complete.SAULEverything going okay?225",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. VAULT CORRIDOR - OUTSIDE VAULT225As Danny checks his batteries (the types with built-in power meters: both at zero percent), Linus ransacks the Uzi-carrying Guards' gear for replacements. He finds AA's in their flashlights.LINUSYou know, you lose focus for one second in this game -- DANNY-- and someone gets hurt, yeah yeah. I don't hear Yen complaining.He takes the batteries, inserts them in his detonator,then slaps the door twice more.A226",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. VAULTA226Yen catches his breath on the far end of the room. He hears the slap, rolls his eyes, and ducks out of the line of fire.B226OUTSIDE VAULTB226Danny presses the detonator.C226",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. VAULTC226The ""EMERALDS"" EXPLODE.D226OUTSIDE VAULTD226Several MUTED but powerful BLASTS.Linus inches forward, almost dreading this moment, pauses...(CONTINUED) OCEAN'S 11 - Rev. 1/8/01124C.D226CONTINUED:D226DANNYDo it.Linus pulls... and the door opens.226",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. VAULT226Danny and Linus enter. Silence. The cash carts have crumpled, and the vault gratings, blackened, have held.DANNYAmazing?Linus goes to one of the racks and tentatively opensit...Yen pops up from within, his hair on end, looking like hejust dropped out of a cyclone.YEN(his only English)Where the fuck you been?227",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MIRADOR SUITE - NIGHT227Livingston, Frank, Saul, and Basher watch as the first wave of bills gets tossed onto the vault floor. Smilesall around.SAULEver been in love?FRANK(considers it for a moment)No, I guess not. Not really.SAULThis is better. 125.228",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CASINO - OUTSIDE FIGHT ARENA228Rusty steps forward as people stream past him out of thefight arena. He dials his cell phone, listens...229",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MGM GRAND GARDEN ARENA229MOVING WITH Benedict and Tess, pushing their way outthrough the crowd. A PHONE is RINGING nearby... againand again...BENEDICTYou gonna answer it?TESSI don't have a cell phone.They keep moving, but the RING pursues them. Finally,Benedict stops, pulls Tess's purse from her shoulder andopens it: inside, he finds a CELL PHONE, RINGING.TESSIt isn't mine.BENEDICTSee who's on the other end.She takes the phone, activates it.TESSHello?RUSTY (V.O.)May I have a word with Mr.Benedict, please?Tess looks up, confused.TESSIt's for you.Benedict takes the phone.BENEDICTWho the hell is this?ON RUSTYin the distance, at the arena's exit, unseen by Benedictor Tess, on the phone...RUSTYThe man who's robbing you. 126.230",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BELLAGIO SECURITY CENTER - EYE IN THE SKY230Benedict enters, and fear enters with him. And, ofcourse, Tess. As the room buzzes with activity, he keepsthe cell phone pressed to his ear.BENEDICTWhat the hell is going on downthere in the vault?FATNothing, sir. All normal.BENEDICTShow me.Fat points to the security-cam view of the vault corridorand vault -- Livingston's tape.FATAll quiet.BENEDICT(on phone, venomously)I'm afraid you're mistaken.231",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MIRADOR SUITE - NIGHT231Frank, Basher and Saul watch over Livingston's shoulderas this phone conversation is broadcast over a smallspeaker.RUSTY (V.O.)You're watching your monitor?Okay, keep watching.Livingston punches in numbers...232",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BELLAGIO SECURITY CENTER - EYE IN THE SKY - 232ON FAT'S MONITORNew images suddenly appear. Three masked men in thevault throw stacks of money onto the floor; the three UziGuards lie bound and unconscious in the corridor.The security center, understandably, erupts in activity.BENEDICTJesus Christ... OCEAN'S 11 - Rev. 10/24/00127.233",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BELLAGIO CASINO - NIGHT233Rusty strolls so casually there's no reason anyonepassing would suspect he was doing more than ordering apizza.RUSTY (V.O.)In this town, your luck can changejust that quickly.234",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BELLAGIO SECURITY CENTER234BENEDICT(close to apoplectic, takes a breath and cups the phone, then barks at Walsh)Find out how much money we havedown there.Tess, amid all this chaos, is still curious: how did that cell phone get into her handbag? And suddenly ithits her...A235FLASHBACK -",FLASHBACK +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RESTAURANT - EARLIER THAT EVENINGA235DANNYGood-bye.Danny starts for her cheek, stops to see if it's alrightwith her -- she, sad-eyed, does not recoil -- and then gently kisses it...... as he slips the cell phone into her handbag, unnoticed.BENEDICT(on phone)Alright. You've proved yourpo",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int. You've broken into myvault. Congratulations: you're adead man.Tess leaves.RUSTY (V.O.)Maybe.BENEDICTMay I ask: how do you expect toleave here, hmm?INTERCUT WITH:235",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CASINO FLOOR235 BENEDICTDo you believe I'll simply allowyou to parade bags full of mymoney out my casino doors?A distance beyond Rusty, Tess exits the cages. Shestops, puzzling over what to do, happens to spot him.RUSTYNo. You're gonna carry it out forus.BENEDICT(has to laugh)And why would I do that?RUSTYTake a closer look at yourmonitor... OCEAN'S 11 - Rev. 10/24/00128A.236",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SECURITY CENTER236Benedict does. As the three masked men stuff money intolarge canvas bags and mark the bags with X's, anotherportion of cash remains untouched, booby-trapped.RUSTY (V.O.)As your manager's probablyreporting to you by now, you havea little over a hundred sixtymillion in your vault tonight.And, as if Rusty was in the room watching, Walshapproaches with the night's cash count: $163,156,759.RUSTY (V.O.)You may notice: we're onlypacking up about half that. Theother half we're leaving in yourvault, booby-trapped, as ahostage.237",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CASINO FLOOR237RUSTYYou let our eighty million go, andyou get to keep your eighty.That's the deal. You try and stopus, we'll blow both cash loads.(CONTINUED) 129.237CONTINUED:237He spins and -- gasp -- comes face-to-face with Tess.She stares at him directly: she knows.RUSTY(holding her glance)Mr. Benedict: you can lose eightymillion dollars secretly tonightor you can lose a hundred sixtymillion dollars publicly. It'syour decision.He cups the phone.RUSTYHi.238",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SECURITY CENTER238Benedict cups his phone, too, and vents his rage. Heknows what he should do -- let the money go -- and heknows what he wants to do -- stop these sonsabitches. Hemakes his choice...BENEDICT(to Walsh)Make the call.Walsh grabs a phone, punches numbers...VOICE (V.O.)911. Emergency response...239",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MIRADOR SUITE - NIGHT239Livingston listens in on the call...WALSH (V.O.)Hello, this is Mr. Walsh at theBellagio.240",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. SECURITY CENTER240WALSHWe have an incident here...BENEDICT(uncupping his phone)Okay. You have a deal. OCEAN'S 11 - Rev. 10/24/00130.241,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CASINO FLOOR241Tess and Rusty hold a stare as Rusty holds the phone.TESSWhere's Danny?RUSTYHe's fine. He wants you to goupstairs, and watch TV.TESS(a little pissed)He does?BENEDICT (V.O.)You have a deal.RUSTYIt's alright, Tess. I promise.(back on phone)Good. Here's what you do. Fiveminutes from now, the men in thevault are going to deposit sixbags in the vault elevator.Tess isn't sure what to do. As Rusty continues on thephone, she backs off, debating: can she blow the whistleon her ex?242",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. VAULT ELEVATOR - CLOSE ON SIX CANVAS BAGS242each sealed tight, each marked with an X, loaded ontothe vault elevator.RUSTY (V.O.)If they meet anyone, we'll blowthe money in the bags and themoney in the vault.243",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAGE - OUTSIDE VAULT ELEVATOR243A small cadre of guards await the arrival of the vaultelevator. Its doors open to reveal the six large canvasbags, each sealed tight, marked with an X.RUSTY (V.O.)One minute after that, theelevator will rise to your cages.Six of your guards will pick upthe bags and carry them out intothe casino.Six guards do precisely that. 131.244",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CASINO - NIGHT244MOVING WITH Rusty PAST slot machines...RUSTYIf they take more than twentyseconds to reach the casino flooror if there's any indication aswitch has been made, we'll blowthe money in the vault and themoney in the bags.A SLOT MACHINE RINGS behind him...245",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BELLAGIO SECURITY CENTER - EYE IN THE SKY245... and Benedict hears it.BENEDICT(to Walsh)He's in the casino right now.RUSTY (V.O.)Of course, I'm in the casino. Infact, I'm staying in your hotel.And I have two words for you:mini-bar.(back to business)Now as soon as your guards hit thecasino floor...246",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BELLAGIO CASINO - NIGHT246The six guards appear from the cage door, carrying sixcanvas bags marked with X's; Bellagio security escortsthem from the building.RUSTY (V.O.)... a white unmarked van is goingto pull up in your valet station.247",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BELLAGIO CASINO - NIGHT247The white VAN (now clean of the ""Nevada Telecom"" sign)IDLES before the Bellagio, its windows tinted, thedriver's identity inscrutable. It is swarmed bysecurity, but they maintain a wide perimeter.RUSTY (V.O.)Your guards will load the bagsinto the van's rear. If anyone somuch as approaches the driver'sdoor, we blow everything.(CONTINUED) OCEAN'S 11 - Rev. 10/24/00132.247CONTINUED:247The guards carry out the money and load it into the van'srear. There, they find a video camera mounted within theback seat of the van monitoring them. Still they cannotcatch a glimpse of the driver. They close the van doors.248BELLAGIO - FROM HIGH ABOVE 248The white van departs the valet station in front,clandestinely shadowed by five sedans. Meanwhile, behindthe casino, a SWAT van arrives and unloads its squad.BENEDICT (V.O.)Now what?RUSTY (V.O.)Now, when I get word that the vanhasn't been followed, that the money is secure, my men will exitthe building, and once theirsafety is confirmed, you'll getyour vault back.249",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BELLAGIO SECURITY CENTER - EYE IN THE SKY249Walsh mouths to Benedict: ""SWAT team is here."" Benedictnods and throws him a thumbs-up.BENEDICTSir, I have complied with yourevery request, would you agree?RUSTY (V.O.)I would.BENEDICTGood. Now I have one of my own.RUSTY (V.O.)Yes?BENEDICT(at last, his venom released)Run and hide. If you get pickedup next week buying a $100,000sports car in Newport Beach, I'llbe supremely disappointed.Because I want my people to findyou. And rest assured: when theydo, they won't hand you over tothe police.(beat)Run and hide. That's all I ask.And during the above rant by Benedict, we view... OCEAN'S 11 - Rev. 10/24/00133.250MIRADOR SUITE250now empty, Livingston's monitors still displaying themasked men in the vault.251WHITE VAN251navigating the streets of Las Vegas.252FIVE SEDANS252tailing the van, security goons piled into each, andmaybe we NOTICE (or maybe not) the Rolls-Royce tailingthem.253TESS253pacing in Benedict's suite, biting her nails, debatingwhether to blow the whistle on Danny. ON TV: a newscastof the contentious aftermath of the prize fight.A254UZI GUARDS, A254bound and unarmed, unconscious to the activity within thevault.254RUSTY'S CELL PHONE254opened and unmanned.A255BENEDICTA255listens -- the line has gone dead. He hangs up.WALSHOur guys say the van is headedtoward McCarren Airport.BENEDICTGet everyone in position. I wantmy vault back before that van hitsthe tarmac.LONGER MONTAGE now, CUTTING BETWEEN:255SWAT TEAM255(six in all) hustling through the cage corridors, armedto the teeth, with body armor and helmets and visionguards: they're as faceless as storm troopers. OCEAN'S 11 - Rev. 10/24/00134.256WHITE VAN CONVOY256as it approaches McCarren Airport.257MONITORS OF THE VAULT257The three masked men pace beside the booby-trapped money.A258",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SECURITY CENTERA258BENEDICT(on second inspection)Where's Zerga?(off Walsh's sheepish look)Mr. Zerga? With the briefcase?WALSHHe's -- he died.Benedict shoots him a slow, sideways glance.258SWAT TEAM258rappelling down the elevator shaft -- its ultravioletsensors turned off by Walsh -- then moving intoposition...259",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BELLAGIO SECURITY CENTER - EYE IN THE SKY259SWAT LEADER (V.O.)(over radio, on monitor)Night goggles on. Prepare to cutpower.Fat mans the power switch.FATReady when you are.Benedict scours the monitors: The masked men continue topace on one screen. The SWAT team prepares to invade onanother.BENEDICTDo it.SWAT LEADER (V.O.)(over radio)Cut it.Fat flips the power switch. OCEAN'S 11 - Rev. 10/24/00135.260",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MIRADOR SUITE260Livingston's monitors all go black.261,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BELLAGIO SECURITY CENTER - EYE IN THE SKY261The monitors here go black as well. Benedict listensclosely to the SWAT frequency.SWAT FREQUENCY (V.O.)(Leader's voice)First wave, in! Second wave, now!(there is RUNNING, PANTING, then Linus's voice, distant and panicked)Guys, someone's here!(Leader's voice)Take him down! Now!A brief SPURT of GUNFIRE, then... BARRROOOOOOM!Dead silence in the Eye in the Sky. Slim stares deepinto a monitor's dark pitch. Then...SWAT FREQUENCY (V.O.)(Leader's voice)Lights! We need power now!Fat flips the power back on, and on the monitors...... visions of destruction down below... smoke fills thevault as two SWAT members push through it... other SWATmembers help evacuate the unconscious guards...BENEDICT(into intercom)What's the situation down there?SWAT LEADER (V.O.)They blew it. They blew the...Oh, Jesus... If there was anyonein there, they're not in one pieceanymore.BENEDICT(to Walsh, soberly)Tell them to take the van. I'mgoing down there.(as an afterthought, to Slim)Find out how they fiddled with ourcameras. OCEAN'S 11 - Rev. 10/24/00135A.262",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. McCARREN AIRPORT - NIGHT262As the white van arrives at a charter airline's entrance,the five sedans converge upon it, TIRES SCREECHING, Goonsemerging, weapons drawn.HEAD GOONGet out of the van, now! Now!No response within the van. The Head Goon signals andthe others SHOOT the van's tires. 136.263",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CIRCUITRY ROOM263Slim investigates the Eye in the Sky's wiring. Reachingdeep into a mesh, he finds a foreign object:Livingston's ""spider.""264",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. VAULT CORRIDOR264The vault elevator doors open and Terry Benedict makeshis way into his smoke-filled vault corridor. He passesthe Uzi Guards, awake now and stumbling to the elevatorwith SWAT members' assistance, then arrives before hisdecimated vault: Anything within -- people, money, LymanZerga's emeralds -- could only have been destroyed.OVER SWAT LEADER'S SHOULDERas he approaches Benedict.SWAT LEADERMr. Benedict...BENEDICTYes.SWAT LEADERWe couldn't find any survivors.Or, I'm afraid, any of your money.I'm sorry, sir.BENEDICT(doesn't want to hear anymore; the SWAT team failed him)Take your men out now.HOLD ON Benedict, seething, as the SWAT Leader stepsaway...SWAT LEADEROkay, guys, grab your gear andclear out.BENEDICT(into walkie-talkie he has with him)Walsh: How are we with the van?265",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. McCARREN AIRPORT - NIGHT265The stalemate with the van continues. Still no movementfrom inside.(CONTINUED) OCEAN'S 11 - Rev. 10/24/00137.265CONTINUED:265HEAD GOONOut of the van now! Hands up!An EMPLOYEE from the charter airline sticks his head outof his office door.EMPLOYEE(innocently)Hey, what's going on here?Half-a-dozen firearms turn and point in his direction.The Employee disappears back inside his office.The Head Goon cautiously approaches the van, reaches forthe driver's door, and yanks it open...Inside: There is no driver. Just a video camera mountedat eye-level. The Head Goon cranes back his head,befuddled, when he notices for the first time (and maybewe do, too) an enormous antenna sprouting from the van'srear bumper.The van suddenly lurches.266SHORT DISTANCE AWAY - CLOSE ON REMOTE CONTROL266complete with a tiny video monitor (displaying the vandriver's POV) and a steering mechanism -- it's a near-replica of the one Virgil Malloy used in the monstertruck drag race against his brother.And Virgil's using it now, too, as he sits next to ReubenTishkoff in one of Reuben's Rolls and watches the Goonsscramble back from the flat-tired van.TISHKOFFEnough monkey business.Virgil brings the van to a stop, then readies adistinctive red button on his remote.267BACK WITH VAN267As the Head Goon reaches for the rear door, his handinches away when...... BARROOOOM! The door EXPLODES open!Knocked on his ass, the Head Goon watches as the canvas""X"" bags within burn to cinders. He does, however,happen to notice one burning shred of paper dislodgedfrom a bag: It's a promotional flier for a call girlservice. OCEAN'S 11 - Rev. 10/24/00138.268",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BELLAGIO VAULT - NIGHT268Benedict steps over the scattered remains of his vault.He picks up a fragment of a cash cart, burnt to a crisp,then lets it drop.WALSH (V.O.)(over walkie-talkie)Mr. Benedict...BENEDICTYes?WALSH (V.O.)They took the van.BENEDICTAnd?WALSH (V.O.)(hesitantly, this is bad news)And they blew up the bags, sir.BENEDICT(dropping his walkie- talkie to his side)Shit.WALSH (V.O.)Sir... sir...BENEDICTWhat, Walsh?WALSH (V.O.)They say it doesn't look likethere was any money in the bags,sir.BENEDICTWhat?!WALSH (V.O.)They say the bags were filled withfliers. For hookers.BENEDICTWhat do you mean there was nomoney in the bags?WALSH (V.O.)That's what they said, sir. Idon't understand it: we both sawthem putting money inside thosebags.(CONTINUED) 139.268CONTINUED:268Benedict stops cold. He stares up at a wall where anengraved sign reading ""Bellagio"" has been smoke-stained.BENEDICTWalsh, cue up the tape of therobbery.269",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BELLAGIO SECURITY CENTER - EYE IN THE SKY269Walsh stands before several monitors as Slim cues up the""masked men robbing the vault"" image of a few minutes agobeside the present image of Benedict staring at the vaultwall.BENEDICT (V.O.)Does it say 'Bellagio' on thesouth wall of the vault?In the masked-men image it does not, in fact, say""Bellagio"" there.WALSH(on walkie-talkie)No, sir. It doesn't. I -- Idon't understand...270",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. VAULT270Benedict exhales.BENEDICTWe had that installed on Tuesday.The image we saw of the menrobbing us was a tape.WALSH (V.O.)What?BENEDICTSomeone built a double of myvault, then made a tape of themrobbing it. When we saw themputting money in those bags, thatwasn't actually happening.271",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SECURITY CENTER271Walsh's jaw drops as he watches the tape again.WALSHThen, sir... OCEAN'S 11 - Rev. 10/24/00140.272",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. BELLAGIO VAULT - NIGHT272Benedict is absolutely fucking furious.WALSH (V.O.)... what happened to all themoney?273,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BELLAGIO CASINO - CLOSE ON SWAT DUFFEL BAG - NIGHT273carried through the Bellagio casino, held by the SWATLeader leading his men out (now eight in all), and atlast we PULL UP to see his face for the first time...It's Rusty, in full regalia, leading Livingston, Turk,Saul, Frank, Basher, Yen and Linus out of the casino,each dressed as a SWAT member, each carrying a duffel bagwith nearly $20 million dollars inside.As we PASS each man, under the HUM OF the CASINO, we see:274FLASHBACK -",FLASHBACK +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MIRADOR SUITE - LIVINGSTON274takes the call from Walsh in the Mirador suite as Basher,Saul, and Frank dress behind him.LIVINGSTON9-1-1. Emergency response.275TURK275dressed as a SWAT member, hustles down a cage corridor.276SAUL276has trouble rappelling with the rest.277BASHER277takes position next to Rusty at the elevator shaft'sbottom. They're on-camera, but just a few feet away and(off-camera) Danny sits smiling.RUSTY(hiding his voice)Prepare to cut power!278YEN278lights a short fuse leading into the vault... OCEAN'S 11 - Rev. 4/16/01141.279LINUS279feigns hysteria...LINUSGuys, someone's here!280RUSTY280FIRES a SPURT of BLANKS.BARRROOOOM! No one is hurt. Nor is the money, stackedneatly in a corridor, ready to be packed into the phonySWAT team bags, body armor, etc.281",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BELLAGIO CASINO - NIGHT (PRESENT)281The SWAT team exits and boards the second vehicle Turkand Virgil have been working on all this time, the one inthe warehouse with an air freshener hanging from itsrearview mirror: it's a replica of a SWAT van.Turk takes the wheel as the others jump in the back.Rusty flips open another cell phone...RUSTYLas Vegas P.D. This is OfficerBrooks, New Jersey ProbationDivision. I have a violator inyour jurisdiction...(cupping phone)Hit it.Turk hits the gas and the VEHICLE PEELS away, carrying itscadre of new multi-millionaires far away from theBellagio Hotel and Casino.282",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. BELLAGIO VAULT282Benedict squats down to inspect a burnt scrap of paper onthe vault floor. It's a flier for a strip jo,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",int.BENEDICT(and it finally occurs to him)Ocean...283,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAGE/HALLWAY - MOVING WITH BENEDICT283Heated, he approaches the interrogation room, where hisPlainclothes Goons keep watch.(CONTINUED) OCEAN'S 11 - Rev. 4/16/01141A.283CONTINUED: (A1)283BENEDICTWhere's Ocean?PLAINCLOTHES GOON #1Still inside, sir. With Bruiser.(CONTINUED) OCEAN'S 11 - Rev. 10/24/00142.283CONTINUED:283Benedict straightens his cuffs, cools himself, then:BENEDICTOpen that door.284",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. INTERROGATION ROOM284Bruiser throws a mean left hook across Danny's face asthe door swings open and Benedict steps in. Bruiser seeshim and steps away, toweling off his bloodied knuckles.Benedict studies Danny: the man is a bloody mess, headrolling, eyes puffed up.BENEDICTWake him up.The Goons step in, slap Danny alert. At last, Dannyrecognizes Benedict in the room.DANNY(a little punchy)Heya, Benedict... How's the otherfight going?Benedict keeps his cool.BENEDICTDid you have a hand in this?(beat)Did you?DANNYDid I have a hand in what?Benedict scrutinizes Danny: Is he bluffing? He looks atBruiser, then Danny again, and decides: no.BENEDICTGet him out of here.As the Goons scoop him up and drag him out, Danny catchesBruiser's eye for just a moment. And barely winks.285",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BENEDICT'S SUITE285The PHONE RINGS. Tess plucks it up.TESSHello?(CONTINUED) OCEAN'S 11 - Rev. 1/8/01143.285CONTINUED:285VOICE (V.O.)(if you must know, it's Livingston's)Turn to Channel 88.CLICK. Tess does so.On her TV: A security-angle of the cage hallway. TheGoons appear, escorting bloodied Danny out.As Tess gasps, we go live to...286",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAGE/HALLWAY286Where Benedict follows the Goons and Danny out, brooding:what's his next step? Walsh approaches.DANNYYou get robbed or something,Benedict? Geez, that's a shame.Benedict looks up, suspicious.BENEDICTStop there.The Goons stop, spin Danny around to face Benedict.BENEDICTWhere. Is. My. Money.They hold each other's eye.DANNYWhat would you say if I told youyou could get your money back...(beat)... if you gave up Tess?(beat)What would you say?BENEDICTI would say yes.287",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. BENEDICT'S SUITE287She's crestfallen. OCEAN'S 11 - Rev. 1/8/01144.288,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAGE/HALLWAY288DANNYWell, that's very interesting...(beat)... but I didn't have anything todo with it.He grins. Benedict sinks.BENEDICT(to his Goons)Escort Mr. Ocean to the exit. Andcontact the police. I wouldimagine Mr. Ocean is in violationof his parole.289",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BENEDICT'S SUITE - ON TV 289The Goons haul Danny out. Tess has left, heartbeats ago:the room's door is just closing.A290",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. CAGE/HALLWAYA290WALSHMaybe we should have held him.BENEDICTNo. Follow him. Everywhere.290,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. CASINO FLOOR - OUTSIDE CAGES290Benedict exits. Takes in his casino. It's been a badnight: he's down a hundred fifty million. He startsfor...291,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CASINO FLOOR - ELEVATOR BAY291As he arrives, the elevator doors open and Tess stepsout. She breezes right past him.BENEDICTTess...(as she doesn't stop)Tess?TESSYou of all people should know,Terry: in your hotel, there'salways someone watching.(CONTINUED) OCEAN'S 11 - Rev. 1/8/01145.291CONTINUED:291She keeps going. Benedict, now down a hundred fiftymillion and one woman, boards the elevator. Its doorsclose on him.292",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ALLEY/VACANT WAREHOUSE - EARLY MORNING292The SWAT van rounds a corner and ducks inside thewarehouse.Three-and-a-half seconds pass.And the eight SWAT members reappear, now all in suits,perfectly pressed, and with grins on their faces andchange in their pockets, they begin their victory stroll,single-file and sloppy... right down the...293STRIP - MOVING WITH THEM293Turk, Livingston, Frank, Basher, Yen, Saul, Linus andRusty march down the strip single-file, and when theycome to an intersection...... Virgil and Reuben, also in suits, fall into stridefor a victory lap in front of the Bellagio fountains.Then, one-by-one, the group splinters off, strolling intodifferent hotels or grabbing cabs, until there are onlytwo left: Rusty and Linus.They take each other in, shake hands, and part.294",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BELLAGIO CASINO - NIGHT294Tess exits, searching for Danny. She rounds the buildingto...295",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SERVICE ENTRANCE295Where a LVPD squad car has just arrived to take goon-heldDanny away. She runs toward it.TESSWait!They do. As Danny is handcuffed and prepared for loadingin the back, he and Tess hold each other's glance.(CONTINUED) OCEAN'S 11 - Rev. 1/8/01145A.295CONTINUED:295TESSDanny...(beat)I'm sorry.DANNYI knew what I was doing.A beat.TESSI didn't.(CONTINUED) OCEAN'S 11 - Rev. 10/24/00146.295CONTINUED:295A cop lowers Danny's head as he directs him into hisseat.TESSHow long will you be?DANNY(shrug)Three to six months, I shouldthink.The squad car door closes him in and Tess stands vigil asit pulls away.296ACROSS STREET296Rusty watches Danny being driven back to prison, too.DISSOLVE TO:297",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FRONT GATE - MINIMUM-SECURITY PRISON - DAY297SUPERIMPOSE: THREE TO SIX MONTHS LATER.The great metal gate opens once more, revealing DannyOcean in its frame again, ready for release.He looks forward -- no one's there to greet him, and theview of New Jersey looks no brighter than it did before.He takes his first step into free America...... to discover Rusty leaning against the prison wall.Beyond him sits his second-hand Mercedes from L.A.RUSTYLooking for someone?DANNYThirteen million and you drivethat piece of shit cross country to pick me up?RUSTYHello to you, too.They shakes hands. Rusty looks Danny over.RUSTYYour hair's grayer.(CONTINUED) 147.297CONTINUED:297DANNYYour eyes got closer together.(beat)How's life?RUSTYLife... is a roomful of pillows.(beat)C'mon...MOVING WITH Danny and Rusty toward the Mercedes, togetheragain.RUSTYWhere do you want to go first?DANNYTo a phone.Rusty had anticipated this.RUSTYI stopped and picked up yourpersonal effects, put them in theback seat.DANNYMy what?Danny gets to the passenger door and looks in to see Tesssitting in the back. She smiles at him.DANNY(smiling back, then)I'm not sure these belong to me.TESSSure they do.Danny and Rusty get in. Danny kisses Tess. Rusty STARTSthe CAR.DANNYWe need to find Rusty a girl.RUSTYThere's a women's prison just downthe road...(CONTINUED) OCEAN'S 11 - Rev. 1/8/01148.297CONTINUED: (2)297He drives off. In the back, Danny takes Tess's hand inhis. Notices a silver wedding band on it.DANNYYou said you sold this.TESSThat's what I said.DANNYLiar.TESSThief.As they drive away...... another car STARTS its ENGINE begins to follow. Atthe wheel: Benedict's goons.THE END",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. OFFICE, HIGH RISE -- DAY A man in a CLOWN MASK holding a SMOKING SILENCED PISTOL ejects a shell casing. This is DOPEY. He turns to a second man, HAPPY, also in clown mask, who steps forward with a CABLE LAUNCHER, aims at a lower roof across the street and FIRES a cable across. Dopey secures the line to an I-beam line- CLAMP on- sends a KIT BAG out then steps OUT the window...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. HIGH-RISE -- DAY ...into space. The men SLIDE across the DIZZYING DROP... landing on the lower roof across the street.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DOWNTOWN GOTHAM-- DAY A MAN on the corner, back to us, holding a CLOWN MASK. An SUVpulls up. The man gets in, puts on his mask. Inside the car- two other men wearing CLOWN MASKS. GRUMPY Three of a kind. Let's do this. One of the Clowns looks up from loading his automatic weapon. CHUCKLES That's it? Three guys? GRUMPY There's two on the roof. Every guy is an extra share. Five shares is plenty. CHUCKLES Six shares. Don't forget the guy who planned the job. GRUMPY Yeah? He thinks he can sit it out and still take a slice then I get why they call him the Joker. Grumpy cocks his weapon. Bozo pulls the car over in front of the GOTHAMFIRST NATIONAL BANK.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ROOFTOP, BANK -- CONTINUOUS Dopey PRIES open an access panel- HAPPY Why do they call him the Joker? DOPEY I heard he wears make-up. HAPPY Make-up? Dopey pulls out thick bundles of blue CAT 5 cables. DOPEY Yeah. To scare people. War pa",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BANK -- CONTINUOUS Grumpy, Chuckles and Bozo get out of the car and march into the bank CARRYING ASSAULT RIFLES-",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BANK -- DAY The Security Guard looks up- Grumpy FIRES into the ceiling. Customers SCREAM. Chuckles CRACKS the Security Guard. As Grumpy and Bozo round up the hostages, one of the TELLERS presses a button mounted beneath her window- a SILENT ALARM.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ROOFTOP -- DAY Dopey watches the alarm PING his handheld. DOPEY Here comes the silent alarm. (touchesa button) And there it goes. That's funny. It didn't dial out to 911- it was trying to reach a private number. Behind him, Happy RAISES his silenced HANDGUN. HAPPY Is it a problem? DOPEY No, no. I'm done here. Happy SHOOTS. Dopey SLUMPS. Happy picks up his bag and FORCES OPEN the roof access door...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. STAIRWELL, BANK -- DAY ...and speeds down the stairs, to the basement. He SLAMS open the door...2.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. VAULT ROOM, BANK -- DAY ...and comes face to face with a huge VAULT.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LOBBY, BANK -- DAY Bozo and Grumpy move down the line of hostages- Bozo hands each Hostage OBJECTS from a bag. A GRENADE. Grumpy follows, PULLING THE PINS. GRUMPY Obviously, we don't want you doing anything with your hands other than holding on for dear life. BLAM.Chuckles is BLOWN OFF HIS FEET- Grumpy and Bozo DIVE for cover- the Bank Manager steps out of his office, SHOTGUN in hand. Hostages SCRAMBLE, CLINGING their grenades...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. VAULT ROOM, BANK -- DAY Happy CLAMPS a DRILL to the vault- the bit SPINS- SLIDES into the metal door- a BOLT of ELECTRICITY RIPS THROUGH THE DRILL, THROWING HAPPY TO THE FLOOR-",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LOBBY, BANK -- DAY Grumpy and Bozo cower as the Bank Manager FIRES again. GRUMPY He's got three left? Bozo raises TWO fingers. Grumpy squeezes off a SHOT. The Bank Manager FIRES. FIRES again. Grumpy looks at Bozo, who nods. Grumpy JUMPS UP. The Bank Manager FIRES- Grumpy GRUNTS as buckshot CLIPS his shoulder. FALLS. The Bank Manager moves in for the kill, FUMBLING for new shells. Bozo STANDS- SHOOTS him. Bozo picks up the shotgun. Grumpy checks his wound- it's superficial. He struggles to his feet. GRUMPY Where'dyou learn to count?! Bozo's mask stares him down. Grumpy heads for the stairs in the back. Bozo starts loading fresh shells into the shotgun. BANK MANAGER You have any idea who you're stealing from? You and your friends are dead. Bozo looks down at him. Says nothing.3.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. VAULT ROOM, BANK -- DAY Happy at the vault door, barefoot, turning the tumblers with hands stuffed into his SNEAKERS. Grumpy walks in. HAPPY They wired this thing up with 5,000 volts. What kind of bank does that? GRUMPY A mob bank. Guess the Joker's as crazy as they say. Happy shrugs. Grips the WHEEL BOLT and SPINS it. GRUMPY Where's the alarm guy? HAPPY Boss told me when the guy was done I should take him out. One less share. GRUMPY Funny, he told me something similar... Happy FREEZES. The wheel SPINS to a STOP- the vault DOOR CLUNKS OPEN- Happy GRABS for his weapon- SPINS to see Grumpy SHOOT. Grumpy steps over Happy into the vault...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. VAULT, BANK -- DAY ...which is filled with an eight-foot MOUNTAIN OF CASH.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LOBBY, BANK -- DAY Grumpy walks into the lobby, straining under several DUFFELS filled with cash. He DUMPS them. Looks at Bozo. LAUGHS. GRUMPY C'mon, there's a lot to carry...",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LOBBY, BANK -- DAY Bozo walks back into the lobby with two more DUFFELS. Sets them down on an ENORMOUS PILE. Grumpy looks at it. GRUMPY If this guy was so smart he would have had us bring a bigger car. Grumpy JABS his pistol in Bozo's back. Takes his weapon. GRUMPY I'm betting the Joker told you to kill me soon as we loaded the cash.4. BOZO (shakes head) No. I kill the bus driver. GRUMPY Bus driver? What bus- Bozo steps backwards. SMASH. Hostages SCREAM as the TAIL END OF A YELLOW SCHOOL BUS ROCKETS through the front of the bank, SLAMMING Grumpy into the teller's window. Bozo picks up Grumpy's weapon. Another clown OPENS the rear door of the bus. Bozo SHOOTS him. Then loads the bags onto the bus. The wounded Bank Manager watches him. In the distance: SIRENS. BANK MANAGER Think you're smart, huh? Well, the guy who hired you's just do the same to you... Bozo slowly shakes his head. BANK MANAGER Sure he will. Criminals in this town used to believe in things... Bozo turns back to the Bank Manager. Crouches over him. BANK MANAGER Honor. Respect. What do you believe, huh? What do you bel- Joker slides a GRENADE into the man's mouth. A PURPLE THREAD is knotted around the pin. THE JOKER I believe that what doesn't kill you... Bozo PULLS off his MASK. The Bank Manager GASPS. In the reflections of the glass DEBRIS behind the Bank Manager we see GLIMPSES of a SCARRED MOUTH and CLOWN MAKEUP. THE JOKER. THE JOKER ...simply makes you stranger. The Bank Manager's eyes go wide. The Joker rises, strolls towards the bus, the purple thread attached to the grenade pin UNRAVELLING FROM THE PURPLE LINING of his jacket as he walks. The Joker climbs into the bus, SHUTS the rear door, TRAPPING THE PURPLE THREAD...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SCHOOL, GOTHAM-- DAY Kids pour out, heading onto a long line of school buses.5.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BANK -- CONTINUOUS As the bus pulls out, the purple thread PULLS THE PIN- hostages scream and scurry away from the Bank Manager, who shakes with fear as, with a FIZZ, the grenade does not explode, but SPEWS RED SMOKE.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BANK -- DAY The School Bus pulls free of the Bank wall and pulls out onto the street, SLIDING INTO THE LINE OF IDENTICAL BUSES HEADING PAST THE BANK. The buses trundle past COP CARS racing up the street... and we- CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. MOVING OVER GOTHAM-- NIGHT From the top of a brick building a SHAFT OF LIGHT comes on.,SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. VARIOUS LOCATIONS -- CONTINUOUS A PATROLMAN looks up at the BAT-SIGNAL. Smiles. A DEALER standing beside a car spots the signal. Steps back. DEALER No, man. I don't like it tonight. BUYER What'reyou, superstitious? You got more chance of winning the powerball than running into him...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MAJOR CRIMES UNIT, GOTHAMCENTRAL -- NIGHT DETECTIVE RAMIREZ, female, rookie detective, 30's, makes coffee, watching a news show on the television. ON SCREEN: The host, MIKE ENGEL, lays into the MAYOR. ENGEL MrMayor, you were elected on a campaign to clean up the city... when are you going to start? MAYOR Well, Mike- ENGEL Like this so-called Batman- a lot of people say he's doing some good that criminals are running scared... but I say NO. What kind of hero needs to wear a mask? You don't let vigilantes run around breaking the law... where does it end? 6. (MORE) Yet, we hear rumors that instead of trying to arrest him the cops are using him to do their dirty work. MAYOR I'm told our men in the Major Crimes Unit are close to an arrest. RAMIREZ Hey, Wuertz-the Mayor says you're closing in on the Batman. WUERTZlooks up, listless. Crumples up a paper. WUERTZ The investigation is ongoing. He throws the paper at the trash. It rebounds off a board headed 'BATMAN: SUSPECTS.' Lined with pictures: Abraham Lincoln. Elvis. The Abominable Snowman.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ROOFTOP, MAJOR CRIMES UNIT -- NIGHT Ramirez comes out onto the roof. LIEUTENANT GORDON sits by a SEARCHLIGHT. She hands Gordon a cup of coffee. RAMIREZ Ever intending to see your wife again, Lieutenant? GORDON I thought you had to go look after your mother, detective. RAMIREZ They checked her back into hospital. GORDON I'm sorry. RAMIREZ (making light) Least there she's got someone round the clock. Unlike your wife. (looksat bat-signal) He hasn't shown? Gordon gets up. Looks into the sky at the bat-signal. GORDON Often doesn't. But I like reminding everybody that he's out there. RAMIREZ Why wouldn't he come? GORDON Hopefully... Because he's busy.7. ENGEL (cont'd)",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PARKING GARAGE -- NIGHT Two black SUV'spull onto the top floor. A large man emerges- the CHECHEN. A BODYGUARD points at the sky. The Chechen peers up at the BAT-SIGNAL. Shrugs. CHECHEN That's why we bring dogs. BODYGUARD 2 opens the back door- three enormous ROTWEILERS emerge, GROWLING. The Chechencrouches, KISSING the dogs. CHECHEN My little princes... (to bodyguards) The Batman's invisible to you fools... but my little princes... they can find human meat in complete darkness. The Chechenmoves to the second SUV, reaches in and DRAGS out a skinny, wild-eyed JUNKIE by his hair. JUNKIE (babbling) No! No get 'em off me! Off me! The Chechendrags the Junkie towards a battered white van. The van's REAR DOORS OPEN... two armed THUGS emerge, carrying BARRELS... a third hovers in the dark interior. CHECHEN Look! Look what your drugs did to my customers! VOICE (O.S.) Buyer beware... The figure emerges: SCARECROW. Wearing his mask. SCARECROW I told your man my compound would take you places. I never said they'd be places you wanted to go. CHECHEN My business is repeat customers. SCARECROW If you don't like what I have to offer, buy from someone else. Assuming Batman left anyone else to buy from. The Chechenfrowns. THE DOGS START BARKING.8. BODYGUARD (nervous) He's here. A BURLY THUG at the periphery is suddenly SUCKED into the darkness. In his place a shadow straightens, revealing POINTED BAT-EARS against the glittering skyline. CHECHEN Come on, sonofbitch- my dogs are hungry, pity there's only one of you... A BODYGUARD to the side DISAPPEARS with a scream, and a SECOND BAT-SHADOW appears. The Chechenlooks taken aback. Three more BAT-SHADOWS appear... even the dogs stop growling. BOOM! A hole appears in the SUVnext to the Chechen. The first bat-shadow steps into the light carrying a SHOTGUN. CHAOS as men scatter and the rooftop erupts in GUNFIRE. The ChechenTURNS as he hears one of his men SCREAM. CHECHEN(CONT’D) Loose the dogs! A Bodyguard releases the DOGS- they RACE, SALIVATING, into the darkness... The Dogs RACE towards a Bat-Shadow- the first dog LEAPS, gets its JAWS around the Bat-Shadow's throat... Scarecrow ducks behind the van- holes PUNCHED in the side by shotgun blasts right behind him. He starts to climb into the driver's seat- The muzzle of a shotgun is pressed to the back of his head- a bat-shadow is behind him- he SPRAYS him with FEAR TOXIN- the bat-shadow collapses to the ground, SCREAMING. The Cechnyan , cowering from gunfire, looks down at him. SCARECROW Not the real thing. CHECHEN How you know? SCARECROW We're old friends. A HUGE BLACK SHAPE SLAMS down onto a row of parked cars. The BATMOBILE. SCARECROW That's more like it.9. The Chechen's men BLAST away at the front of the car: the bullets SPARK off its monstrous surface harmlessly...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BATMOBILE -- CONTINUOUS The cockpit is EMPTY. One of the screens reads ""LOITER"". The shooting STOPS. The screen switches to ""INTIMIDATE""",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PARKING GARAGE -- CONTINUOUS The men STARE at the Batmobile for a quiet moment... BOOM! The Batmobile CANNONS blast cars all around the men- A bat-shadow lines up his shotgun on a running bodyguard- CLUNK- a BLACK GAUNTLET grasps the barrel and BENDS it upwards with a HOWL of tortured steel- the bat-shadow looks into the face of the Batman. The REAL BATMAN. The Bat-shadow STUMBLES BACKWARDS in terror, leaving the bent shotgun in Batman's hand. Batman OPENS his hand, revealing a PNEUMATIC MANGLE hidden in his palm- Batman bears down on the dogs mauling another bat-shadow- DRAWS his GRAPPLING GUN and SHOOTS his grapple into the fake Batman's leg and RIPS him from the dogs, one dog HANGING ON as Batman pulls the unconscious man away... the Chechen RUNS down the ramp towards the exit... As Batman KICKS the dog off the fake Batman- the Chechen gets into his SUV- another dog LOCKS ITS JAWS around Batman's forearm, RIPPING, TEARING- Batman SWINGS THE DOG OVER HIS HEAD- SMASHES it against the ground- its jaws OPEN... Batman rises, an engine RACES behind him- he can't turn in time- BLAM- he's SLAMMED sideways by the speeding van.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. VAN -- CONTINUOUS Scarecrow, driving, NODS at him and hits the gas... Batman raises his hand, revealing his jointed mangle and pistons. The mangle STRAIGHTENS and ROTATES from his palm to the knife edge of his opened hand... Batman CHOPS straight through the windshield- pulls his hand out and CHOPS again- the mangle gets STUCK- Scarecrow steers towards a column...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PARKING GARAGE -- CONTINUOUS Batman can't free himself- he turns a dial on his forearm piston- EXPLOSIVE BOLTS blow, freeing his gauntlet from the mangle- he ROLLS free of the van as it SCRAPES the column and barrels down the circular exit ramp. Batman rises. A phony batman lying on the ground watches as Batman climbs up to the edge of the ten-story corkscrew ramp and stands there, waiting for something.10. After a moment he JUMPS... and falls... ten stories... He's about to hit the exit ramp- the van appears- his cape POPS OPEN- he SLAMS into the roof, CRUSHING the cab.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ROOFTOP, PARKING GARAGE -- MOMENTS LATER The Chechen's men are lined up against the wall, bound with zip-ties. So are the fake batmen. Batman DUMPS Scarecrow next to the three ""Batmen"", RIPS his mask off. ""BATMAN"" We're trying to help you! BATMAN I don't need help. SCARECROW Not my diagnosis. Batman silences Scarecrow with his boot. Turns to ""Batman"" BATMAN Don't let me find you out here again. Batman moves towards the Batmobile. ""BATMAN"" You need us! There's only one of you- it's war out here! Batman gets into the Batmobile. ""BATMAN"" What gives you the right?! What's the difference between you and me?! As the Canopy hisses shut- BATMAN I'm not wearing hockey pads. The ""Batman"" looks down at his makeshift costume as the Batmobile ROARS past.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. BANK -- NIGHT LIEUTENANT GORDON ducks the barrage of SHOUTED QUESTIONS from press and picks his way into the lobby of the bank.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LOBBY, BANK -- NIGHT FORENSIC SPECIALISTS work the room. Ramirez hands Gordon PRINTS- indicates the surveillance cameras. RAMIREZ He can't resist showing us his face.11. Gordon looks at the grainy blow-up of THE JOKER'S FACE: sweating clown makeup plastered thick around the mouth. GORDON Put this out, by morning we can put a big top over central holding and sell tickets. What's he hiding under that makeup? Gordon approaches a FORENSIC PHOTOGRAPHER shooting Grumpy's body. Gordon crouches to look at his clown mask. Batman steps from the shadows. Gordon nods at Ramirez. RAMIREZ Give us a minute, please, people! The Forensic team and Ramirez leave. Gordon hands Batman the blow-up of the Joker. BATMAN Him again. Who are the others? GORDON Another bunch of small timers. Batman pulls a DEVICE from his belt- moves to the bundles of cash scattered near the clown's body. The device PINGS. Batman picks up a BUNDLE. Hands it to Gordon. BATMAN Some of the marked bills I gave you. GORDON My detectives have been making drug buys with them for weeks. This bank was another drop for the mob. That makes five banks- we've found the bulk of their dirty cash. BATMAN Time to move in. Gordon waves the photo. GORDON What about this Joker guy? BATMAN One man or the entire mob? He can wait. GORDON We'll have to hit all banks simultaneously. SWAT teams, backup. Gordon holds up the bundle of banknotes.12. GORDON When the new DA gets wind of this, he'll want in. BATMAN Do you trust him? GORDON Be hard to keep him out. Gordon bags the cash. GORDON I hear he's as stubborn as you. But Batman is already gone.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. WAYNE PENTHOUSE -- MORNING Alfred walks past soaring downtown views as he carries a breakfast tray through the vast, empty penthouse. He stops, looking at a still-made bed. Alfred sighs, turns.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. RAIL YARDS -- MORNING Alfred gets out of the Rolls carrying a thermos. He walks towards a RAILWAY BRIDGE, stops at a FREIGHT CONTAINER sitting, lopsided, on blocks. Alfred unlocks the RUSTY PADLOCK AND CHAIN. Steps inside.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. FREIGHT CONTAINER -- CONTINUOUS Alfred FUMBLES in the dark- bangs his elbow- A HISS as the FLOOR LOWERS... Alfred sinks down into...,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BAT-BUNKER -- CONTINUOUS The container floor lowers on a giant PISTON. Alfred steps off into a large, LOW-CEILINGED CONCRETE CHAMBER. The Batmobile sits in the middle. Machines- 3dprinters, power tools- dot the high-tech space. At one end, Wayne sits at a bank of monitors watching CCTVfootage of the bank robbery. ALFRED Be nice when Wayne Manor's rebuilt and you can swap not sleeping in a penthouse for not sleeping in a mansion. Alfred places a cup of coffee in front of Wayne, who is STITCHING up a cut on his arm. ALFRED (CONT’D) (takes needle) When you stitch yourself up you make a bloody mess.13. WAYNE But I learn from my mistakes. ALFRED You ought to be pretty knowledgeable by now, then. WAYNE My armor... I'm carrying too much weight- I need to be faster. ALFRED I'm sure Mr.Foxcan oblige. (looksat wound) Did you get mauled by a tiger? WAYNE A dog. (offlook) A big dog. There were more copycats last night, Alfred. With guns. ALFRED Perhaps you could hire some of them and take weekends off. WAYNE This wasn't exactly what I had in mind when I said I wanted to inspire people. ALFRED I know. But things are improving. Look at the new District Attorney... Wayne indicates a monitor: a handsome MAN in a suit. WAYNE I am. Closely. I need to know if he can be trusted. Alfred looks at other images- the D.A.at a meeting. Campaigning. Helping someone out of a cab: RACHEL. ALFRED Are you interested in his character... or his social circle? WAYNE Who Rachel spends her time with is her business. ALFRED Well, I trust you're not following me on my day off. WAYNE If you ever took one, I might.14. Alfred bites the thread. Examines his stitches. Looks at the SCARS criss-crossing Wayne's shoulders. ALFRED Know your limits, Master Wayne. WAYNE Batman has no limits. ALFRED Well, youdo, sir. WAYNE I can't afford to know them. ALFRED And what happens the day you find out? WAYNE We all know how much you like to say 'I told you so'. ALFRED That day , Master Wayne, even I won't want to. Probably.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COURTROOM, SUPERIOR COURT -- DAY HARVEY DENT bursts into the courtroom. Assistant D.A.RACHEL DAWES, look up, ANNOYED. DENT Sorry I'm late, folks. Rachel leans in to Dent, speaking under her breath. RACHEL Where were you? DENT Worried you'd have to step up? RACHEL I know the briefs backwards. Dent pulls a large silver dollar out of his pocket. Grins. DENT Well, then, fair's fair: heads, I'll take it. Tails, he's all yours. Dent FLIPS. Shows it to Rachel- heads. RACHEL You're flipping coins to see who leads?15. DENT My father's lucky coin. As I recall, it got me my first date with you. RACHEL I'm serious, Harvey, you don't leave things like this to chance. DENT I don't. (sincere) I make my own luck. Dent looks across at the defendant- SAL MARONI. MARONI I thought the DA just played golf with the Mayor, things like that. DENT Tee-off's 1:30. More than enough time to put you away for life, Sally. The BAILIFFS lead a THIN MAN into the witness box. ROSSI.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COURTROOM, SUPERIOR COURT -- DAY Rossi takes a SIP of water. Dent works the room. DENT With Carmine Falcone in Arkham, someone must've stepped up to run the so-called family. (Rossi nods) Is this man in the courtroom today? (Rossi nods again) Could you identify him for us, please? Dent turns to Maroni, who is poker-faced. Dent smiles. ROSSI You win, counselor. It was me. Dent's smile disappears. He turns back to Rossi. DENT I've got a sworn statement from you that this man, Salvatore Maroni, is the new head of the Falcone crime family. ROSSI Maroni? He's a fall guy. I'm the brains of the organization. LAUGHS from the gallery. Dent turns to the JUDGE.16. DENT Permission to treat the witness as hostile? ROSSI Hostile? I'll show you hostile. Rossi JUMPS UP, points a GUN at Dent's face. SCREAMS from the gallery. Rossi PULLS the TRIGGER- the gun MISFIRES with a POP. Dent steps forward, grabs the GUN- DECKS Rossi with a RIGHT CROSS- unloads the GUN and sets it down in front of Maroni. DENT Ceramic 28 caliber. Made in China. If you want to kill a public servant, Mr. Maroni, I recommend you buy American. Everyone STARES, open-mouthed, as Dent adjusts his tie. The Bailiffs are wrestling Rossi from the box- DENT (CONT’D) But, your honor, I'm not done...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LOBBY, DENT'S OFFICE, DA'S -- DAY Rachel, excited, leads Dent through the lobby. RACHEL We'll never link the gun to Maroni, so we can't charge him, but I'll tell you one thing- the fact they tried to kill you means we're getting to them. DENT Glad you're so pleased, Rachel. I'm fine by the way. Rachel turns to Dent. Smooths his lapels. RACHEL Harvey, you're Gotham's D.A.-if you're not getting shot at, you're not doing your job. (smiles) 'Course if you said you were rattled we could take the rest of the day... DENT Can't. I dragged the head of the Major Crimes Unit down here. RACHEL Jim Gordon? He's a friend- try to be nice.17.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DENT'S OFFICE -- DAY Gordon stands as Dent enters. The two men shake. GORDON Word is you've got a hell of a right cross. Shame Sal's going to walk. DENT Well, good thing about the mob is they keep giving you second chances. Dent picks up a bundle of bills from the heist. DENT Lightly irradiated bills. Fancy stuff for a city cop. Have help? GORDON We liaise with various agencies- DENT Save it, Gordon. I want to meet him. GORDON Official policy is to arrest the vigilante known as Batman on sight. DENT And that flood light on top of M.C.U.? GORDON If you have any concerns about... malfunctioning equipment... take them up with maintenance, counselor. Dent tosses the bills back onto his desk. Annoyed. DENT I've put every known money launderer in Gothambehind bars. But the mob is still getting its money out. I think you and your ""friend"" have found the last game in town and you're trying to hit 'em where it hurts: their wallets. Bold. You gonnacount me in? GORDON In this town, the fewer people know something, the safer the operation. DENT Gordon, I don't like that you've got your own special unit, and I don't like that it's full of cops I investigated at internal affairs.18. GORDON If I didn't work with cops you'd investigated while you were making your name at I.A.-I'd be working alone. I don't get political points for being an idealist- I have to do the best I can with what I have. Dent looks at Gordon. Considering how to proceed. DENT You want me to back warrants for search and seizure on five banks without telling me who we're after? GORDON I can give you the names of the banks. DENT Well, that's a start. I'll get you your warrants. But I want your trust. GORDON (rises) You don't have to sell me, Dent. We all know you're Gotham's white knight. DENT (grins) I hear they've got a different nickname for me down at M.C.U.. Gordon smiles.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BOARDROOM, WAYNE ENTERPRISES -- DAY LUCIUSFOX, CEO of Wayne Enterprises, and the board listen to LAU, 40s, CEO of L.S.I.Holdings. LAU In China L.S.I.Holdings stands for dynamic new growth. A joint Chinese venture with Wayne Enterprises will be a powerhouse. FOX Well, Mr.Lau, I speak for the rest of the board, and Mr.Wayne , in expressing our own excitement... The Chinese look to the head of the table: Wayne, ASLEEP.19.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HALLWAY, WAYNE ENTERPRISES -- DAY Fox shows Lauto the elevator. He's joined by, REESE, 30s, an ambitious Mand A consultant lawyer. LAU It's OK, Mr.Fox.Everyone knows who really runs Wayne Enterprises. FOX We'll be in touch as soon as our people have wrapped up the diligence. The elevator doors close. Reese frowns. REESE Sir, I know Mr.Wayne's curious how his trust fund gets replenished but frankly... it's embarrassing. Fox heads for his office, Reese in tow. FOX You worry about the diligence, Mr. Reese. I'll worry about Bruce Wayne. REESE It's done- the numbers are solid. FOX (smiles) Do it again. Wouldn't want the trust fund to run out, would we?",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BOARDROOM, WAYNE ENTERPRISES -- CONTINUOUS Wayne is standing by the window. FOX Another long night? (Wayne smiles) This joint venture was your idea, and the consultants love it, but I'm not convinced. L.S.I.'s grown 8 percent annually, like clockwork. They must have a revenue stream that's off the books. Maybe even illegal. WAYNE OK. Cancel the deal. FOX (looks at Wayne) You already knew. WAYNE I needed a closer look at their books.20. Fox looks at Wayne. Wry. FOX Anything else you can trouble me for? WAYNE I need a new suit. FOX (looks him over) Three buttons is a little nineties. WAYNE I'm not talking about fashion, Mr.Fox, so much as function . Wayne pulls some diagrams. Fox looks them over. FOX You want to be able to turn your head? WAYNE Sure make backing out of the driveway easier. FOX I'll see what I can do.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RESTAURANT -- NIGHT Rachel and Dent at a table. Dent looks a little intimidated by the surroundings. DENT It took three weeks to get a reservation and I had to tell them I worked for the government. RACHEL Really? DENT Thiscity health inspector's not afraid to pull strings. Rachel smiles. Then, over Dent's shoulder, she sees Wayne enter, accompanied by a beautiful woman. DENT What? WAYNE Rachel! Fancy that. RACHEL Yes, Bruce. Fancy that.21. WAYNE Rachel, Natascha. Natascha , Rachel. NATASCHA (Russian accent) Hello. DENT The famous Bruce Wayne. Rachel's told me everything about you. WAYNE I certainly hope not. RACHEL Bruce, this is Harvey Dent. WAYNE Let's put a couple tables together. DENT I don't know if they'll let us- WAYNE They should! I own the place. RACHEL For how long? About three weeks? WAYNE How'dyou know? RACHEL Natascha , aren't you...? WAYNE Prima ballerina for the Moscow Ballet. RACHEL Harvey's taking me next week. WAYNE You're into ballet, Harvey? RACHEL No. He knows I am. An extra table arrives.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SAME -- LATER They finish up dinner. NATASCHA No, come on- how could you want to raise children in a city like this?22. WAYNE I was raised here. I turned out OK. DENT Is Wayne Manor in the city limits? Rachel gives Dent a withering look. WAYNE The Palisades? Sure. You know, as our new D.A.you might want to figure out where your jurisdiction ends. NATASCHA I'm talking about the kind of city that idolizes a masked vigilante... DENT Gotham's proud of an ordinary man standing up for what's right. NATASCHA Gothamneeds heroes like you- elected officials, not a man who thinks he's above the law. WAYNE Exactly. Who appointed the Batman? DENT We did. All of us who stood by and let scum take control of our city. Wayne watches Dent. Sees his passion. NATASCHA But this is a democracy, Harvey. DENT When their enemies were at the gate, the Romans would suspend democracy and appoint one man to protect the city. It wasn't considered an honor. It was considered public service. RACHEL And the last man they asked to protect the republic was named Caesar. He never gave up that power. DENT Well, I guess you either die a hero or you live long enough to see yourself become the villain. Look, whoever the Batman is, he doesn't want to spend the rest of his life doing this. How could he? 23. (MORE) ~Batman's looking for someone to take up his mantle. NATASCHA Someone like you, Mr.Dent? DENT Maybe. If I'm up to it. Natascha reaches up and covers the top half of Dent's face. NATASCHA But what if Harvey Dent is the caped crusader? DENT If I were sneaking out every night someone would've noticed by now. Dent takes Rachel's hand. Rachel glances at Wayne. Awkward. WAYNE Well, you've sold me, Dent. I'm gonnathrow you a fundraiser. DENT That's nice of you, Bruce, but I'm not up for reelection for three years. That stuff won't start for- WAYNE I don't think you understand. One fundraiser with my pals, you'll never need another cent.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BACK ALLEY, HOTEL, DOWNTOWN -- DAY A line of high-end AUTOS dispenses well dressed GANGSTERS.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. KITCHEN, HOTEL -- DAY The Chechenwalks through a METAL DETECTOR manned by two CHINESE. A lean, African-American man, 50's, is being wanded.This is GAMBOL. He nods at the Chechen, wary.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CONFERENCE ROOM, HOTEL -- CONTINUOUS Gotham's most notorious GANGSTERS. A door opens, and two BURLY CHINESE enter, carrying a TV. They set it down on the end of the table. CRIME BOSS The hell is this...? The screen flickers to life: Lau.The room ERUPTS.24. DENT (cont'd) LAU(ON T.V.) Gentlemen, please. As you're all aware, one of our deposits was stolen. A relatively small amount: 68 million. CHECHEN Who's stupid enough steal from us? LAU I'm told the man who arranged the heist calls himself Joker. CHECHEN Who the hell is that? MARONI Two-bit whack-job wears a cheap purple suit and make-up. He's not the problem- he's a nobody. (looksat Lau) The problemis our money being tracked by the cops. Murmurs of surprise. LAU Thanks to Mr.Maroni's well-placed sources we know that police have indeed identified our banks using marked bills and are planning to seize your funds today- Everyone starts SHOUTING at once.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. VARIOUS DOWNTOWN BANKS -- CONTINUOUS Gordon sits in a SWAT van outside a bank. Stephens is outside another. Ramirez a third... SWAT teams CHECK WEAPONS and prepare move...,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SOCIAL CLUB, DOWNTOWN -- CONTINUOUS Lauwaits for the noise to subside. CHECHEN You promised safe, clean money launder- LAU With the investigation ongoing, none of you can risk hanging on to your own proceeds. And since the enthusiastic new D.A.has put all my competitors out of business, I'm your only option.25. MARONI So what are you proposing? LAU Moving all deposits to one secure location. Not a bank. GAMBOL Where, then? LAU Obviously, no one can know but me. If the police were to gain leverage over one of you everyone's money would be at stake. CHECHEN What stops them getting to you? LAU As the money is moved I go to Hong Kong. Far from Dent's jurisdiction. And the Chinese will not extradite one of their own. From the back of the room comes LAUGHTER. It grows and grows, until it fills the room. All eyes turn: The Joker. Sweaty clown makeup obscuring the AWFUL SCARS which widen his mouth into a PERMANENT, GHOULISH SMILE. THE JOKER I thought I told bad jokes. GAMBOL Give me one reason I shouldn't have my boy here pull your head off. The Joker pulls out a freshly sharpened pencil. THE JOKER How about a magic trick? The Joker SLAMS the pencil into the table, leaving it UPRIGHT. THE JOKER (CONT’D) I'll make this pencil disappear. Gambol nods. His BODYGUARD MOVES at the Joker- who SIDESTEPS- GRIPS his head- SLAMS it, FACE DOWN, onto the table... The Bodyguard goes LIMP and slides off of the table. The PENCIL is gone. MAGIC. The Joker BOWS. Grins at Gambol.26. THE JOKER (CONT’D) And by the way, the suit wasn't cheap. You should know. You bought it. Gambol STANDS, furious. The Chechenstops him. CHECHEN Sit. I wannahear proposition. The Joker nods his thanks. Rises. THE JOKER A year ago these cops and lawyers wouldn't dare cross any of you. What happened? Did your balls drop off? See, a guy like me- GAMBOL A freak. Laughs. Which the Joker tries to ignore. THE JOKER A guy like me... I know why you're holding your little group therapy session in broad daylight. I know why you're afraid to go out at night. Batman. He's shown Gothamyour true colors. And Dent's just the beginning. (indicates Lau) And as for his so-called plan- Batman has no jurisdiction . He'll find him and make him squeal. (smilesat Lau) I can tell the squealers every time. CHECHEN What you propose? THE JOKER It's simple. Kill the Batman. Jeers. Laughter. MARONI If it's so easy why haven't you done it already? THE JOKER Like my mother used to tell me- if you're good at something, never do it for free. CHECHEN How much you want?27. THE JOKER Half. Laughter. The Joker shrugs. Rises. THE JOKER (CONT’D) You don't deal with this now, soon Gambol won't even be able to get a nickel for his grandma- GAMBOL Enough from the clown. Gambol gets up, MOVING at the Joker, who casually opens his coat, revealing EXPLOSIVES wired to his chest. Gambol stops. THE JOKER Let's not blow this out of all proportion. Gambol stares at the Joker. Hard. GAMBOL You think you can steal from us and just walk away? I'm putting the word out- 5 hundred grand for this clown dead. A million alive, so I get to teach him some manners, first. The Joker shrugs. Turns to the assembled. THE JOKER Let me know when you change your minds. The Joker strolls out. Maroni turns to Lau. MARONI How soon can you move the money?",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. VARIOUS BANKS DOWNTOWN -- CONTINUOUS Gordon hurries up the steps to a bank. SWAT teams rush the various banks. LAU I already have...,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. UNDERPASS, GOTHAM-- CONTINUOUS A CHINESE MAN finishes loading a TRACTOR TRAILER with cash boxes. The truck pulls out into a CONVOY.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. BANK VAULT -- CONTINUOUS Gordon stands in an almost empty bank vault. Furious.28. LAU For obvious reasons I couldn't wait for your permission...,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SOCIAL CLUB, DOWNTOWN -- CONTINUOUS The shot of Lauon the TV widens... LAU Rest assured, your money is safe. He is already on his private jet. IN THE SKY: THE BAT SIGNAL.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ROOF, POLICE STATION -- NIGHT Batman emerges from the shadows. The man next to the glowing spotlight turns: DENT. DENT You're a hard man to reach. Gordon BURSTS onto the rooftop, weapon drawn. Sees Dent. DENT Lau'shalfway to Hong Kong- if you'd asked, I could have taken his passport- I told you to keep me in the loop. GORDON Yeah? All that was left in the vaults were the marked bills- they knew we were coming! As soon as your office got involved, there's a leak- DENT My office?! You're sitting down here with scum like Wuertzand Ramirez... (off look) Oh, yeah, Gordon- I almost had your rookie cold on a racketeering beef. GORDON Don't try to cloud the fact that clearly Maroni's got people in your office, Dent. Dent turns to Batman. DENT We need Lauback, but the Chinese won't extradite a national under any circumstances.29. BATMAN If I get him to you, can you get him to talk? DENT I'll get him to sing. GORDON We're going after the mob's life savings. Things will get ugly. DENT I knew the risks when I took this job, lieutenant. Same as you. (turnsto Batman) How will you get him back, anyway? Batman is gone. Dent looks around, startled. Gordon smirks. GORDON He does that.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FOX'S OFFICE, WAYNE INDUSTRIES -- DAY Fox gets up from behind his desk. FOX Our Chinese friend left town before I could tell him the deal is off. WAYNE I'm sure you've always wanted to go to Hong Kong. Fox opens the door to a private elevator.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. PRIVATE ELEVATOR -- CONTINUOUS Fox turns a key. FOX What's wrong with a phone call? WAYNE I think Mr.Laudeserves a more personal touch.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. APPLIED SCIENCES DIVISION -- CONTINUOUS Fox leads Wayne off the elevator and into the vast space. FOX For high altitude jumps, you need oxygen and stabilizers. I must say- compared to your usual requests, jumping out of an airplane is pretty straightforward.30. Luciusstops at a cabinet, pulls open a drawer and hauls out an oxygen tank and ribbed rubber hosing. WAYNE How about getting back into the plane? FOX I can recommend a good travel agent. WAYNE Without it landing. FOX That's more like it, Mr.Wayne. He shuts the drawer. Moves off, thinking. FOX I don't think I have anything here. The CIA had a program in the '60sfor getting their people out of hot spots. Called Sky Hook. Now- Fox opens a cabinet to reveal COMPONENTS OF A NEW BAT-SUIT. ARMORED PLATING secured to mesh. Wayne lifts an arm. FOX Hardened kevlarplates on a titanium- dipped fiber tri-weave for flexibility... Wayne examines DOUBLE BLADE SCALLOPS on the gauntlet... FOX You'll be lighter, faster, more agile... Wayne flinches as the BLADES FIRE, SPINNING LIKE THROWING STARS, NARROWLY MISSING his ear, embedding themselves in a filing cabinet. Fox looks at him. FOX Perhaps you should read the instructions, first. WAYNE Sorry. Fox picks up the chest, demonstrating its flexibility. FOX Now, there's a trade-off... the spread of the plates gives you weak spots. You'll be more vulnerable to gunfire and knives.31. WAYNE We wouldn't want things getting too easy, would we? (picks up suit) How will it hold up against dogs? Fox looks at him quizzically. FOX You talking chihuahuas or rotweilers? (Wayne smiles) It should do fine against cats.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BAT-BUNKER -- DAY Wayne examines a parachute harness. Alfred unfolds a diagram of a NAVY CARGO PLANE with a giant "" V"" mounted on the front. ALFRED I found one. In Arizona. Very nice man says it will take him a week to get it running. And he takes cash. What about a flight crew? WAYNE South Korean smugglers. They run flights into Pyongyang, below radar the whole way. Did you think of an alibi? Alfred looks quite pleased with himself. ALFRED Oh, yes.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. BALLET -- NIGHT Rachel and Dent arrive to find the box office SHUTTERED. A sign:'PERFORMANCE CANCELED.' A newspaper story is taped to the glass. Over a picture of BRUCE WAYNE ON A YACHT: LOVE BOAT- Billionaire absconds with entire Moscow ballet.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DECK, WAYNE'S YACHT, THE CARIBBEAN -- DAY Alfred, picks his way over twelve SUNBATHING BALLERINAS. Wayne looks up from a newspaper. Alfred points to a SEA- PLANE gently touching down across the bay. ALFRED I believe your plane is here. WAYNE You look tired, Alfred. Will you be all right without me? A Ballerina rolls over- waves the suntan lotion at Alfred.32. ALFRED If you can tell me the Russian for 'apply your own bloody suntan lotion.’ Wayne tosses a large, waterproof kit bag into the water and JUMPS in after it. Begins swimming over to the sea-plane.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. POOL HALL -- NIGHT Gambol racks up. A bodyguard steps into the room. BODYGUARD Somebody here for you. Gambol looks to the back- three rough customers are waiting. BODYGUARD They say they've killed the Joker. They've come for the reward. GAMBOL They bring proof? BODYGUARD They say they've brought the body. The bodyguards FLOP a BODY wrapped in garbage bags onto the table. The BOUNTY HUNTERS wait in the corner. Gambol pulls back one of the garbage bags, revealing the Joker's bloodied face. Gambol spits. Turns to face the bounty hunters. GAMBOL So. Dead you get five hundred- Behind Gambol, the Joker SITS UP- THRUSTS knives into the bodyguards' chests. Gambol spins to see a crazy grin on the Joker's spit-dribbled face- THE JOKER How about alive? The Joker gets a switchblade in Gambol's mouth- SHARP METAL PULLING THE CHEEK TAUT. The Bounty Hunters subdue the remaining bodyguards. THE JOKER Wannaknow how I got these scars? My father was a drinker and a fiend. He'd beat mommy right in front of me. One night he goes off crazier than usual, mommy gets the kitchen knife to defend herself. He doesn't like that. Not. One. Bit. The Joker TUGS Gambols cheek with the blade.33. THE JOKER So, me watching, he takes the knife to her, laughing while he does it. Turns to me and says 'why so serious?' Comes at me with the knife- 'why so serious?' Sticks the blade in my mouth- 'Let's put a smile on that face' and... The Joker looks up at the ASHEN FACES of the remaining Body Guards. Smiles. THE JOKER Why so serious? The Joker FLICKS his wrist- the Body Guards flinch as Gambol goes down. The Joker turns to them. THE JOKER Now, our organization is small, but we've got a lot of potential for aggressive expansion... so which of you fine gentlemen would like to join our team? The three bodyguards all nod. The Joker SNAPS a pool cue. THE JOKER Only one slot open right now- so we're going to have try-outs. The Joker drops the broken cue in the middle of the men. THE JOKER Make it fast. The men stare at each other. Then at the jagged pool cue.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT.PENINSULA HOTEL, HONG KONG -- DAY A HELICOPTER touches down on one of the hotel's twin helipads. Two L.S.I.VPsapproach, heads ducked. Fox gets out- they shake hands, shouting over the engine- VP Welcome to Hong Kong, Mr.Fox! Mr.Lau regrets he is unable to meet you in person. But with his current legal difficulties...! FOX I understand!",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LOBBY, L.S.I.HOLDINGS -- DAY The VPsusher Fox towards security.34. VP I'm afraid for security reasons I have to ask for your mobile phone. Luciushands his phone to a SECURITY GUARD, who puts the phone in a box underneath his station.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. L.S.I.HOLDINGS -- DAY Fox and Laueat lunch in a dining room overlooking the city. LAU I must apologize for leaving Gotham in the middle of our negotiations. This misunderstanding with the Gotham police force... I couldn't let such a thing threaten my company. A businessman of your stature will understand. But with you here... we can continue. FOX Well, it was good of you to bring me out here in such style, Mr.Lau.But I've actually come... A CELL PHONE rings. Fox pulls out a second, identical, phone. Fox presses the off switch and places the phone by his plate. LAU We do not allow cell phones in- FOX Sorry. Forgot I had it. So, I've come to explain why we're going to have to put our deal on hold... Laustares at Fox. Clearly furious. Fox smiles. FOX We can't afford to be seen to do business with... well, whatever it is you're accused of being. A businessman of your stature will understand. Laugets up. Silent. Fox retrieves his phone. Stands. LAU (cold) I think, Mr.Fox, that a simple phone call might have sufficed.35. FOX Well, I do love Chinese food. And Mr.Wayne didn't want you to think we'd been deliberately wasting your time. LAU Just accidentally wasting it. FOX (laughs) That's very good- ""accidentally"". Very good. I'll be sure and tell Mr.Wayne that he was wrong about you not having a sense of humor.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LOBBY, L.S.I.HOLDINGS -- DAY Luciuswalks back through security. Nods at the VP, who bows, offering Luciushis cell phone. Luciusshakes his head, holds up the IDENTICAL PHONE. The VPsmiles, nods, puts the phone back into the tray with several others.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOLD, C-130CARGO HAULER -- DAWN Two SMUGGLERS steal glances at Wayne, crouched at the rear in balaclava and flight suit. The COPILOT signals Wayne, who pulls on his oxygen mask and stands up. The rear of the plane OPENS. Wayne steps to the edge, then JUMPS.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SKIES ABOVE HONG KONG -- DAWN Moving across the water towards Hong Kong harbor... A tiny figure DROPS into frame, PLUMMETING towards the water- SPEEDING past the highest floors of skyscrapers, seconds from impact. Wayne PULLS the chute- DROPS into the water...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BENEATH FREEWAY, HONG KONG HARBOR -- DAY Wayne pulls himself out of the water, dragging up his pack.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CENTRAL ESCALATORS -- DAY Wayne stops halfway up the crowded commuter escalator. He takes a camera and lines up a shot like any tourist. FOX (O.S.) There's a better view from the peak tram. Wayne turns to find Fox standing there, street map out. WAYNE How's the view from L.S.I.Holdings?36. FOX Restricted. Lau'sholed up in there good and tight. Here... Fox shows Wayne the phone. The display: a 3-dmap of Lau's office suite. Wayne takes the phone, impressed. WAYNE What's this? FOX I had Rand D work it up- it sends out high frequencies and records the response time to map an environment. WAYNE (smiles) Sonar. Just like a b- FOX Submarine. Like a submarine. WAYNE And the other device? FOX In place. Wayne nods, moves away. FOX Mr.Wayne? (Wayne turns) Good luck.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HONG KONG -- NIGHT Moving towards the tallest building in the glittering skyline to find Wayne, crouched on the roof. The blades of his gauntlets CLICK into place. He dons the helmet-like cowl. His ""cape"" is in the form of a hard faceted PACK. He stands- pulls two black boxes from his belt, CLICKS them together and UNFOLDS them into a RIFLE-LIKE DEVICE. Batman SCOPES a second, lower building. Adjust a setting and FIRES- four times... Four small STICKY BOMBS SLAP onto the glass of the lower building. They have visible timers which are COUNTING DOWN.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LOBBY, L.S.I.HOLDINGS -- NIGHT Lucius'cell phone GLOWS in the box under the Security Guard's desk. CHARACTERS race across the screen. Then the monitor FLICKERS off, the lights DIM and all of the security doors in the front of the building OPEN at once.37. The Guard grabs his radio- CALLS FOR HELP...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ROOFTOP OVERLOOKING L.S.I.HOLDINGS Batman LAUNCHES into the glittering night, DROPPING from the tall tower... his pack BURSTS OPEN, becoming his BAT WINGS-he GLIDES down to the lower building, STREAKING around it, BANKING HARD to line up with a window in the rear...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LAU'SOFFICE, L.S.I.HOLDINGS -- NIGHT Lauis talking on the phone, staring at a profit projection on a flat screen monitor. Suddenly the room goes dark.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. L.S.I.HOLDINGS -- CONTINUOUS As Batman HURTLES towards the glass he COLLAPSES his wings, WRAPPING his cape around himself and CANNONBALLING THROUGH THE GLASS-",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LAU'SOFFICE SUITE, L.S.I.HOLDINGS -- NIGHT -ROLLING across the floor in a flurry of broken glass...",FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LAU'SOFFICE, TOP FLOOR, L.S.I.HOLDINGS -- NIGHT Laupulls out a HANDGUN.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HALLWAY, L.S.I.HOLDINGS -- NIGHT Lausteps into the hallway. His BODYGUARDS are waiting for him, carrying FLASHLIGHTS. LAU Where the hell are the cops? BODYGUARD Coming. LAU What the hell am I paying them for? They head for the stairwell.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. L.S.I.HOLDINGS -- NIGHT A small ARMY of Hong Kong police lead by a HONG KONG DETECTIVE descends on the building.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MEZZANINE LEVEL, L.S.I.HOLDINGS -- NIGHT Lau and his men make their way out onto the mezzanine. Across the room, something makes a CRASHING SOUND. Lau's men fan out, trying to cover the room with their flashlights. Suddenly, one of the flashlights goes DARK. Then another. Someone SCREAMS.38. Lau FIRES. Then FIRES again. The muzzle flash from his weapon STROBES the room.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. L.S.I.HOLDINGS, HONG KONG -- NIGHT Cops SWARM into the building. A LOBBY SECURITY GUARD directs the Hong Kong Detective where to go...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. OFFICE, L.S.I.HOLDINGS -- NIGHT Lau LOCKS the door. RELOADS. The door is KICKED open. Lau FIRES. No one is there. Lau stares, finger restless on the trigger. From his right- a NOISE. He turns and FIRES. In the muzzle FLASH: Batman, bearing down on him like a demon. Lau FIRES, and FIRES again as Batman TACKLES him. Batman pulls out a SMALL PACK- STRAPS it onto Lau- The COUNTER on the sticky bombs hits 0- The Hong Kong Detective and the Cops BURST into the room- the WALL AND CEILING BEHIND BATMAN AND LAU EXPLODES- revealing the dawn sky above Hong Kong. The Detective looks around as he hears a LOW RUMBLE... Batman JERKS the RIPCORD on Lau'spack. Cops cower as a WEATHER BALLOON EXPLODES out of the pack, unreeling high-test nylon. The Cops cock their weapons. Laulooks up. Bemused. The weather balloon is two hundred feet up, swaying gently. The RUMBLE BUILDS... Suddenly, a MASSIVE C-130ROARS over. The large Von the front of the plane SNAGS the line- Lauand BATMAN are YANKED THROUGH THE HOLE IN THE CEILING- LauSCREAMS as he and Batman SOAR UP INTO THE DAWN SKY... The Detective looks up. Batman and Lauare gone.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GORDON'S OFFICE, MCU, GOTHAMCENTRAL -- DAY Gordon is looking through case files. Ramirez walks in. RAMIREZ You're gonnawant to see this.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MCU-- DAY Gordon follows Ramirez through a CROWD of excited cops. On the ground, trussed like a chicken- Lau.A sign taped to his chest: 'Please deliver to Lieutenant Gordon.'39.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. INTERROGATION ROOM, MCU, GOTHAMCENTRAL -- DAY Lausits next to his sleazy lawyer, EVANS. Rachel walks in. RACHEL Give us the money and we'll deal. LAU The moneyis the only reason I'm still alive. Rachel leans forward, speaking softly. Clearly. RACHEL You mean when they hear that you've helped us they're going to kill you? EVANS Are you threatening my client? RACHEL No, I'm just assuming your client's cooperation with this investigation. As will everyone. (movesto the door) Enjoy your stay in County, Mr.Lau. LAU Wait. (Rachel stops) I won't give you the money, but I'll give you my clients. All of them. RACHEL You were a glorified accountant- what could you have on all of them that we could charge? LAU I'm good with calculation- I handled all their investments. One big pot.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. OBSERVATION ROOM, MCU, GOTHAMCENTRAL -- DAY Dent hits a buzzer. Turns to Gordon. DENT I've got it. RICO. If their money was pooledwe can charge all of them as one criminal conspiracy. GORDON Charge them with what? Rachel enters.40. DENT In a RICO case if we can charge any of the conspirators with a felony- RACHEL We can charge all of them with it. Dent nods at Rachel, excited.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. INTERROGATION ROOM, MCU, GOTHAMCENTRAL -- DAY Rachel comes back in. RACHEL Mr.Lau, do you have details of this communal fund? Ledgers, notebooks...? LAU (smiles) Immunity, protection and a chartered plane back to Hong Kong. RACHEL Once you've testified in open court. So with your clients locked up, what happens to all that money? LAU Like I said- I'm good with calculation.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. OBSERVATION ROOM, MCU, GOTHAMCENTRAL -- CONTINUOUS Dent and Gordon watch Lau. GORDON He can't go to County. I'll keep him here in the holding cells. DENT What is this Gordon, your fortress? GORDON You trust them over at County? DENT I don't trust them here. GORDON Laustays. DENT It's your call, Lieutenant. Be right. GORDON I am, counselor.41.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. CITY HALL -- DAY Dent stands in front of a small crowd of reporters. REPORTER The Chinese government claim their international rights have been broken. DENT I don't know about Mr. Lau'stravel arrangements...,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RESTAURANT -- CONTINUOUS Dent's press conference plays on a TV in the corner. DENT (grins) ...but I'm sure glad he's back. Maroni and the Chechenare watching the TV. CHECHEN I put word out. We hire the clown. (offlook) He was right. We have to fix real problem. Batman. Maroni shakes his head. Spots Gordon walking over dangling a pair of handcuffs. Nods at the TV. GORDON Our boy looks good on the tube. MARONI You sure you want to embarrass me in front of my friends, Lieutenant? GORDON Don't worry, they're coming, too. Gordon points out the window to a PRISON BUS.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. VARIOUS DOWNTOWN AND OUTLYING LOCATIONS -- DAY Prison buses in every neighborhood. COPS load them with CRIMINALS. Stephens puts Crime Boss in a prison bus.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COURTROOM A, GOTHAMMUNICIPAL COURTHOUSE -- DAY JUDGE SURRILLO reads the list of charges. JUDGE SURRILLO ...849 counts racketeering, 246 counts fraud, 87 counts conspiracy murder...42. Judge Surrillo turns the page. A PLAYING CARD sits there. A Joker. He glances at it, curious, puts it to one side. JUDGE SURRILLO ...how do the defendants plead? An ARMY of DEFENSE LAWYERS jostle YELLING ALL AT ONCE. The STENOGRAPHER looks up, helpless.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MAYOR'S OFFICE -- DAY The MAYOR, COMMISSIONER LOEB, and Gordon look up as Dent enters. MAYOR DENT! What was that circus?! DENT I asked Gordon to make some arrests. LOEB (looks at report) Five hundred and- GORDON Forty-nine, sir. Gordon nods at Dent, approving. Dent grins back. MAYOR 549 criminals at once?! How did you convince Surrillo to hear this farce? DENT She shares my enthusiasm for justice. After all, she is a judge. MAYOR Even if you blow enough smoke to get convictions out of Surrillo , you'll set a new record at appeals for quickest kick in the ass. DENT It won't matter. The head guys make bail, sure... but the mid-level guys, they can't, and they can't afford to be off the streets long enough for trial and appeal. They'll cut deals that include some jail time. Think of all you could do with 18 months of clean streets. The Mayor waves Gordon and Loebout. MAYOR The public likes you, Dent. That's the only reason this might fly. 43. (MORE) But that means it's on you. They're all coming after you, now. Not just the mob... politicians, journalists, cops- anyone whose wallet's about to get lighter. Are you up to it? (Dent smiles) You better be. They get anything on you... those criminals will be back on the streets... The Mayor turns to look out of the window. Quiet. MAYOR Followed swiftly by you and me- BANG! A DARK SHAPE CRACKS THE GLASS in front of the Mayor's nose. Dent rushes to the window, looks out...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CITY HALL -- CONTINUOUS PEDESTRIANS look up, someone SCREAMS, someone POINTS- five stories up... SWINGING from a FLAGPOLE... BATMAN. HANGING BY HIS NECK. DEAD. His mouth roughly painted in a DEMONIC CLOWN SMILE.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CITY HALL -- MOMENTS LATER ""Batman"" is lowered from the flagpole. The same fake Batman we saw earlier. Pinned to his chest by a KNIFE, a PLAYING CARD. A Joker. Gordon moves closer to the body. The card has writing on it: WILL THE REAL BATMAN PLEASE STAND UP?",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. WAYNE PENTHOUSE -- DAY Wayne comes into the living room, excited. Alfred is supervising party arrangements. WAYNE How's it going? ALFRED I think your fundraiser will be a great success, sir. WAYNE And why do you think I wanted to hold a party for Harvey Dent? ALFRED I assumed it was your usual reason for socialising beyond myself and the scum of Gotham's underbelly: to try and impress Miss Dawes. WAYNE Very droll. But very wrong. Actually it's Dent. You see-44. MAYOR (cont'd) Wayne trails off as he spots something on the television: the Batman HANGING as from a NEWS CAMERA, framed by a graphic that reads 'BATMAN DEAD?'. Image cuts to Engel in the studio. ENGEL ...Police released video footage found concealed on the body. Sensitive viewers be aware: it is disturbing. The image cuts to a BLINDFOLDED MAN, wearing a makeshift Batman costume- face bruised and bloody. In some kind of bright, fluorescent-lit room. VOICE Tell them your name. MAN (weak) Brian Douglas. VOICE Are you the real Batman? MAN No. VOICE Why do you dress up like him? MAN He's a symbol... that we don't have to be afraid of scum like you... VOICE But you do, Brian. You really do. You think the Batman's helped Gotham? Brian nods uncertainly... VOICE Look at me. (Brian looks down) LOOK AT ME! Brian looks up- the camera swings into the face of the Joker, in CHALK-WHITE makeup, RED SMEAR of lipstick on his SCARS. THE JOKER This is how crazy Batman's made Gotham.You want order in Gotham? Batman has to go. So... (leans in) Batman must take off his mask, and turn himself in. 45. (MORE) Every day he doesn't... people will die. Starting tonight. I'm a man of my word. The tape cuts to STATIC. Wayne turns to Alfred. Silent.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. WAYNE PENTHOUSE -- EVENING Dent and Rachel get off the lift. Dent stands in awe of the penthouse and its guests. RACHEL Now I've seen it all: Harvey Dent, scourge of the underworld, scared stiff by the trust fund brigade. Rachel spots someone and darts off- DENT Rachel- ALFRED A little liquid courage, Mr.Dent? Dent turns to see Alfred with drinks on a silver tray. DENT Thanks. Alfred, right? ALFRED Yes, sir. DENT Rachel talks about you all the time. You've known her herwhole life? ALFRED Not yet, sir. DENT (smiles, surveys crowd) Any psychotic ex-boyfriends I should be aware of? ALFRED Oh, you have no idea. Alfred leaves Dent standing there, puzzled. The crowd REACTS as a LOUD ROAR drowns conversation... Dent looks out-",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HELIPAD, WAYNE PENTHOUSE -- CONTINUOUS Wayne's CHOPPER touches down. He spills out with a clutch of SUPERMODELS ...46. THEJOKER (cont'd)",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. WAYNE PENTHOUSE -- CONTINUOUS Wayne and the supermodels come out of the helipad elevator- WAYNE Sorry, I'm late- glad you started without me! Where's Rachel?! Rachelcringes slightly. Wayne spots her. WAYNE Rachel Dawes-my oldest friend. When she told me she was dating Harvey Dent, I had one thing to say... the guy from those god-awful campaign commercials? Laughter. Dent shifts, embarrassed. WAYNE 'I Believe in Harvey Dent.' Nice slogan, Harvey. Certainly caught Rachel's attention. But then I started paying attention to Harvey, and all he's been doing as our new D.A., and you know what? I believe in Harvey Dent. On his watch, Gotham can feel a little safer. A little more optimistic. So get out your checkbooks and let's make sure that he stays right where all of Gotham wants him... (raises his glass) All except Gotham's criminals, of course. To the face of Gotham's bright future- Harvey Dent. Dent smiles accepting the toast.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CORRIDOR, MCU-- EVENING Ramirez catches up to Gordon, holding paperwork. RAMIREZ That Joker card pinned to the body? Forensics found three sets of D.N.A.. GORDON Any matches? RAMIREZ All three. Gordon STOPS. Turns to face her. RAMIREZ The D.N.A.belongs to Judge Surrillo , Harvey Dent and Commissioner Loeb.47. GORDON The Joker's telling us who he's targeting- get a unit to Surrillo's house, tell Wuertzto find Dent- get them both into protective custody. Where's the Commissioner? RAMIREZ City hall. GORDON Seal the building. No one in or out till I get there.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DECK, WAYNE'S PENTHOUSE -- EVENING Wayne walks out to the edge of the balcony and looks over Gotham.Hears someone behind him- Rachel. RACHEL Harvey may not know you well enough to understand when you're making fun of him. But I do. WAYNE (shakes his head) I meant every word. Wayne moves closer to Rachel. Takes her arm. WAYNE The day you once told me about, the day when Gothamno longer needs Batman. It's coming. Rachel looks at Wayne. Conflicted. He moves closer. RACHEL You can't ask me to wait for that. Wayne takes Rachel's arms, looking at her, excited. WAYNE It's happening now- Harvey is that hero. He locked up half the city's criminals, and he did it without wearing a mask. Gothamneeds a hero with a face. DENT You can throw a party, Wayne, I'll give you that. Thanks again. Mind if I borrow Rachel? Rachel glances back at Wayne as she moves to Dent. Wayne watches them head inside.48.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. STREET, GOTHAMHEIGHTS -- EVENING Two MEN in suits knock at a Brownstone. The door is opened by Judge Surrillo. The two Men hold up BADGES.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. CITY HALL -- EVENING Gordon enters through a tight police presence at the doors.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. POLICE COMMISSIONER'S OFFICE -- EVENING Gordon enters to find Loeb, flanked by armed cops. COMMISSIONER LOEB Gordon, what are you playing at? Gordon checks the window. Turns to his men. GORDON We're secure. I want a floor-by- floor search of the entire building. (turnsto Loeb) I'm sorry, sir. We believe the Joker has made a threat against your life. LOEB Gordon, you're unlikely to discover this for yourself, so take my word- the Police Commissioner earns a lot of threats... Loebpulls a bottle of whisky and a tumbler from a drawer. LOEB I found the appropriate response to these situations a long time ago...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. STREET, GOTHAMHEIGHTS -- EVENING The second man is waiting by the Judge's car. SURRILLO Gordon wants me to go right now? MAN 1 These are dangerous people, Judge. Even we don't know where you're going. He hands Surrillo a sealed envelope. Opens the car door. MAN 2 Get in, then open the envelope. It'll tell you where you're headed. Surrillo climbs in. Watches them drive away. She opens the envelope- pulls out a sheet of paper. One word on it:49. 'UP'. Surrillo's car EXPLODES, heaving the car upwards on a FIREBALL. A PASSERBY is thrown to the ground. After a moment, BURNING DEBRIS flutters down on him. PLAYING CARDS. JOKERS.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. POLICE COMMISSIONER'S OFFICE -- CONTINUOUS Loebpours himself a glass of whisky. LOEB You get to explain to my wife why I'm late for dinner, Lieutenant. GORDON Sir, the Joker card had a trace of your D.N.A.on it- A bang at the door. Gordon pulls his weapon, then opens it. STEPHENS Just the normal number of bad guys in the building- and they're all city employees. Here's a list. LOEB How'dthey get my D.N.A.? Gordon looks at Stephens's list. GORDON Somebody with access to your house or office must'velifted a tissue or a glass... Gordon, realizing, spins around- GORDON Wait- But Loebis already CHOKING- he DROPS his tumbler onto the desk- the spilled whiskey is SMOKING, eating into the wood. GORDON Get a medic! LoebCOLLAPSES.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. KITCHEN, WAYNE PENTHOUSE -- EVENING Dent pulls Rachel into the kitchen, away from the crowd. DENT You cannot leave me on my own with these people.50. RACHEL The whole mob's after you and you're worried about these guys? DENT Compared to this, the mob doesn't scare me. Although, I will say: them gunning for you makes you see things clearly. RACHEL Oh, yeah? DENT Yeah. It makes you think about what you couldn't stand losing. And who you want to spend the rest of your life with... Rachel looks at Dent. Smiles. RACHEL The rest of your life, huh? That's a pretty big commitment. DENT Not if the mob has their way. RACHEL Don't. DENT Okay. Let's be serious. What's your answer? Rachel looks at him. RACHEL I don't have an answer.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT.LIVING ROOM, PENTHOUSE -- NIGHT Half the guests are on their cell phones. An ASSISTANT DA turns to his COLLEAGUE. ASSISTANT DA Surrillo and Loeb? There is a KNOCK at the front door. Alfred opens it itfind Detective Wuertz, who holds up his badge. Alfred beckons him in- there is a SHOTGUN at the back of his head held by- The Joker- purple suit, make up. With friends. The Joker SMASHES Wuertzover the head- steps over him, RACKING the shotgun.51. THE JOKER Good evening. We're the entertainment.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. KITCHEN, WAYNE PENTHOUSE -- NIGHT Rachel is looking at Dent. Torn. DENT I guess no answer isn't ""no"". RACHEL I'm sorry, Harvey. I just... DENT It's someone else, isn't it? Wayne is moving up behind him. Fast- DENT Just tell me it's not Wayne. The guy's a complete- Rachel's eyes go wide as Wayne puts Dent in a SLEEPER HOLD- RACHEL What are you doing?! Dent SLUMPS, unconscious in Wayne's arms. WAYNE They've come for him. From the main room- A SHOTGUN BLAST followed by SCREAMS. Wayne stuffs Dent in a closet- puts a mop through the handles. Rushes past Rachel- WAYNE Stay hidden.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LIVING ROOM, WAYNE'S PENTHOUSE -- NIGHT The Joker and his THUGS pour into the room, weapons raised.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HALLWAY, WAYNE PENTHOUSE -- NIGHT A THUG appears in front of Wayne, toting a shotgun. THUG Hands up, pretty boy. Wayne FLIPS the shotgun around in the man's hands- uses it as a fulcrum to SNAP his forearm- SMASHES him in the jaw with the stock without breaking step, field stripping the shotgun and tossing the pieces in different directions.52.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LIVING ROOM, WAYNE'S PENTHOUSE -- NIGHT The Joker moves through the terrified guests. Smiling. THE JOKER I only have one question: where is Harvey Dent? (silence) I'll settle for his loved ones... A distinguished Gentleman steps into the Joker's path. GENTLEMAN We're not intimidated by thugs. The Joker stops. Stares at the man. SMILES AFFECTIONATELY. THE JOKER You know, you remind me of my father. (GRABS him) I hated my father. The Joker has his blade in the Gentleman's mouth. RACHEL Stop! The Joker drops the Gentleman. Turns to Rachel. THE JOKER Hello, beautiful. You must be Harvey's squeeze. (runshis knife across her cheek) And you are beautiful. You look nervous- it's the scars isn't it? Wannaknow how I got them? I had a wife, beautiful like you. Who tells me I worry too much. Who says I need to smile more. Who gambles. And gets in deep with the sharks. One day they carve her face, and we've got no money for surgeries. She can't take it. (pressesknife into her cheek) I just want to see her smile again. I just want her to know I don't care about the scars. So I put a razor in my mouth and do this to myself... And you know what? (startslaughing) She can't stand the sight of me... (or crying) She leaves! See, now I see the funny side. Now I'm always smiling.53.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MASTER BEDROOM, WAYNE PENTHOUSE -- NIGHT Wayne walks in. A COUPLE are hastily putting themselves back together, alerted by the noise. MALE GUEST What's going on out there, Wayne? Wayne doesn't answer. He walks into a closet and pulls at a FALSE WALL. Wayne steps into the safe room. FEMALE GUEST Thank god- you've got a panic room. The door SLAMS shut and seals with a HISS. MALE GUEST Wait! You can't- FEMALE GUEST You've got to be kidding me.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LIVING ROOM, WAYNE'S PENTHOUSE -- NIGHT The Joker raises his knife from Rachel's cheek. She SLUGS him. He smiles. THE JOKER A little fight in you. I like that. BATMAN Then you're going to love me. The Joker turns. Batman catches him with a BLOW, spins him down and DISARMS him- the Joker's men jump him- Batman takes them out two at a time- DISARMING thugs- BREAKING forearms- the Joker CLICKS a BLADE from the toe of his shoe and KICKS- JABBING BETWEEN THE PLATES OF ARMOR covering Batman's ribcage- Batman HURLS the Joker across the room. One of the Joker's men LUNGES- Batman lays him out cold. The Joker has another knife pressed to Rachel's neck. BATMAN Drop the knife. THE JOKER Sure. Just take off your mask and show us all who you are... Rachel shakes her head at Batman. The Joker raises his shotgun to the side and BLOWS OUT the pane of glass next to him. The Joker dangles Rachel out the window. BATMAN Let her go.54. THE JOKER (laughs) Very poor choice of words... He lets her DROP- Rachel falls onto a SLOPING GLASS ROOF- sliding towards the edge Batman DIVES after her-",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BUILDING -- NIGHT They DROP- Batman FIRES his grapple, SNAGGING Rachel's ankle- activates one wing of his cape- They SPIN and SLOW- Batman envelopes Rachel- they SLAM into the hood of a passing taxi.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. TAXI -- CONTINUOUS The DRIVER SCREAMS as Batman and Rachel hit the roof- ROLL down the windshield- onto the pavement. Alive.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAR -- CONTINUOUS The Joker looks back as his car SPEEDS away. He's breathing hard, EXHILARATED. He touches the blood running down his sweaty white makeup. SMACKS the back of the driver's seat- DRIVER What do we do about Dent? THE JOKER I'm a man of my word.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. TAXI -- CONTINUOUS Rachel opens her eyes. BATMAN Are you alright? RACHEL Let's not do that again, okay? (looksaround) Is Harvey-? BATMAN He's safe. Rachel lies back, breathing. Looks up at Batman. RACHEL Thank you.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MAJOR CRIMES UNIT, GOTHAMCENTRAL -- DAY STEPHENS is talking to Gordon, subdued. STEPHENS Jim, it's over.55. GORDON As long as they don't get to Lau, we've cut off their funds. STEPHENS But the prosecution's over. STEPHENS No-one's standing up in front of a Judge while judges and police commissioners are getting blown away. GORDON What about Dent? STEPHENS If he's got any sense, Dent's halfway to Mexico by now. The door BURSTS OPEN. Dent. Fire in his eyes. DENT So where do you keep your trash? Gordon looks at Dent. Impressed.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SPECIAL HOLDING AREA, MCU, GOTHAMCENTRAL -- DAY Laulooks up as Dent walks in, holding a bullet proof vest. DENT You're due in court- I need you alive long enough to get you on the record. LAU No way. You can't protect me- you can't even protect yourselves. Dent THROWS the heavy vest at Lau. DENT Refuse to cooperate on the stand- you won't be coming back here- you'll go to county. How long do you calculate you'll last in there?",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BAT-BUNKER -- DAY Wayne sits at his video screens- they all play the Joker's video with different IMAGE TREATMENTS and SOUND TUNINGS. Wayne turns to Alfred. Indicates the screens. WAYNE Targeting me won't get their money back. I knew the mob wouldn't go down without a fight, but this is different. They've crossed a line.56. ALFRED You crossed it first, sir. You've hammered them, squeezed them to the point of desperation. And now, in their desperation they've turned to a man they don't fully understand. Wayne gets up from his monitors, raises the bat-cabinet. WAYNE Criminals aren't complicated, Alfred. We just have to figure out what he's after. ALFRED Respectfully, Master Wayne, perhaps this is a man you don't fully understand, either. ALFRED (looks at Wayne) I was in Burma. A long time ago. My friends and I were working for the local government. They were trying to buy the loyalty of tribal leaders, bribing them with precious stones. But their caravans were being raided in a forest north of Rangoon by a bandit. We were asked to take care of the problem, so we started looking for the stones. But after six months, we couldn't find anyone who had traded with him. WAYNE What were you missing? ALFRED One day I found a child playing with a ruby as big as a tangerine. (shrugs) The bandit had been throwing the stones away. WAYNE So why was he stealing them? ALFRED Because he thought it was good sport. Because some men aren't looking for anything logical, like money... they can't be bought, bullied, reasoned or negotiated with. (grave) Some men just want to watch the world burn. Wayne stares at Alfred. Reaches for the bat-suit.57.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SKYLINE OF GOTHAM-- DAWN MOVING over the city we hear myriad RADIO CALLS going out over the ether. CLOSE IN on a lonely figure on top of a skyscraper. The Batman. Listening with his million dollar earpieces. From the babble, ONE VOICE EMERGES. DISPATCH (O.S.) Your name, sir. Please state- VOICE (O.S.) 8th at orchard. You'll find Harvey Dent there.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. 8THSTREET AT ORCHARD -- DAWN An UNMARKED and a SQUAD CAR screech to a halt. Gordon and Ramirez get out, lead two UNIFORMS into the building.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. APARTMENT, EIGHT AVE. -- CONTINUOUS The door SMASHES OPEN, Gordon- gun drawn- takes in the scene. TWO DEAD MEN sitting at the kitchen table. They each have a HAND OF CARDS, as if in the middle of a game. ALL JOKERS. Gordon and Ramirez STARE at the CRUDE LEERS carved into their faces. Their DRIVERS LICENSES are pinned to their chests. VOICE Check the names. GORDON (checks licenses) Patrick Harvey. Richard Dent... RAMIREZ Harvey Dent. BATMAN I need ten minutes with the scene before your men contaminate it. RAMIREZ Us contaminate it? It's because of you that these guys are dead in the first place- GORDON Ramirez. She stands down. Batman moves past the bodies to the wall. Finds an embedded stray bullet. He pulls a SAWING DEVICE from his belt- THRUSTS it into the wall and starts cutting around the bullet. GORDON That's brick- you're gonnatry and take ballistics off a shattered bullet?58. BATMAN No. Fingerprints. Ramirez looks at Gordon. Is he serious? Gordon points- GORDON Whatever you're gonnado, doit fast, 'cos we know his next target... Batman looks- a campaign poster: RE-ELECT MAYOR GARCIA. The Mayor's image has a MANIC CLOWN'S GRIN and ""HA, HA,HA"".",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FOX'S OFFICE, WAYNE ENTERPRISES -- DAY Fox is at his desk. Reese enters. FOX What can I do for you, Mr. Reese? REESE You asked me to do the diligence on the L.S.I.Holdings deal again. I found irregularities. FOX Their CEO is in police custody. REESE Not with their numbers. With yours. A whole division of Wayne Industries disappeared, overnight. So I went down to the archives and started pulling old files. He pulls out a folded bluepr",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int. Slides it across the desk. REESE My kids love the Batman. I thought he was pretty cool, too. Out there, kicking some ass. Fox picks up the piece of paper. Unfolds it. It's an old BLUEPR",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. The image is unmistakable: THE TUMBLER. REESE Changes things when you know it's just a rich kid playing dress up. Reese points to the approval box in the corner of the page. REESE Your project. Don't tell me you didn't recognize your baby pancaking cop cars on the evening news. Now you're getting sloppy. Applied Sciences was a small, dead department- who'd notice? 59. (MORE) But now you've got the entire Rand D department burning cash, claiming it's related to cell phones for the army. What are you building him now? A rocket ship? I want ten million a year. For the rest of my life. Fox looks at him. Even. Folds up the bluepr",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int. FOX Let me get this straight. You think that your client, one of the wealthiest and most powerful men in the world, is secretly a vigilante who spends his nights beating criminals to a pulp with his bare hands... (deadpan) And now your plan is to blackmail this person? Reese stares at Fox. Who smiles. And slides the blueprint across the desk. FOX Good luck. Reese looks at it. Then at Fox. Swallows. Slides it back.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BAT-BUNKER -- DAY Wayne hands Alfred a RIFLE BULLET scribed with a GRID. He slots it into a clip, then loads it into a COMPUTER CONTROLLED GATTLING GUN. He puts on ear protectors. Hits a button. The rifle WHIRS to life- dollying sideways, BLASTING BULLETS into a series of identical BRICK WALL SAMPLES. ALFRED I'm not sure you made it loud enough, sir. As the wall samples still smoke, Wayne steps up, carrying the sample from the crime scene. Comparing its spread to the new samples, he selects two and carries them to an X-RAY SCANNER. The machine gives the samples a 3-axisscan- HI-RES 3-D IMAGES of the bullet fragment arrays come up on the screen...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. APPLIED SCIENCES DIVISION -- DAY The same image of the bullet fragment on a screen. Fox hits a key and the computer 'reassembles' the bullets according to the identifying grid on each fragment. FOX Here's your original scan...60. REESE (cont'd) A bullet fragment array pops on screen. FOX Here's it reverse-engineered... Fox hits a button and the unmarked bullet fragments are reassembled. Wayne spins the roughly-shaped bullet puzzle- WAYNE And here's a thumb pr,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int. Fox looks at the screen, impressed. Thinks. FOX I'll make you a copy. (troubled ) Mr.Wayne , did you reassign Rand D? WAYNE Yes. Government telecommunications project. FOX I wasn't aware we had any new government contracts. Can you- WAYNE Lucius.I'm playing this one pretty close to the chest. FOX Fair enough. Fox looks at Wayne as he leaves. Uneasy.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BAT-BUNKER -- CONTINUOUS -- INTERCUT Wayne examines the fingerprint- WAYNE I've run it through all the databases and came up with four possibles. Wayne gets up to let Alfred sit. WAYNE (CONT’D) Cross-reference the addresses. Look for Parkside and around. Wayne opens a HYDRAULIC DOOR, revealing a gleaming MVAUGUSTA BRUTALE. As he moves the bike onto the lift... ALFRED Got one. Melvin White, aggravated assault, moved to Arkhamtwice- 1502 Randolph Apartments, just off State-61. WAYNE Overlooking the parade. Wayne and the bike rise on the lift.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PARKSIDE AVENUE -- DAY The avenue has been blocked off. Onlookers line the sidewalks. POLICE march past in dress uniform. Engel does a stand-up on the sidewalk. ENGEL With no word from the Batman- even as they mourn Commissioner Loeb, these cops have to be wondering if the Joker is going to make good on his threat to kill the Mayor today... On the buildings above, POLICE SNIPERS scan the crowd. Gordon keys his radio- GORDON How's it looking up top? POLICE SNIPER We're tight. But frankly... there's a lot of windows up here. Gordon looks up at the myriad buildings overlooking the podium.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. GOTHAMSTREETS -- CONTINUOUS Wayne maneuvers the Ducatithrough the traffic. He pulls up near a parade barricade- dismounts and slips into an alley.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. TENEMENT -- CONTINUOUS Some of the building's hard-luck TENANTS eye Wayne as he counts doors down the hallway. He finds 1502...,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PARKSIDE AVENUE -- LATER A SEA OF POLICE fills the Avenue. In the center, three grieving families and an HONOR GUARD. The Mayor at the podium. Gordon behind. Dent is seated with Rachel. THE MAYOR ...and as we recognize the sacrifice of these officers, we must remember that vigilance is the price of safety.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TENEMENT -- CONTINUOUS Wayne enters: EIGHT MEN IN UNDERSHIRTS, bound, gagged, blindfolded. A SNIPER SCOPE on a tripod at the window. Wayne moves to the first man, RIPS the tape from his mouth.62. MAN (breathing hard) Took... they took our guns, our uniforms...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PARKSIDE AVENUE -- CONTINUOUS Gordon scans the crowd. The Mayor wraps up- the Honor Guard steps forward, raises weapons...",FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. ROOFTOP OVERLOOKING PARKSIDE -- CONTINUOUS A POLICE SNIPER scans the windows of the tenement...,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TENEMENT -- CONTINUOUS Wayne RACES to the window, looks through the SCOPE to see:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. STATE STREET -- CONTINUOUS THE HONOR GUARD TURN THEIR WEAPONS ON THE MAYOR. One SMILES, flesh-colored makeup over his scars. THE JOKER. Gordon LEAPS FORWARD- they FIRE- GORDON TAKES SHOTS TO THE BACK as he SLAMS the Mayor to the ground-",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. ROOFTOP OVERLOOKING PARKSIDE -- CONTINUOUS The Police Sniper SPOTS Wayne at the window- SHOOTS-,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. TENEMENT -- CONTINUOUS Wayne DUCKS as SHOTS erupt around the window-,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PARKSIDE -- CONTINUOUS PANDEMONIUM erupts-One of the honor guard is TAGGED IN THE LEG- GOES DOWN. The others MELT into the CHAOS. On the podium, Stephens rolls Gordon over... he is not moving.",FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. SIDE STREET OFF PARKSIDE -- MOMENTS LATER CHAOS. Dent approaches an ambulance sitting in the alley. Two cops jump out and run over to their commander. Dent steps up into the back.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. AMBULANCE -- CONTINUOUS The Joker's thug sits there. Handcuffed. A PARAMEDIC bandages his leg. Cops run past, barking orders. DENT Tell me what you know about the Joker.63. The Joker's thug looks at Dent. Smirks. Dent looks down. Exasperated. Looks back up at the Joker's Thug. Spots something- moves closer- the man's uniform... his name tag... OFFICER RACHEL DAWES. Dent, breathing hard, looks around: the paramedic jumps out, rushing to help a FALLEN OFFICER. Dent spies the keys in the ignition. Jumps into the driver's seat...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. GORDON'S HOUSE -- DUSK Barbara Gordon stands in the doorway, scared. Stephens and a UNIFORMED OFFICER stand in front of her. STEPHENS I'm sorry, Barbara. James Gordon pushes past his mother to look at Stephens. Barbara tries to push him back inside. BARBARA Jimmy, go play with your sister... James stays just inside the door. STEPHENS I'm sorry. Barbara stares at Stephens. Then looks past him. BARBARA Are you out there?! Are you?! James spots something- Batman, perched in the shadows. BARBARA You brought this on us! This craziness! You did! You brought this...! She collapses into Stephens's arms. Batman hangs his head.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ROOF, MCU-- NIGHT Detectives from MCUstand around the lit bat-signal. STEPHENS Switch it off- he ain't coming. He doesn't want to talk to us. God help whoever he does want to talk to-",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. NIGHTCLUB -- NIGHT Strobe lights. Pounding music. Maroni is in a booth at the side with his MISTRESS. His bodyguards are around the table.64. MISTRESS (shouting over music) Can't we go someplace quieter! We can't hear each other talk! MARONI I don't wannahear you talk. MISTRESS (can't hear) What?! One of Maroni's Bodyguards DROPS- Maroni looks over- in the strobe lights- Batman SAVAGES his bodyguards- people RUN, TERRIFIED. Maroni starts to get out of his seat- Batman LANDS like a panther on the table in front of him-",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MCU-- NIGHT Rachel moves through the chaotic bullpen at MCU- EYEWITNESSES, civilian and cop are being questioned. Rachel's phone rings. RACHEL Harvey, where are you?! INTERCUT with Dent in an INDISTINCT interior setting. DENT Where are you? RACHEL Where you should be- at Major Crimes trying to sort through all the- DENT Rachel, listen to me. You're not safe there. RACHEL This is Gordon's unit, Harvey- DENT Gordon's gone, Rachel. RACHEL He vouched for these men- DENT And he's gone. The Joker's named you n",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","ext. Rachel looks around the bullpen. Eyeing the detectives. DENT Rachel, I can't let anything happen to you. I love you too much.65. (MORE) Is there someone, anyone in this city we can trust? RACHEL Bruce. We can trust Bruce Wayne. DENT Rachel, I know he's your friend but- RACHEL Trust me, Harvey, Bruce's penthouse is now the safest place in the city. DENT Okay. Go straight there. Don't tell anyone where you're going. I'll find you there. Wider shows us we are-",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BASEMENT, CONDEMNED BUILDING -- CONTINUOUS DENT I love you. Dent hangs up the phone. TAPED to a chair in front of Dent- the Joker's Thug, blindfolded. Dent RIPS off the blindfold...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FIRE ESCAPE -- NIGHT Maroni opens his eyes. Batman is holding him by the collar. BATMAN I want the Joker. MARONI (looks down) From one professional to another-if you're trying to scare someone, pick a better spot. From this height the fall wouldn't kill me. BATMAN I'm counting on it. Batman lets go. Maroni FALLS. And SCREAMS.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SIDEWALK -- NIGHT Maroni NAILS the pavement. CLUTCHES at his leg, which is badly broken. Batman FLIES down, landing over him- hauls him up. Maroni HOLLERS in pain. BATMAN Where is he? MARONI I don't know, he found us-66. DENT (cont'd) BATMAN He must have friends. MARONI Friends? You met this guy? BATMAN Someone knows where he is. Maroni looks up at Batman. Sneering. MARONI No one's gonnatell you anything- they're wise to your act- you got rules... the Joker, he's got no rules. No one's gonnacross him for you. You want this guy, you got one way. And you already know what that is. Just take off that mask and let him come find you. Batman DROPS Maroni. MARONI Or you want to let a couple more people get killed while you make up your mind?",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BASEMENT, CONDEMNED BUILDING -- NIGHT Dent shows the Joker's Thug a GUN. Bullets. Loads the gun. SHOVES it in his face- DENT You wannaplay games? Dent PUSHES the gun against the thug's head with REAL MALICE. Pulls it away and FIRES. The Thug FLINCHES. Dent puts the gun barrel against the thug's temple- JOKER'S THUG (rattled) You wouldn't... And pulls his lucky coin out of his pocket. DENT No. I wouldn't. That's why I'm not going to leave it up to me. (showshim coin) Heads- you get to keep your head. Tails... not so lucky. So, you want to tell me about the Joker? The Thug, scared, says nothing. Dent FLICKS the coin into the air. SLAPS it onto the back of his gun hand (aiming with wrist horizontal). Dent shows him the coin. Heads. The Thug exhales, SHAKING.67. DENT Go again? JOKER'S THUG (sobbing) I don't know anything! DENT You're not playing the odds, friend. Dent tosses the coin again. This time IT DOESN'T LAND. Dent looks up. Batman is there. BATMAN You'd leave a man's life to chance? DENT Not exactly. BATMAN His name's Schiff, Thomas. He's a paranoid schizophrenic, a former patient at Arkham.The kind of mind the Joker attracts. Batman moves away from Schiff. BATMAN What do expect to learn from him? Dent is shivering with frustration. DENT The Joker killed Gordon- and, and Loeb.He's going to kill Rachel... BATMAN You're the symbol of hope that I could never be. Your stand against organized crime is the first legitimate ray of light in Gothamfor decades. If anyone saw this, everything would be undone- all the criminals you got off the streets would be released. And Jim Gordon will have died for nothing. Batman hands Dent his lucky coin. BATMAN You're going to call a press conference. Tomorrow morning. DENT Why?68. BATMAN No one else will die because of me. Gothamis in your hands, now. DENT You can't! You can't give in! But Batman is gone.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BEDROOM, WAYNE PENTHOUSE -- NIGHT Rachel watches Gothamthrough the window. Wayne enters. RACHEL Harvey called. He says Batman is going to turn himself in. WAYNE I have no choice. RACHEL You honestly think it's going to stop the Joker from killing? WAYNE Perhaps not. But I've got enough blood on my hands. I've seen, now, what I would have to become to stop men like him. Rachel looks at Wayne. She cannot help him. WAYNE You once told me that if the day came when I was finished... Wayne moves towards her. WAYNE We'd be together. RACHEL Bruce, don't make me your one hope for a normal life- Wayne takes her in his arms. WAYNE But did you mean it? RACHEL Yes. They kiss. Then separate. She looks sadly into his eyes. RACHEL But they won't let us be together after you turn yourself in.69. Wayne nods. Leaves. She watches him go.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BAT-BUNKER -- DAWN Alfred shovels DOCUMENTS into an incinerator- blueprints, designs, files. He pauses, looking down at a book. ALFRED Even the logs? WAYNE Anything that could lead back to Luciusor Rachel. Alfred tosses the book onto the fire. STARES at Wayne. WAYNE People are dying, Alfred. What would you have me do? Alfred looks into Wayne's eyes with a fearsome gaze. ALFRED Endure, Master Wayne. Take it. They'll hate you for it, but that's the point of Batman... he can be the outcast. He can make the choice no one else can face. The right choice. Wayne shakes his head. WAYNE Today I've found out what Batman can't do. He can't endure this. (ruefulsmile) Today you get to say 'I told you so'. ALFRED Today, I don't want to. (beat) Although I did bloody tell you. Wayne sinks the Bat-suit, Alfred closes the incinerator. They head for the lift. ALFRED I suppose they'll lock me up as well. Your accomplice. WAYNE Accomplice? I'm going to tell them the whole thing was your idea. They power down, leaving the Bat-bunker in darkness.70.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PRESS ROOM, SUPERIOR COURT -- DAY A capacity crowd of REPORTERS, COPS, and PUBLIC. Dent is at the podium. Wayne sits in the crowd. DENT Ladies and Gentlemen, thank you for coming. I've called this press conference for two reasons. Firstly, to assure the citizens of Gothamthat everything that can be done over the Joker killing is being done. Secondly, because the Batman has offered to turn himself in- The crowd REACTS- HECKLER So where is he?! DENT But first. Let's consider the situation: should we give in to this terrorist's demands? Do we really think that- REPORTER You'd rather protect an outlaw vigilante than the lives of citizens?! The crowd noisily assents. Dent calmly motions quiet. DENT The Batman is an outlaw...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. WAYNE PENTHOUSE -- CONTINUOUS Rachel is watching the press conference on TV. DENT (O.S.) But that's not why we're demanding he turn himself in. We're doing it because we're scared. We've been happy to let Batman clean up our streets for us until now-,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PRESS ROOM, SUPERIOR COURT -- CONTINUOUS HECKLER Things are worse than ever! Wayne looks at the Heckler. At the angry crowd. Dent leans over the podium. Impassioned. DENT Yes. They are. But the night is darkest just before the dawn. 71. (MORE) And I promise you, the dawn is coming. (thecrowd quiets) One day, the Batman will have to answer for the laws he's broken- but to us, not to this madman. The crowd seems moved by his words, then, a CHANT- COP HECKLER NO MORE DEAD COPS!! Appreciative noise. REPORTER WHERE IS THE BATMAN? People take up the chant. Dent has lost them. He knows it. DENT So be it. (turnsto officers) Take the Batman into custody. At this, a HUSH DESCENDS. Wayne is sitting towards the back. Hungry eyes scan the room. Wayne starts to rise... DENT OFFERS HIS OWN WRISTS TO THE OFFICERS- DENT I am the Batman. A beat. Wayne stares.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. WAYNE PENTHOUSE -- CONTINUOUS Rachel STARES as Dent is arrested on TV. Appalled.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. WAYNE PENTHOUSE -- DAY Rachel comes up to Alfred. Upset. RACHEL Why is he letting Harvey do this, Alfred? ALFRED I don't know. He went down to the press conference- RACHEL And just stood by?! ALFRED Perhaps both Bruce and Mr.Dent believe that Batman stands for something more important than a terrorist's whims, Miss Dawes, even if everyone hates him for it. 72. DENT (cont'd) (MORE) That's the sacrifice he's making- to not be a hero. To be something more. RACHEL Well, you're right about one thing- letting Harvey take the fall is not heroic. Rachel holds out an ENVELOPE. RACHEL You know Bruce best, Alfred... give it to him when the time is right. ALFRED How will I know? RACHEL It's not sealed. Alfred takes the envelope. Rachel gives him a kiss. RACHEL Goodbye, Alfred. ALFRED Goodbye, Rachel.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CELL, MCU-- EVENING A Detective unlocks the cell and lets Rachel inside. DENT I'm sorry, I didn't have time to talk this through with you. RACHEL Don't offer yourself as bait, Harvey. DENT They're transferring me to central holding. This is the Joker's chance, and when he attacks, Batman will take him down. RACHEL No. This is too dangerous- The Detective knocks. Dent rises.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. COURTYARD MCU-- EVENING Detectives stare at Dent as he is led, shackled, to the waiting CONVOY. Stephens begins CLAPPING- a handful join in, but most remain silent. Rachel follows him to the back of an armored vehicle.73. ALFRED (cont'd) RACHEL He's using you as bait- but he doesn't know if he can get the Joker- he's failed so far. DENT How do you know what he's thinking? RACHEL (beat) I just do, okay? Harvey, this isn't just about you, what about all the people counting on you to turn this city around? Tell everyone the truth- Dent kisses her. Pulls out his LUCKY COIN- DENT Heads I go through with it. RACHEL This is your life... you don't leave something like this to chance... Dent tosses it at her- Rachel catches it. Looks. Heads. DENT (sincere) I'm not. She turns it over: IT IS DOUBLE-HEADED. She looks up- the DOORS CLOSE on his smile. She shakes her head. Torn. RACHEL You make your own luck. As SWATS file into the back of the support vehicles- ACTING COMISSIONER We get this guy to County and he's their problem. The streets along your route will be cleared. The convoy stops FOR NO REASON...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ARMORED CAR -- CONTINUOUS A Swat with a shotgun climbs into the cab. Pulls on his mask. Looks over at the DRIVER, who's already wearing his. SHOTGUN SWAT Hope you've got some moves.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. TENTH AVENUE, DOWNTOWN -- CONTINUOUS The convoy ROCKETS past a roadblock.74.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ARMORED CAR -- CONTINUOUS The Swats are staring at Dent, fascinated. He smiles.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. INTERSECTION -- CONTINUOUS An Officer holding up traffic. A TRUCK pulls up. OFFICER You wait like everybody else, pal. A SHOTGUN BLAST sends the Officer flying. A second blast illuminates the shooter's face: the Joker.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LEAD PATROL CAR, CONVOY -- CONTINUOUS The SWAT behind the wheel of the lead black-and-white slows as he sees something burning in the intersection ahead.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. AVENUE -- CONTINUOUS Overhead, a police HELICOPTER checks the route, hovering above a burning FIRE TRUCK, BLOCKING the road.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ARMORED CAR -- CONTINUOUS The Driver is all business. The radio CRACKLES. RADIO All units, be advised. All units will exit down Cheviot west and proceed north on lower 5th avenue. SHOTGUN SWAT Lower 5th? We'll be like ducks in a barrel down there.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. SURFACE STREETS -- CONTINUOUS The convoy disappears down the exit ramp.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. LOWER FIFTH AVENUE -- NIGHT The convoy rolls through the subterranean streets. A GARBAGE TRUCK pulls up behind and casually SWIPES the rear vehicles of the convoy off the road...,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. ARMORED CAR -- CONTINUOUS SHOTGUN SWAT Get us out of here! The Driver NAILS the gas-,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LOWER FIFTH -- CONTINUOUS The Garbage Truck pushes hard on the armored car, ramming its rear bumper, FORCING it forward.75.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. ARMORED CAR -- NIGHT The Driver watches the Truck fill his rear view. Shotgun Swat picks up the radio. SHOTGUN SWAT We've got company back here-,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LOWER FIFTH AVENUE -- NIGHT A SECOND TRUCK SMASHES into the SWAT van at the head of the convoy, SMASHING it through the concrete barriers and INTO THE RIVER. The truck is branded ""LAUGHTER"" but and ""S"" has been spayed at the front to make ""SLAUGHTER"" with ""HA, HA, HA"" all over the side... The Joker's Truck DODGES between the support columns and into the oncoming lane- pulls alongside the armored car. The Driver looks over. The cargo door on the truck slides open. Inside, the Joker, holding a machine gun. The armored car LOCKS up its brakes, but the garbage truck pushes it forward as the Joker fires- BULLETS slamming into the side of the vehicle-",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. REAR CABIN, ARMORED CAR -- CONTINUOUS Dent is calm as the SWATS FLINCH from the bullet indentations-",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. UP FRONT, ARMORED CAR -- CONTINUOUS Shotgun SWAT STARES at the Joker.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. REAR TRAILER OF TRUCK -- NIGHT The Joker drops his machine gun and picks up and RPG. He stops- SEES something up ahead, racing towards the second truck- the BATMOBILE. The Joker stares, fascinated, as-",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LOWER FIFTH -- CONTINUOUS -THE BATMOBILE PLOWS STRAIGHT INTO THE SECOND TRUCK- the low- profile car sending the truck UP INTO THE CONCRETE CEILING- the Batmobile carries on through, as the TRUCK DISINTEGRATES.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TRUCK -- NIGHT The Joker looks back to the batmobile, amused. JOKER'S THUG Is that him-? THE JOKER Anyone could be driving that thing- stay on Dent. The Joker lines up his RPG and prepares to fire-76.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. ARMORED CAR -- CONTINUOUS Shotgun SWAT's eyes go wide at the Joker's weapon- the Driver JAMS the brakes-,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LOWER FIFTH -- CONTINUOUS The Armored Car CRASHES BACK against the Garbage Truck, BRAKING, SCRAPING, SLOWING just enough- the RPG SLAMS into the SQUAD CAR in front of them and EXPLODES- the armored car BURSTS through the fireball and continues.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. LOWER FIFTH -- CONTINUOUS The Batmobile SPINS around to rejoin the pursuit.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. JOKER'S TRUCK -- NIGHT The Joker turns his men to RELOAD his RPG- THE JOKER Do me up- Turns back- levels his RPG out the window. Aims.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. BATMOBILE -- NIGHT Batman watches as the Joker prepares to fire. Several rows of cars separate them. He toggles the afterburner.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. PASSENGER CAR -- NIGHT Two small children in the back of the car watch as the Batmobile ROCKETS overhead.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. LOWER LEVEL STREET -- NIGHT The Joker steadies the RPG and FIRES- the Batmobile CRASHES down into the open space between the two vehicles- taking the hit from the RPG which EXPLODES- The rear of the Batmobile EXPLODES- SPINNING the FLAMING car-,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. ARMORED CAR -- NIGHT SWATS react to the EXPLOSION. Dent is calm.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. CAB OF JOKER'S TRUCK -- CONTINUOUS The Driver takes a DEBRIS HIT to the head-,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. TRUCK -- CONTINUOUS The Joker CACKLES with delight as he is THROWN AROUND the rear of the trailer-77.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BATMOBILE -- CONTINUOUS Batman WRESTLES the pod controls, SPINNING on the GYRO-",FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LOWER LEVEL STREET -- CONTINUOUS The Batmobile flips over to come to rest in a smoking heap- the front end intact, rear wheels scattered across the roadway. A small crowd gathers.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LOWER LEVEL STREET -- CONTINUOUS The Joker JUMPS down from the truck, still giggling like a kid- looks back at the Batmobile's destruction- THE JOKER Whoever he was... he ain't now. The Joker YANKS his dead driver out of the cab, JUMPS over him to take the wheel and pull back onto the roadway.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LOWER LEVEL STREET -- CONTINUOUS The armored car pulls ahead, the Joker's truck in hot pursuit.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ARMORED CAR -- CONTINUOUS Shotgun SWAT glances in the rear view mirror, slaps the dash- SHOTGUN SWAT Let's get topside- we need that air support!",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LOWER LEVEL STREET -- CONTINUOUS The armored car PULLS onto a RAMP, heading up. The Joker's Truck follows.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LOWER LEVEL STREET -- CONTINUOUS People stare at the smoking wreck, inching closer...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. BATMOBILE -- CONTINUOUS Batman adjusts his position. Hits a button- BATMOBILE VOICE Damage catastrophic. Initiate eject and self-destruct. Arm guards GRAB Batman's forearms as EXPLOSIVE BOLTS FIRE all around the pod... BATMOBILE VOICE Goodbye.78.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LOWER LEVEL STREET -- CONTINUOUS The crowd JUMPS- PANELS of the front of the car BLOW OUT- The crowd stares, OPEN-MOUTHED, as Batman EMERGES, HOISTED UP AND OUT of the flaming car by the FRONT POD- LEVERING OVER the FRONT WHEEL... the pod PUSHES the OTHER WHEEL IN FRONT to form a type of MOTORCYCLE- The BAT-POD SHOOTS FORWARD, bursting free as the Batmobile DETONATES, DYING in a MASSIVE FIREBALL... Batman's cape SUCKS TOGETHER, forming a TIGHT PACK on his shoulders, clear of the CHURNING REAR TIRE of the bat-pod...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. PARKSIDE -- CONTINUOUS The armored car races down the street- the CHOPPER dips low. PILOT We're back on point- and ready to give some of their own medicine-,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. POLICE CHOPPER -- CONTINUOUS A Cop pulls out an ASSAULT RIFLE. COCKS it-,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAB OF JOKER'S TRUCK -- CONTINUOUS The Joker FIGHTS with the truck's gearbox, turns to his Thug- THE JOKER Tee 'em up. The Thug GRABS his radio.",FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. FIRE ESCAPE -- CONTINUOUS A Joker Thug in clown mask loads up the cable gun seen in the bank heist.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. SECOND FIRE ESCAPE -- CONTINUOUS Another thug loads his own cable gun...,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PASSENGER CAR, LOWER LEVEL STREET -- NIGHT A motorist stares through his rear-view mirror, transfixed, as the bat-pod TEARS past. He YELPS as the bat-pod SMASHES the wing mirror from his car.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LOWER LEVEL STREET -- NIGHT Batman accelerates, oblivious to the STACCATO of CLEAVED wing mirrors as the bat-pod RAZORS through traffic- CROSSES a BUSY INTERSECTION- The bat-pod CUTS off the crowded lower level street, ROARING over into the PARKING LANES-79. Batman squeezes his triggers- BLASTING at PARKED CARS, BLOWING them out of the way, literally CANNONING A PATH for the pod...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. TRAIN STATION -- CONTINUOUS The Bat-Pod CANNONS through the glass doors and RACES through the station/mall- COMMUTERS screaming and diving out of the way- The Bat-Pod races up the stairs and onto the upper street-,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PARKSIDE -- CONTINUOUS The Joker's Thugs FIRE THE CABLES ACROSS THE STREET AT SEVENTH FLOOR LEVEL... they pull TAUT as the Chopper approaches, unawares... the Chopper CATCHES on the cables, GOING DOWN in a FIERY BALL that BARRELS along the street towards the armored car...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. ARMORED CAR -- CONTINUOUS The Driver steers around the flaming wreckage as the Shotgun SWAT SHUTS HIS EYES-,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. NARROW ALLEY -- CONTINUOUS The Bat-pod TEARS down a narrow alley blocked with DUMPSTERS- CANNONS the dumpsters to make a path-,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAB OF JOKER'S TRUCK -- NIGHT The Joker hands the wheel to his man- takes a submachine gun- THUG Boss? The Joker looks ahead to see the Bat-pod emerge from the alley in a cloud of fire, SKIDDING SIDEWAYS IMPOSSIBLY- it RACES TOWARDS THEM- THE JOKER Guess it was him.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PARKSIDE -- NIGHT The Bat-pod RACES straight at the Joker's truck- FIRES A HARPOON at the Joker's truck- it IMPACTS low, below the bumper-",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TRUCK -- CONTINUOUS The Joker's Thug DUCKS, then comes back up, beaming. JOKER'S THUG He missed!80.",FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PARKSIDE -- CONTINUOUS Batman SWERVES past the Joker's truck, SLALOMS, wrapping the CABLES around a LAMP POST, SPINNING to a halt to watch...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PARKSIDE -- CONTINUOUS The cable goes TAUT, RIPPING one post from its foundation- the TRUCK'S FRONT WHEELS CATCH, FLIPPING IT END OVER END... The Joker crawls from the wreckage. He jumps over the median and starts waving his pistol at oncoming traffic. Batman GUNS the bat-pod and rides it up and over the median.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ARMORED CAR -- NIGHT The Driver slows the car, pulls to the side. SHOTGUN SWAT What the hell are you doing?",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PARKSIDE -- NIGHT The Joker walks towards the Bat-pod, which SPEEDS towards him. He is FIRING his gun RANDOMLY at the oncoming traffic. THE JOKER Hit me. Come on. Hit me. Batman watches as the Joker holds out his arms. Waiting for impact. There is no room to go around him. Batman LOCKS UP THE BRAKES. The Joker watches as Batman DUMPS the bike, rather than smashing into him. Batman SLAMS into the wall. The Joker's thug reach Batman first. He is unconscious. The first Thug pulls at the mask. An ELECTRIC SHOCK from the bat- suit THROWS him back. The Joker LAUGHS. Flicks his switchblade. Crouches- VOICE Drop it. THE JOKER Just give me a second. The gun is COCKED. The Joker drops the knife. Sits. Looks back. Behind them is the armored car. The man standing over him is the Driver. He pulls off his helmet. It's JIM GORDON. Back from the dead. GORDON We got you, youson of a bitch.81.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ARMORED CAR -- MOMENTS LATER Dent looks up as the door swings open to reveal Gordon. Dent GRINS. DENT Lieutenant, you do like to play it pretty close to the chest... GORDON We got him, Harvey. Dent nods. Respect in his eyes. They shake hands.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PARKSIDE -- NIGHT A small army of cops have sealed off the roadway. Gordon pulls away in the squad car containing the Joker. REPORTERS clamor for an interview with Dent, who is being helped out of the van by the SWATS. Ramirez pushes through the pack, shoving reporters aside. RAMIREZ Let him be! He's been through enough- Dent follows Ramirez to a squad car- Wuertzis in the driver's seat. Dent smiles at Ramirez as she opens the rear door. DENT Thanks, detective- I've got a date with a pretty upset fiancée. RAMIREZ I figured, counselor. Ramirez shuts the door on Dent. Signals Wuertzto pull out.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOLDING, MCU, GOTHAMCENTRAL -- NIGHT The Joker sits in a holding cage. His makeup has run, his clothes a mess- but his calm lends him an odd dignity. COPS SMASH their night sticks against the bars near the Joker's head. The Joker does not flinch. GORDON Stand away! All of you. I don't want anything for his mob lawyer to use, understand? Handle this guy like he's made of glass. The Mayor walks in. Shakes Gordon's hand. MAYOR Back from the dead.82. GORDON I couldn't chance my family's safety. The Mayor looks over at the Joker in his cage. MAYOR What do we got? GORDON Nothing. No matches on prints, DNA, dental. Clothing is custom, no labels. Nothing in his pockets but knives and l",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int. No name, no other alias... nothing. MAYOR Go home, Gordon. The clown'll keep till morning. Get some rest- you're going to need it. Tomorrow, you take the big job. (offlook) You don't have any say in the matter. (louder, for all) Commissioner Gordon. The cops in M.C.U.start CHEERING.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. GORDON HOME -- NIGHT Gordon rings the bell. Barbara answers it, dressed in black. GORDON I couldn't tell you. I couldn't risk- She SLAPS Gordon. He grabs her, holds her tight as she sobs.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOLDING, MCU, GOTHAMCENTRAL -- NIGHT The Joker's men are processed. In the harsh light, the men look a little ridiculous in their clown make-up. DETECTIVE MURPHY turns to Stephens. DETECTIVE MURPHY Look at these ugly bastards. One of the men, walks over, clutching at his belly. FAT THUG I don't feel good. DETECTIVE MURPHY You're a cop killer. You're lucky to be feeling anything below the neck. Alone in his cage, the Joker smiles at this.83.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. KIDS' BEDROOM, GORDON HOME -- NIGHT Gordon crouches by his son's beside. He reaches out to touch James Jr'scheek. James's eyes open. Staring at his dad as if still dreaming. JAMES (whispers) Did Batman save you, dad? Gordon looks at his son. A little pride seeps in. GORDON Actually, this time I saved him. Gordon's phone rings-",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MAJOR CRIMES UNIT, GOTHAMCENTRAL -- NIGHT Gordon PUSHES through the swarm of detectives crowded into the observation room. The Joker can be seen through the glass, as well as on a large MONITOR. Sitting there. Calm. GORDON Has he said anything, yet? Ramirez shakes her head. Gordon PUSHES through a door...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. INTERROGATION, MCU, GOTHAMCENTRAL -- NIGHT The Joker, in near darkness. Gordon walks in. Sits. THE JOKER Evening, Commissioner. GORDON Harvey Dent never made it home. THE JOKER Of course not. GORDON What have you done with him? THE JOKER (laughs) Me? I was right here. Who did you leave him with? Your people? Assuming, of course, that they are your people not Maroni's... (off look) Does it depress you, Lieutenant, to know how alone you are? Gordon can't help glancing at the mounted CAMERA.84. THE JOKER Does it make you feel responsible for Harvey Dent's current predicament? GORDON Where is he? THE JOKER What time is it? GORDON What difference does that make? THE JOKER Depending on the time, he might be in one spot. (smiles) Or several. Gordon stands. Moves to the Joker. Undoes his handcuffs. GORDON If we're going to play games, I'm going to need a cup of coffee. THE JOKER The good cop, bad cop routine? Gordon pauses, hand on the doorknob. GORDON Not exactly. Gordon steps out. The overhead lights COME ON. BATMAN IS BEHIND HIM. The Joker BLINKS in the HARSH WHITE LIGHT. WHAM!The Joker's face HITS the table- comes up for air- CRACK! CRACK! To the head. Batman is in front of him. The Joker stares, fascinated. Bleeding. THE JOKER Never start with the head... victim gets fuzzy. Can't feel the next- CRACK! Batman's fist SMACKS down on the Joker's fingers. THE JOKER (calm) See? BATMAN You wanted me. Here I am. THE JOKER I wanted to see what you'd do. And you didn't disappo",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int... (laughs) You let five people die. 85. (MORE) Then you let Dent take your place. Even to a guy like me... that's cold- BATMAN Where's Dent? THE JOKER Those mob fools want you gone so they can get back to the way things were. But I know the truth- there's no going back. You've changed things. Forever. BATMAN Then why do you want to kill me? The Joker starts LAUGHING. After a moment he's laughing so hard it sounds like SOBBING. THE JOKER Kill you? I don't want to kill you. What would I do without you? Go back to ripping off Mob dealers? No you... (points) You. Complete. Me. BATMAN You're garbage who kills for money. THE JOKER Don't talk like one of them- you're not, even if you'd like to be. To them you're a freak like me... they just need you right now. He regards Batman with something approaching pity. THE JOKER But as soon as they don't, they'll cast you out like a leper. The Joker looks into Batman's eyes. Searching. THE JOKER Their morals, their code... it's a bad joke. Dropped at the first sign of trouble. They're only as good as the world allows them to be. You'll see- I'll show you... when the chips are down, these civilized people... they'll eat each other. (grins) See, I'm not a monster... I'm just ahead of the curve. Batman GRABS the Joker and pulls him upright.86. THEJOKER (cont'd)",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. OBSERVATION ROOM, MCU, GOTHAMCENTRAL -- NIGHT One of the Detectives moves for the door. Gordon stops him. GORDON He's in control.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. INTERROGATION ROOM, MCU, GOTHAMCENTRAL -- NIGHT Batman HOISTS the Joker up by the neck. BATMAN Where's Dent? THE JOKER You have these rules. And you think they'll save you. BATMAN I have one rule. THE JOKER Then that's the one you'll have to break. To know the truth. BATMAN Which is? THE JOKER (smiles) The only sensible way to live in this world is without rules. Tonight you're going to break your one rule... Batman leans in to the Joker. BATMAN I'm considering it. THE JOKER There are just minutes left- so, you'll have to play my little game if you want to save... (with relish) ...one of them. BATMAN Them? THE JOKER For a while I thought you really were Dent, the way you threw yourself after her- Batman DROPS the Joker- RIPS up a bolted-down chair-87.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. OBSERVATION ROOM, MCU, GOTHAM CENTRAL -- NIGHT Gordon MOVES for the door-",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. OBSERVATION ROOM, MCU -- CONTINUOUS Batman JAMS the chair under the doorknob- PICKS up the Joker and HURLS him into the two-way glass. The glass SPIDERS.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. INTERROGATION ROOM, MCU, GOTHAM CENTRAL -- NIGHT The Joker, bleeding from nose and mouth, LAUGHS at Batman. THE JOKER Look at you go... does Harvey know about you and his-? The Joker SMASHES into the wall- SLIDES to the floor. Batman stands over him, a man possessed- BATMAN WHERE ARE THEY?! He GRABS the Joker, holding him close- THE JOKER Killing is making a choice... Batman PUNCHES the Joker across the face. HARD. BATMAN WHERE ARE THEY?! The Joker FEEDS off Batman's anger. Loving it. THE JOKER ...you choose one life over the other. Your friend, the district attorney. Or his blushing bride-to- be. Batman PUNCHES the Joker again. The Joker LAUGHS. THE JOKER You have nothing. Nothing to threaten me with. Nothing to do with all your strength... (spits a tooth) But don't worry, I'm going to tell you where they are. Both of them, and that's the point- you'll have to choose. The Batman stares at the Joker... THE JOKER He's at 250 52nd Boulevard. And she's on avenue X at Cicero.88. Batman DROPS him.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. OBSERVATION ROOM, MCU, GOTHAMCENTRAL -- NIGHT Batman RACES past Gordon. GORDON Which one are you- BATMAN Dent knew the risks. Gordon looks back- the Joker is bloody, but grinning.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MCU, GOTHAM CENTRAL -- NIGHT Several cops see Batman climb onto the bat-pod and TEAR off.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. STREETS, GOTHAM-- NIGHT Batman SWERVES into oncoming traffic, CHAOS in his wake.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. GOTHAMCENTRAL -- NIGHT Gordon and his men SCRAMBLE into their cars...,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BASEMENT APARTMENT -- NIGHT Black. RACHEL Can anyone hear me? Harvey Dent opens his eyes. He's bound to a chair in a dingy, unfurnished basement apartment. DENT Rachel? Rachel is that you? RACHEL (sobbing) Harvey. You're OK. I thought... Her voice is coming from a speakerphone on the floor. DENT It's OK, Rachel. Everything's going to be just fine. He looks around. Behind him, metal BARRELS, hooked up to a car battery, with a TIMER counting down: five minutes.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. INTERROGATION ROOM, MCU, GOTHAMCENTRAL -- NIGHT The Joker sits, smiling, content. Stephens guards the door. THE JOKER I want my phone call.89. STEPHENS That's nice. THE JOKER How many of your friends have I killed? STEPHENS I'm a twenty year man. I can tell the difference between punks who need a little lesson in manners, and the freaks like you who would just enjoy it. (quiet) And you killed six of my friends.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOLDING AREA, MCU, GOTHAMCENTRAL -- NIGHT The Fat Thug shuffles to the bars, where a COP stands guard. FAT THUG (agony) Please. My insides hurt. COP Step away from the bars. FAT THUG The boss said he would make the voices go away. He said he would go inside and replace them with bright lights. Like Christmas. COP That's great. Please step- The Fat Thug COLLAPSES. The Cop grabs his radio.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. WAREHOUSE -- NIGHT Rachel is bound to a chair. Behind her are barrels identical to the ones behind Dent. DENT Can you move your chair? RACHEL No. Harvey, we don't have much time- The timer connected to the bomb reads 2.47... 2.46...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BASEMENT APARTMENT -- NIGHT Dent DRAGS his chair, inching closer to the barrels. DENT Look for something to free yourself.90. The chair JAMS against a ridge in the floor. Dent STRAINS to reach the timer. Inches shy. RACHEL They said only one of us was going to make it. That they'd let our... (pause) Our friends choose... Dent strains... THE CHAIR, AND DENT, TOPPLE OVER- KNOCKING OVER A BARREL. RACHEL Harvey? What's happening? Dent, one side of his face pressed against the bare floor, watches the open barrel SPEW DIESEL FUEL around him- DENT Nothing. I'm trying to... Dent contorts his head to keep from swallowing any.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. STREETS, GOTHAM -- NIGHT The bat-pod SKIDS SIDEWAYS, WHEELS FLIPPING as the gyro keeps Batman upright on the tumbling bike- it comes to rest- guns lined up with a fire exit- BLOWS the door off its hinges- JUMPS off the bike-",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. 52ND STREET, GOTHAM -- NIGHT Gridlock. Gordon SWERVES onto the sidewalk. People SCATTER.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. INTERROGATION ROOM, MCU, GOTHAM CENTRAL -- NIGHT The Joker sits like a kid kept after class. He smiles. THE JOKER You know why I use a knife, Detective? Guns are too quick. You don't get to savor all the little emotions. See, in their last moments, people show you who they really are... Stephens tries hard to ignore him. It isn't working. THE JOKER So, in a way, I knew your friends better than you ever did. (smiles) Would you like to know which of them were really cowards?91. STEPHENS (rolls up sleeves) I know you're going to enjoy this. But I'm going to enjoy it more. Stephens PUNCHES the Joker in the gut.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BASEMENT APARTMENT -- NIGHT Dent is half submerged in diesel fuel. RACHEL Harvey, in case... I want you to know something... Dent CHOKES, his emotions overwhelming him. DENT Don't think like that, Rachel. They're coming for you. RACHEL I know, but I don't want them to...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. WAREHOUSE -- NIGHT Rachel looks at the timer. Ten seconds left. RACHEL I don't want to live without you. Because I do have an answer, and my answer is yes...",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOLDING AREA, MCU, GOTHAMCENTRAL -- NIGHT A MEDIC CUTS away the Fat Thug's shirt- his belly has large INCISION, which has been closed with crude looking STITCHES- MEDIC He's got some kind of... contusion... A RECTANGULAR SHAPE is visible under the skin above his navel.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DETECTIVE'S ROOM, MCU, GOTHAMCENTRAL -- NIGHT Stephens shuffles out into the room, a piece of BROKEN GLASS held to his THROAT by the Joker. Cops draw their weapons. STEPHENS This is my own damn fault. Just shoot him. DETECTIVE MURPHY What do you want? THE JOKER I want my phone call.92. The Detectives look at each other. One of them pulls out his cell phone. TOSSES it to the Joker, who begins to dial.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOLDING AREA, MCU, GOTHAM CENTRAL -- NIGHT The Medic gingerly PRESSES the rectangle. It illuminates, a soft blue light visible through the skin. COP Is that a... phone?",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DETECTIVE'S ROOM, MCU, GOTHAM CENTRAL -- NIGHT The Joker presses SEND. At the end of the room, the door to the holding area EXPLODES-",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HALLWAY, TENEMENT -- NIGHT Batman SPRINTS down the hall- stops at a door- KICKS it-",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. 52ND STREET, GOTHAM -- NIGHT Cars PULL UP- Gordon gets out, carrying a fire ax-",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HALLWAY, TENEMENT -- NIGHT Batman KICKS- the door gives- Batman SMASHES it open-",FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BASEMENT APARTMENT -- NIGHT ...Batman BURSTS through the door- Dent looks up in horror- DENT NO! Not me... Why did you come for me?! Batman STARES at Dent. The Joker lied. The counter hits 5 seconds. Batman DRAGS Dent out- Dent FIGHTS to stay- DENT RACHEL! RACHEL Harvey? Harvey, it's okay... DENT RACHEL!!!",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. 52ND STREET, GOTHAM -- NIGHT Gordon, axe in hand, RUNS towards the entrance-",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. WAREHOUSE -- NIGHT Rachel can hear Dent. The counter runs out.93. RACHEL (calm) Somewhere- AN EXPLOSION. ALL-CONSUMING.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. 52ND STREET, GOTHAM -- NIGHT The BLAST HURLS Gordon backward onto the hood of his car- THE ENTIRE WAREHOUSE IS AN ENORMOUS EXPLOSION-",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. BASEMENT APARTMENT -- NIGHT Batman wraps his cape around Dent and hurls them both through the door. Dent is SCREAMING-,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. 52ND STREET, GOTHAM -- NIGHT Gordon picks himself up. The warehouse is an inferno. He heads for it anyway. Five of his men have to RESTRAIN HIM.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ALLEYWAY, GOTHAM-- NIGHT A SECOND EXPLOSION- Batman COVERS Dent as the FIREBALL HITS them- IGNITING the diesel soaking Dent's left side- he starts BURNING. And stops screaming. Batman ROLLS Dent on the wet pavement... Dent SIZZLES. Silent.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SPECIAL HOLDING AREA, MCU, GOTHAMCENTRAL -- NIGHT The Joker walks to the bars of another cell. Grins. THE JOKER Hello there. In his cell. Terrified. Lau.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. AMBULANCE -- CONTINUOUS Dent is wheeled into an ambulance, bandages held to his face. His one visible eye STARES BLANKLY, oblivious to the panic-",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. 52NDSTREET -- CONTINUOUS Gordon watches the fire. DEBRIS blows across the asphalt. Gordon picks up two pieces: SINGED JOKER CARDS. In place of the Joker's face is a PHOTO OF LAU.A POLICE SERGEANT approaches. SERGEANT Dent's alive, Jim. Just. But back at M.C.U.... the Joker's gone... GORDON With Lau? (the Cop nods) The Joker planned to be caught. He wanted me to lock him up in M.C.U..94.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. STREET, DOWNTOWN GOTHAM-- DAWN A squad car BLAZES down the street. The Joker sticks his head out the window like a dog, feeling the wind...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. KITCHEN, WAYNE PENTHOUSE -- DAWN Alfred sits at a table reading the letter from Rachel. RACHEL (V.O.) Dear Bruce, I need to explain...",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. 52NDSTREET -- DAWN Water. Smoldering blackness. The FIRE CREWS extinguish the last flames of the devastated building. A FIREMAN nudges his COLLEAGUE, pointing out something in the devastation... RACHEL (V.O.) ...I need to be honest and clear. I'm going to marry Harvey Dent...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. INTENSIVE CARE UNIT -- DAWN Glimpses of Dent's damaged face as SURGEONS surround him. RACHEL (V.O.) I love him, I want to spend the rest of my life with him...",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. 52ND STREET -- DAWN The Firemen watch a statue-like figure amidst the charred ruins. The Batman. RACHEL (V.O.) When I told you that if Gothamno longer needed Batman we could be together, I meant it...",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MCU, GOTHAM CENTRAL -- DAY Gordon surveys the wreckage of MCU. The bodies. RACHEL (V.O.) But I'm not sure the day will come...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. 52ND STREET -- DAWN Batman bends to the ground on one knee, his black glove spread against the smoldering debris. RACHEL (V.O.) ...whenyou no longer need Batman. I hope it does, and if it does I will be there...95. He spots something. DENT'S TWO-HEADED COIN. Blackened, SCARRED. Batman turns it over. The other side is PRISTINE.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. KITCHEN, WAYNE PENTHOUSE -- DAWN Alfred reads. RACHEL (V.O.) ...butas your friend. I'm sorry to let you down...",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOSPITAL ROOM -- DAWN Dent, heavily bandaged, hooked up to various machines. Batman stands at the foot of his bed. Watching. RACHEL (V.O.) If you lose your faith in me, please keep your faith in people... BATMAN I'm sorry, Harvey. Batman puts DENT'S DAMAGED COIN on the bedside table.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. KITCHEN, WAYNE PENTHOUSE -- CONTINUOUS RACHEL (V.O.) Love, now and always, Rachel. Alfred finishes the letter. Tears in his eyes, he folds it back into its envelope. Places it on the breakfast tray.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. WAYNE PENTHOUSE -- DAWN Alfred moves through the silent space, stepping past the cowl and gauntlets lying on the cold marble. He approaches Wayne, half-undressed, slumped in a chair watching Gotham. ALFRED I prepared a little breakfast. Nothing. Alfred sets down the tray. The envelope is propped against the silver teapot. ALFRED Very well. WAYNE Alfred? ALFRED Yes, Master Wayne? Wayne turns, a desperate look in his eye.96. WAYNE Did I bring this on us? On her? I thought I would inspire good, not madness- ALFRED You have inspired good. But you spat in the face of Gotham's criminals- didn't you think there might be casualties? Things were always going to have to get worse before they got better. WAYNE But Rachel, Alfred... ALFRED Rachel believed in what you stood for. What we stand for. Wayne looks up at Alfred. Alfred picks up the cowl. ALFRED Gothamneeds you. WAYNE Gothamneeds its hero. And I let the Joker blow him half to hell- ALFRED Which is why for now, they'll have to make do with you. Alfred hands him the cowl. Wayne looks at him. WAYNE She was going to wait for me. Dent doesn't know. He can never know... Alfred glances at the envelope. Takes it off the tray. WAYNE What's that? ALFRED It can wait. Alfred puts the envelope in his pocket. WAYNE That bandit, in the forest in Burma... Did you catch him? (Alfred nods) How? ALFRED (uneasy) We burned the forest down.97.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. DOWNTOWN GOTHAM-- DAY A national guard helicopter ROARS over GothamGeneral.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOSPITAL ROOM -- DAY Dent. Bandaged. Sedated. Coming up for air. Sees something on the table: his coin. He fumbles for it, marvelling at its shiny face. Remembering. INSERT CUT: RACHEL CATCHES THE COIN. Dent turns the coin over. The other side is devastated. He STARES at the scarred face. Starts ripping his bandages.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. WAYNE PENTHOUSE -- DAY Alfred comes up to Wayne. Points him to the TV. ALFRED You need to see this. On screen: Engel, in his studio, addresses the camera. ENGEL ...he's a credible source- an A and M lawyer for a prestigious consultancy. He says he's waited as long as he can for the Batman to do the right thing... The shot cuts to REESE, nodding. ENGEL Now he's taking matters into his own hands. We'll be live at five with the true identity of the Batman, stay with us...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOSPITAL ROOM -- CONTINUOUS Gordon ENTERS. Dent STARES to one side. He looks normal. GORDON I'm sorry about Rachel. (nothing) The Doctor says you're in agonizing pain but you won't accept medication. That you're refusing skin grafts- DENT Remember the name you all had for me when I was at Internal Affairs? What was it, Gordon? GORDON Harvey, I can't-98. DENT SAY IT! Dent's anger makes Gordon flinch. He looks away. Ashamed. GORDON (small) Two-face. Harvey two-face. Dent turns to face Gordon- the left side of Dent's face is DESTROYED- skin blackened and shriveled. Molars visible. The eye a ball and socket. Dent manages a small smile with the good side of his face. DENT Why should I hide who I am? GORDON I... I know you tried to warn me. I'm sorry. Wuertzpicked you up- was he working for them? (nothing) Do you know who picked up Rachel? (nothing) Harvey, I need to know which of my men I can trust. Dent looks at Gordon. Cold. DENT Why would you listen to me now? GORDON I'm sorry, Harvey. DENT No. No you're not. Not yet. Gordon takes a last look at Dent. Then leaves.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CORRIDOR, HOSPITAL -- CONTINUOUS Gordon steps out. Someone is there. Maroni. On crutches. Gordon stares at him. Cold. Maroni shifts, awkward. MARONI This craziness. This is too much. GORDON You should have thought of that before you let the clown out of the box. MARONI You want him, I can tell you where he'll be this afternoon.99.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ABANDONED DOCKS -- DAY The Chechengets out of his SUV.Looks at a RUSTED HULK. The Chechen, bodyguards, and dogs, head up the gangplank.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RUSTED HULK -- CONTINUOUS They pass into a huge hold. In the middle: A BILLION DOLLARS. The pile is thirty feet high. Standing on top- the Joker. At his feet, bound, is Lau.The Chechenlaughs. CHECHEN Like I say- not so crazy as you look. The Joker jumps from the top, slides down the pile. THE JOKER I told you- I'm a man of my word. (looksaround) Where's the Italian? The Chechenshrugs. Pulls out a cigar. Lights it. CHECHEN More for us. What you do with all your money, Mr.Joker? The Joker GRABS a can of GASOLINE from his thug. THE JOKER I'm a man of simple tastes. I like gunpowder. Dynamite... He is SPLASHING gasoline onto the money. THE JOKER ...gasoline... The Chechen, FURIOUS, steps forwards. The Joker turns. JABS his gun in the Chechen's face. The Chechen's bodyguards REACT. The Joker's men DRAW on them. THE JOKER And you know what they have in common? They're cheap. CHECHEN You said you were a man of your word. The Joker PLUCKS the cigar from the Chechen's lips. THE JOKER I am. The Joker tosses the cigar at the pile. THE JOKER I'm only burning my half.100. The Chechenwatches the money catch fire. THE JOKER All you care about is money. This city deserves a better class of criminal, and I'm going to give it to them. This is my town now. Tell your men they work for me. The Joker crouches down to the Chechen's dogs. They GROWL. CHECHEN They won't work for a freak. The Joker takes out a knife. Tosses it to his man. THE JOKER Cut him up and offer him to his little Princes. Let's show him just how loyal a hungry dog is. The Joker's men GRAB the Chechen. THE JOKER It's not about money. It's about sending a message... The Joker watches the towering FLAMES. Lauscreams. THE JOKER Everything. Burns. The Joker pulls out a phone...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TELEVISION STUDIO -- DAY Reese has a confident air. Engel is taking calls. CALLER 1 (O.S.) I wannahow much they're gonnapay you to say who Batman really is. REESE That's simply not why I'm doing this. ENGEL Caller, you're on the air. CALLER 2 (O.S.) Harvey dent didn't want us to give in to this maniac- you think you know better than him? ENGEL Guy's got a point- Dent didn't want Batman to give himself up, is this the right thing to do?101. REESE If we could talk to Dent now he might feel differently- ENGEL And we wish him a speedy recovery. God knows we need him, now. Let's take another call- OLD LADY (O.S.) Mr.Reese , what's more valuable: one life, or a hundred? REESE I guess it would depend on the life. OLD LADY (O.S.) OK. Let's say it's yourlife. Is it worth more than the lives of several hundred others? REESE Of course not. OLD LADY (O.S.) I'm glad you feel that way. Because I've put a bomb in one of the city's hospitals. It's going off in sixty minutes unless someone kills you. ENGEL Who is this? OLD (O.S.) Just a concerned citizen- (drops pitch to the JOKER'S VOICE) -and regular guy...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MAJOR CRIMES UNIT, GOTHAMCENTRAL -- CONTINUOUS Gordon and his men are gearing up to take down the Joker. A Detective turns up the TV in the bullpen- THE JOKER (O.S.) I had a vision. Of a world without Batman. The mob ground out a little profit and the police tried to shut them down, one block at a time... and it was so... boring. I've had a change of heart. I don't want Mr.Reese spoiling everything, but why should I have all the fun? Let's give someone else a chance... Reese looks around, twitching. Sweating.102. THE JOKER (O.S.) If Coleman Reese isn't dead in sixty minutes, then I blow up a hospital. Of course, you could always kill yourself, Mr.Reese. But that would be the noble thing to do. And you're a lawyer. The line rings off. Engel is speechless. Gordon turns to the uniform COPS. GORDON Call in every officer- tell them to head to their nearest hospital and start evacand search. Call the transit authority, school board, prisons- get every available bus down to a hospital- the priority is Gotham General- wheel everybody out of that place right now- my hunch is that's where the bomb is. DETECTIVE MURPHY Why? GORDON That's where Harvey Dent is. The Uniforms SPRINT off. Gordon turns to his Detectives. UNIFORMED COP Where are we going, sir? On screen: Reese is a deer in the headlights. GORDON To get Reese.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. WAYNE PENTHOUSE -- DAY Wayne and Alfred move to the elevator. WAYNE I need you plugged in, checking Gordon's men and their families. ALFRED Looking for? WAYNE Hospital admissions. ALFRED Will you be taking the batpod, sir?103. WAYNE In the middle of the day? Not very subtle, Alfred. ALFRED The Lamborghini then. (watches Wayne go) Much more subtle.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. GOTHAMSTREETS -- DAY Wayne's Lamborghini TEARS through downtown.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOSPITAL -- CONTINUOUS CHAOS. PATIENTS and STAFF running around. COPS and TRAFFIC WARDENS try to manage the evacuation. The COPS stationed outside Dent's room, look around, unsure- NURSE Sir, are you going to help?! Two Cops move to help wheel gurneys around the corner.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LOBBY, TELEVISION STUDIO -- DAY Gordon and his men escort Reese out of the elevator- Engel follows with a camera crew. As they approach the glass doors Gordon looks out at an angry crowd. ENGEL Commissioner?! You really think someone would try to- Gordon SPOTS an OLD MAN raising a PISTOL- Gordon THROWS Reese to the ground as SHOTS SHATTER the laminated glass of the lobby. The Crowd SURGES in all directions- GORDON Get the cars around back! Gordon hauls Reese to the stairwell.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. LAMBORGHINI -- CONTINUOUS Wayne SLOWS past the chaos outside the television station. WAYNE I saw O'Brien and Richards...,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. BAT-BUNKER -- CONTINUOUS Alfred types at the computer station. ALFRED Nothing on them. No immediate family members admitted to a Gotham hospital.104.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. STAIRWELL, TELEVISION STUDIO -- CONTINUOUS Gordon pulls the shaken Reese down the stairs... REESE (shaken) They're trying to kill me. ...andinto a police VAN...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. POLICE VAN -- CONTINUOUS Gordon throws Reese in the back. Smiles. GORDON Well, maybe Batman will save you. The van PEELS out. Heads onto the streets.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HOSPITAL -- CONTINUOUS Cops load patients onto BUSES. A TV van pulls up, Engel and his Cameraman jump out. One of Dent's guards, POLK, looks into a SCHOOL BUS. Turns to the Cop loading it. POLK Okay, don't put anyone else on. (getson radio) Davis, I got space, bring him out. (noanswer) Davis? Polk heads back towards the hospital, against the flow.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. LAMBORGHINI -- CONTINUOUS Wayne trails the police van from a distance. WAYNE I saw Burns and Zachary... and a patrolman I don't know. ALFRED Burns is clean... Zachary... WAYNE There's at least one I don't know- send the information to Gordon-,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. POLICE VAN -- CONTINUOUS Gordon's phone BEEPS. He looks at a text: WATCH OUT. COPS WITH RELATIVES IN GOTHAMHOSPITALS- BURKE, RAMIREZ, TILL...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DENT'S HOSPITAL ROOM -- CONTINUOUS Polk enters the room. No Davis. Just a REDHEADED NURSE, back towards him, reading Dent's chart.105. POLK Ma'am, we're going to have to move him, now. (nothing) Ma'am? The Redhead TURNS- it is the Joker, silenced pistol in hand. He FIRES.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. GOTHAMSTREETS -- CONTINUOUS The Lamborghini zips around a car to get closer to the van.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. POLICE VAN -- CONTINUOUS Gordon is reading his phone: ERIKSON, BERG. Gordon looks up sharply. Considers the uniformed cop nervously fingering his shotgun. GORDON Berg, isn't it? The young cop, BERG, looks up. Sweating. BERG Commissioner? GORDON You okay, son? Berg nods. Looks at his watch.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOSPITAL ROOM -- DAY The Joker draws closer to Dent's bed. Dent STRAINS at the leather cuffs binding him to the bed. THE JOKER I don't want there to be any hard feelings between us, Harvey. The Joker loosens Dent's restraints. THE JOKER When you and Rachel were being abducted I was sitting in Gordon's cage. I didn't rig those charges- DENT Your men. Your plan. THE JOKER Do I really look like a guy with a plan, Harvey? I don't have a plan...The mob has plans, the cops have plans. You know what I am, Harvey?106. Dent's hand is TREMBLING. THE JOKER I'm a dog chasing cars... I wouldn't know what to do with one if I caught it. I just do things. I'm just the wrench in the gears. I hate plans. Yours, theirs, everyone's. Maroni has plans. Gordon has plans. Schemers trying to control their worlds. I'm not a schemer, I show the schemers how pathetic their attempts to control things really are. So when I say that you and your girlfriend was nothing personal, you know I'm telling the truth... Hands him the pistol. Dent holds it to the Joker's head.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. INTERSECTION, GOTHAMSTREETS -- CONTINUOUS Wayne ROARS past a line of traffic to settle in a few cars back from the police van, sitting at a red light.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. LAMBORGHINI -- CONTINUOUS Wayne studies the intersection- spots a PICKUP jostling for position on the cross street.,FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. POLICE VAN -- CONTINUOUS Gordon watches Berg, mentally tracing the trajectory of his shotgun barrel as Berg fiddles with his gun. Gordon starts trying to subtly unholster his own weapon. GORDON I'm gonnaneed your weapon, son. Berg looks at Gordon. BERG What?",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. LAMBORGHINI -- CONTINUOUS Wayne watches the driver of the pickup staring intently at the police van. Lining it up.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. POLICE VAN -- CONTINUOUS Reese looks from Berg to Gordon. Berg looks at Gordon, trembling, the barrel of his gun inching lower in the car. BERG Why? Because my wife's in hospital? GORDON Yeah. That would be why.107.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DENT'S HOSPITAL ROOM -- CONTINUOUS The Joker leans in, pressing his head to the gun's barrel. THE JOKER It's the schemers who put you where you are. You were a schemer. You had plans. Look where it got you. I just did what I do best- I took your plan, and I turned it on itself. Look what I've done to this city with a few drums of gas and a couple of bullets. Nobody panics when the expected people get killed. Nobody panics when things go according to plan, even if the plan is horrifying. If I tell the press that tomorrow a gangbanger will get shot, or a truckload of soldiers will be blown up, nobody panics. Because it's all part of the plan. But when I say that one little old mayor will die, everybody loses their minds! Introduce a little anarchy, you upset the established order and everything becomes chaos. I'm an agent of chaos. And you know the thing about chaos, Harvey? Dent looks into the Joker's eyes. Finding meaning. THE JOKER It's fair. Dent looks down at the coin in his hands. Turns it over, feels it's comforting weight. Shows the Joker the good side. DENT You live. He turns the coin over. The flip side is deeply SCARRED. DENT You die. The Joker looks at the coin. Looks at Dent, admiringly. THE JOKER Now you're talking. Dent FLICKS the coin into the air. Catches it. Looks.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. INTERSECTION, GOTHAMSTREETS -- CONTINUOUS The light turns GREEN. The police van pulls into the intersection- the pickup GUNS IT, RACING AT IT...108.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LAMBORGHINI -- CONTINUOUS Wayne FLOORS it, YANKS the wheel to pull up onto the sidewalk-",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. POLICE VAN -- CONTINUOUS Berg licks his lips, nervous. BERG Mr.Reese?",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. INTERSECTION, GOTHAMSTREETS -- CONTINUOUS The pickup BARRELS at the van, FULL TILT- at the last second Wayne's Lamborghini SLIPS alongside the van- the pickup SMASHES INTO THE LAMBORGHINI-",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. POLICE VAN -- CONTINUOUS As the van JOLTS with the impact Gordon LEAPS forward, PUSHING UP Berg's shotgun barrel, which FIRES into the roof- Gordon SMASHES Berg on the head with his sidearm.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. INTERSECTION, GOTHAMSTREETS -- CONTINUOUS Gordon's men pull the pickup driver from his cab- Gordon crouches down to the Lamborghini wreck to help pull Wayne from the car. Gordon recognizes him as he pulls him free. GORDON You okay, Mr.Wayne? Wayne looks at him, woozy. Sits on the curb. WAYNE Call me Bruce. I think so. GORDON That was a brave thing, you did. WAYNE Trying to catch the light? GORDON You weren't protecting the van? Wayne turns- sees the police van as if for the first time. Reese steps down, dazed. WAYNE Why? Who's in it? Reese locks eyes with Wayne. Nods. Gordon sizes up Bruce Wayne and his crushed sports car. GORDON You don't watch a whole lot of news, do you, Mr.Wayne?109. WAYNE (shrugs) It can get a little intense. Think I should go to hospital? GORDON Not today, I wouldn't.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CORRIDOR, HOSPITAL -- CONTINUOUS The Joker walks calmly through the mostly deserted building. As he walks he pulls a DETONATOR from his pocket. Strolling along he PUSHES THE BUTTON... STAGGERED EXPLOSIONS BURST INTO THE CORRIDOR BEHIND HIM LIKE DEMOLITION BLASTS... the Joker just walks out the door...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. HOSPITAL -- CONTINUOUS The Joker STROLLS down the steps- WINDOWS BLOW OUT IN SERIES- People DIVE for cover- Engel PILES into a school bus- The Joker walks across the parking lot- THE BUILDING COLLAPSING BEHIND HIM...,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. INTERSECTION, GOTHAMSTREETS -- CONTINUOUS Gordon hears the EXPLOSION. GORDON Gothamgeneral... (grabs his phone) Did you get Dent out? COP (O.S.) I think so-",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. HOSPITAL -- CONTINUOUS The Cop cowers as DEBRIS and SMOKE BLAST across the street-,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. SCHOOL BUS -- CONTINUOUS The Joker gets onto the bus. Nods at his man at the wheel.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. HOSPITAL -- CONTINUOUS All eyes are on the collapsed building. One school bus pulls out from the line of other buses. Heads down the street.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BAR, GOTHAMHEIGHTS -- DAY An empty neighborhood dive, the local DRUNK passed out at the bar, BARTENDER, watching BREAKING NEWS on the TV. BARTENDER Sweet Jesus. D'yousee this, Mike? They blew up a hospital...110. Detective Wuertz, at a booth looks up at the TV, bored. BARTENDER Shouldn't you be out there, you know, doing something? WUERTZ It's my day off. The Bartender shuts the register. BARTENDER I gottatake a leak, keep an eye on things, will ya? The Bartender steps out. The back door OPENS again. WUERTZ What? You need me to shake it for- He TRAILS off as someone sticks a gun in his face: Harvey Dent. Standing in shadow. He sits. DENT Hello. WUERTZ Dent, I thought you was...dead... Dent leans into the light. The left side of his face is HIDEOUSLY BURNED, cheek gone, blackened teeth and gums. DENT Half. Dent picks up Wuertz's drink. Takes a SIP. Wuertzwatches the bare muscles RETRACT as Dent SWALLOWS. DENT Who picked up Rachel, Wuertz? WUERTZ It must'vebeen Maroni's men- Dent SLAMS the glass back on the table- WuertzFLINCHES. DENT You, of all people, are gonnaprotect the other traitor in Gordon's unit? WUERTZ I don't know- he'd never tell me. (staresat Dent) I swear to God, I didn't know what they were gonnado to you-111. DENT Funny, I don't know what's going to happen to you, either. Dent pulls his coin from his pocket. FLIPS it. Wuertz watches it SPIN. It lands on the table. Scarred side up. The drunk at the bar STIRS at the GUNSHOT.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. GOTHAMGENERAL -- DAY Gordon, manic, surveys the scene with a Cop- GORDON You must know how many were inside- you've got patient lists, roll calls- COP Sir! Sir. Take a look at what we're dealing with. Cops, National Guard- (gestures at buses) We're showing 50 missing- but that building was clear. These buses are heading off to other hospitals- my guess is we missed one. GORDON Yeah? What's your guess about where Harvey Dent is? The cop says nothing. GORDON Keep looking. Keep it to yourself.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. FOX'S OFFICE WAYNE INDUSTRIES -- DAY Fox is watching the news. His intercom buzzes. VOICE (O.S.) Mr.Fox?Security is showing a break- in at the Rand D department.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. CORRIDOR OUTSIDE RESEARCH AND DEVELOPMENT -- DAY Fox watches two security men force the door. He enters alone.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LAB, RESEARCH AND DEVELOPMENT -- DAY Fox enters the dimly-lit room. At one end is an extraordinary array of thousands of tiny monitors. Fox approaches, fascinated, as they quietly display architectural patterns individually and in concert. The images become a MAP. BATMAN Beautiful. Isn't it?112. Fox nods, staring at the monitors as Batman approaches. FOX Beautiful. Unethical. Dangerous. You've turned every phone in the city into a microphone... Luciuspresses a key. The BABBLE of a MILLION CONVERSATIONS at once fills the room. Every cell phone in the city. BATMAN And high frequency generator/receiver. FOX Like the phone I gave you in Hong Kong. You took my sonar concept and applied it to everybody's phone in the City. With half the city feeding you sonar you can image all of Gotham. (turns to Batman) This is wrong. BATMAN I've got to find this man, Lucius. FOX But at what cost? BATMAN The database is null-key encrypted. It can only be accessed by one person. FOX No one should have that kind of power. WAYNE That's why I gave it to you. Only you can use it. Luciuslooks at Batman. Hard. FOX Spying on thirty million people wasn't in my job description. Batman points to a TV screen. Fox turns. ON SCREEN: the Joker shakes his head above a graphic ""LATEST THREAT""... THE JOKER What does it take to make you people want to join in..?113.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SITUATION TENT AT GOTHAMGENERAL -- CONTINUOUS Gordon watches a screen. Grave. THE JOKER You failed to kill the lawyer... I've got to get you off the bench and into the game. So, here it is...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BAR, DOWNTOWN -- CONTINUOUS The bar, packed with business people watches the TV. SILENT. THE JOKER Come nightfall, this city is mine, and anyone left here plays by my rules. If you don't want to be in the game, get out now. Bar patrons start moving... The Joker reaches for the camera- THE JOKER But the bridge-and-tunnel crowd are in for a surprise. CUT TO STATIC. The bar patrons look around, confused.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LAB, RESEARCH AND DEVELOPMENT -- CONTINUOUS Fox turns from the TV to look at Batman. BATMAN Trust me. Fox stares at Batman. BATMAN This is the audio sample. He plugs a USBdongle into the console. A sample of the Joker's voice from the call-in news program plays. BATMAN If he talks within range of any phone in the city, you'll be able to triangulate his position. Luciustoggles a menu. The city is an open book- People working, eating, sleeping. Luciusshakes his head. BATMAN When you've finished, type your name to switch it off. FOX I'll help you this one time... Luciussits at the console. Batman moves off-114. FOX But consider this my resignation. Batman turns. Fox looks at him, serious. FOX As long as this machine is at Wayne Industries, I won't be.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. VARIOUS LOCATIONS -- DUSK Gothamites POUR out of the city, on foot and by car... the BRIDGES and TUNNELS are deserted, but for BOMB SQUAD search teams.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CITY HALL -- CONTINUOUS Gordon briefs the Mayor. GORDON My officers are going over every inch of the tunnels and bridges, but with the Joker's threat they're not and option. MAYOR Land routes East? GORDON Backed up for hours. Which leaves the ferries with thirty thousand waiting to board. Plus, corrections are at capacity, so I want to use a ferry to take some prisoners off the island. MAYOR The men you and Dent put away? Those aren't people I'm worried about. GORDON You should be- they're the people you least want to be stuck with in an emergency. Whatever the Joker's planning, it's a good bet that Harvey's prisoners might be involved. I want 'em out of here.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FERRY TERMINAL -- DUSK At the ferry terminal, National Guardsman watch over the THIRTY THOUSAND jostling, scared people waiting to board the two MASSIVE FERRIES to Seven Sisters. Grumbles turn to YELLS as 800 PRISONERS are loaded onto a ferry by shotgun-toting CORRECTIONS OFFICERS.115. CIVILIAN That ain't right! We should be on that boat. NATIONAL GUARDSMAN You want to ride across with them, be my guest.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. BROWNSTONE -- DUSK Maroni climbs into the back of a limo.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LIMO -- DUSK Maroni settles back into his seat. The car pulls away. MARONI Don't stop for lights, cops, nothing. DENT Going to join your wife? Maroni STARTS. Someone is in here with him. Harvey Dent- Two Face- leans forward, clutching a pistol. DENT You love her? MARONI Yes. DENT Can you imagine what it would be like to listen to her die? MARONI Take it up with the Joker. He killed your woman. Made you... like this... DENT The Joker's just a mad dog. I want whoever let him off the leash. Maroni looks at Dent. Worried. DENT I took care of Wuertz, but who was your other man inside Gordon's unit? Who picked up Rachel? It must've been someone she trusted. MARONI If I tell you, will you let me go? DENT It can't hurt your chances.116. MARONI It was Ramirez. Pulls out his coin. Dent cocks the pistol... MARONI But you said- DENT I said it couldn't hurt your chances. Dent FLIPS it. Looks: good side. He shrugs. DENT Lucky guy. Maroni looks confused. Dent FLIPS the coin again. Looks down at the coin. Shakes his head. DENT But he'snot. MARONI Who? Dent smiles. PUTS HIS SEAT BELT ON. DENT Your driver. Dent presses the barrel of the revolver behind the shadow of the driver. Maroni LUNGES, SCREAMING. Dent FIRES.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BRIDGE -- DUSK The Limo SWERVES off of the bridge, SOARS out over the canal, and PANCAKES into the RETAINING WALL.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FERRY TERMINAL -- DUSK CIVILIANS CRAM their way onto one ferry. Finally, the COMMANDER of the National Guard unit SIGNALS to his men to STOP BOARDING and CAST OFF. The two FERRIES set off across the river, heading for the lights of the distant shore of the mainland.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BRIDGE, PRISONER FERRY -- NIGHT The FIRST MATE looks out the window, at the second ferry. It is DEAD in the WATER. He turns to the PILOT [PRISON FERRY]. FIRST MATE They've lost their engines.117. PILOT [PRISON FERRY] Get on the radio and tell 'em we'll come back for them once we dump these scumbags- Suddenly, the control panel FLICKERS and DIES. PILOT [PRISON FERRY] Get down to the engine room.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PASSENGER LOUNGE, PRISONER FERRY -- NIGHT The First Mate skirts around the PRISONERS and CORRECTIONS OFFICERS...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ACCESS CORRIDOR, PRISONER FERRY -- NIGHT The First Mate opens the door to the engine room. STOPS. HUNDREDS OF BARRELS OF DIESEL FUEL. And a small, wrapped PRESENT, topped with a BOW.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BRIDGE, PRISONER FERRY -- NIGHT The Pilot [Prison Ferry] is holding the small present. His radio CRACKLES. PILOT [PASSENGER FERRY] (O.S.) Same thing over here- enough diesel to blow us sky high. And a present.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ELEVATED ROADWAY, DOWTOWN GOTHAM-- CONTINUOUS Batman sits on the bat-pod, cape blowing. Listening. BATMAN Fox? There's something going on on the ferries...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PASSENGER LOUNGE, COMMUTER FERRY -- NIGHT As cold scared Families watch, the NATIONAL GUARD COMMANDER UNWRAPS that ferry's present. Inside, he finds a crude REMOTE DETONATOR. NATIONAL GUARD COMMANDER Why would they give us the detonator to our own bomb? Up in the wiring at the ceiling, a CELL PHONE taped in to the P.A.rings and answers. THE JOKER (O.S.) Tonight, you're all going to be part of a social experiment. ON BOTH FERRIES: CIVILIANS, PRISONERS, CREW, AND NATIONAL GUARDSMEN ALL LISTEN AS THE JOKER'S VOICE RINGS OUT.118.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LAB, WAYNE ENTERPRISES -- NIGHT LuciusFox looks up as the console CHIMES. FOX I'm zeroing in. THE JOKER (O.S.) Through the magic of diesel fuel and ammonium nitrate, I'm ready right now to blow you all sky high. Anyone attempts to get off their boat, you all die... FOX His voice is on the ferry, but that's not the source...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ROOFTOPS ABOVE GOTHAM-- NIGHT Batman looks out, across the entire city skyline. BATMAN Do you have a location on the Joker? FOX It's west... Batman FIRES UP the bat-pod- his cape SHRINKS into its pack form as he PEELS OUT, ROARING into the night. THE JOKER (O.S.) But we're going to make things a little more interesting than that. Tonight, we're going to learn a little bit about ourselves...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GORDON HOME -- CONTINUOUS Barbara Gordon answers the phone. RAMIREZ (O.S.) Barbara, it's Anna Ramirez- BARBARA Hi, Anna- RAMIREZ (O.S.) Listen carefully, there's no time. Jim needs you to pack up and get the kids in the car right away. BARBARA But the units outside-119. RAMIREZ (O.S.) Barbara, those cops can't be trusted. Jim needs you away from them as soon as possible. I'll call them off for 10 minutes, you'll have to move fast- BARBARA But where- RAMIREZ (O.S.) I'm going to give you an address- Jim will meet you there...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MCU-- CONTINUOUS Ramirez is holding the phone. RAMIREZ 250, 52nd street. Leave as soon as the patrol car pulls out. Dent is holding a gun at Ramirez's head. She hangs up. DENT She believe you? Ramirez nods. DENT She trusts you. Just like Rachel did. RAMIREZ I didn't know- DENT 'What they were gonnado'? You're the second cop to say that to me. What, exactly, did you think they were going to do? RAMIREZ I'm sorry- they got me early on. My mother's medical bills and my- DENT Don't! Dent FLIPS his coin. RAMIREZ I took a little from them- once they've got you, they keep you. I'm sorry. Dent looks at his coin. Good side.120. DENT Live to fight another day, officer. Dent CRACKS her on the head with his gun.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BRIDGE, PRISONER FERRY -- NIGHT The Pilot [Prison Ferry] tries the radio. It's DEAD. PILOT [PRISON FERRY] He killed the radio. THE JOKER (O.S.) There's no need for all of you to die. That would be a waste. So I've left you both a little present.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PENTHOUSE, PREWITTBUILDING -- NIGHT The Joker stares out over the harbor, at the ferries. Talking into a cell phone. Holding a detonator, with TWO BUTTONS. THE JOKER Each of you has a remote to blow up the other boat.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PASSENGER LOUNGE, PRISONER FERRY -- NIGHT The Prisoners and Corrections Officers listen. Appalled. THE JOKER (O.S.) At midnight, I blow you all up. If, however, one of you presses the button, I'll let that boat live. You choose. So who's it going to be- Harvey Dent's most wanted scumbag collection... or the sweet innocent civilians? (beat) Oh, and you might want to decide quickly, because the people on the other boat may not be quite so noble. The Joker HANGS UP. The Pilot [Prisoner Ferry] looks down at the remote in his hands. Prisoners begin YELLING and PUSHING. The WARDEN takes the remote from the Pilot- COCKS his shotgun. His men level their weapons at the crowd.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. FERRY TERMINAL -- CONTINUOUS Gordon looks out at the ferries. His phone rings. BATMAN I have the Joker's location-121.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. GOTHAMSTREETS -- CONTINUOUS Batman ROARS along on the bat-pod. BATMAN Prewittbuilding. Assemble on the building opposite.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PASSENGER LOUNGE, COMMUTER FERRY -- NIGHT The National Guard Commander is holding the remote. Several passengers take a step towards him. He PULLS his weapon. NATIONAL GUARD COMMANDER Stay back. A BUSINESSMAN clutching his briefcase speaks up. BUSINESSMAN Who are you to decide? We ought to talk it over, at least. Other passengers agree. A MOTHER with two KIDS speaks up. MOTHER We don't all have to die. Why should my babies die? Those men had their chance- NATIONAL GUARD COMMANDER We're not talking about this... PASSENGER 1 They're talking over the same exact thing on the other boat. PASSENGER 2 If they're even bothering to talk. Let's put it to a vote.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PASSENGER LOUNGE, PRISONER FERRY -- NIGHT As the Prisoners grow angrier, a CORRECTIONS OFFICER FIRES his shotgun into the air. The Prisoners back off. Slightly.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PASSENGER LOUNGE, COMMUTER FERRY -- NIGHT A GUARDSMAN on this boat passes around a hat. People drop CHITS into it. Passengers filling out chits eye each other. People on their phones say goodbye to loved ones. The Pilot [Passenger Ferry] looks out across the water to the other Ferry. Looks up at the clock. Ten to midnight... STARES down at his blank chit.122.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. ROOFTOP OVERLOOKING PREWITTBUILDING -- NIGHT Gordon and his SWAT team leaders set up SNIPER and SCOPE positions on the balustrade.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GARAGE, PREWITTBUILDING -- CONTINUOUS A SWAT stands beside the empty school bus. SWAT We've found our missing bus.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ROOFTOP OVERLOOKING PREWITTBUILDING -- CONTINUOUS Gordon looks at the SWAT LEADER. GORDON Then we have a hostage situation. They look across at the large windows of the Prewitt Building. The Joker's men, in crude, homemade CLOWN MASKS are clearly visible, automatic weapons in hand. SWAT SNIPER I got hostages! They look through his scope. Crouched deeper in the room, PATIENTS, DOCTORS, and NURSES, huddled. GORDON It's a shooting gallery. Why'dhe choose a spot with such big windows? BATMAN He likes the view. Batman gestures towards the view of the ferries. SWAT LEADER We have clear shots on five clowns. Snipers take them out, smash the windows- a team rappelsin, a team moves in by the stairwells. 2 or 3 or three casualties, max. GORDON (barely hesitates) Let's do it. BATMAN It's not that simple. With the Joker, it never is. GORDON What's simple, is that every second we don't take him, those people on the ferries get closer to blowing each other up!123. BATMAN That won't happen. GORDON Then he'll blow them both up! There's no time- we have to go in now- BATMAN There's always a catch with him- GORDON That's why we can't wait- we can't play his games- Batman turns. BATMAN I need five minutes. Alone- GORDON No. There's no time. We have clear shots. Gordon pulls his gun. Batman turns back. The SWATS watch. GORDON Dent's in there with them. We have to save Dent! I have to save Dent! (toSWAT Leader) Get ready- Batman LEAPS from the building, OPENS his cape- SOARS across the gulf between the two buildings- Gordon puts his weapon away. Curses softly. Turns to the SWAT leader. GORDON Two minutes. Then you breach.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. PREWITTBUILDING -- CONTINUOUS Batman LANDS against the glass two floors below- BATMAN Fox. I need picture.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LAB, RESEARCH AND DEVELOPMENT -- CONTINUOUS Fox hits some keys- FOX You've got p.o.v. on alpha channel, omni on beta-124.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PREWITT BUILDING -- CONTINUOUS SMOKED GLASS EYEPIECES slip down over Batman's eye holes. Batman's SONAR P.O.V.: the layers of the building dissolve, levels of TRANSPARENCY PULSING rhythmically... Batman can see the people inside the building...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PENTHOUSE, PREWITTBUILDING -- NIGHT The Joker is standing by the window, looking out at his handiwork. The Chechen's DOGS start BARKING. He SMILES.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PENTHOUSE, PREWITTBUILDING -- CONTINUOUS Batman reaches into his utility belt, SPRAYS PLASTIC onto the glass- lets it harden- PUNCHES the window-which BREAKS QUIETLY as the pieces stick to the laminate- he slips inside-",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PENTHOUSE, PREWITTBUILDING -- CONTINUOUS Batman's eyes glow white as he uses his sonar to look THROUGH the corner: AN ARMED CLOWN IS LEANING AGAINST THE CORNER...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ROOFTOP, PREWITTBUILDING -- CONTINUOUS A six man SWAT team prepares to rappel from the roof.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. STAIRWELL, PREWITTBUILDING -- CONTINUOUS A SWAT team moves up the stairs.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ROOFTOP OVERLOOKING PREWITTBUILDING -- CONTINUOUS Gordon's phone rings. GORDON Hello? Barbara, calm down- DENT (O.S.) Hello, Jim. GORDON Harvey? What the hell's going on? DENT (O.S.) You're about to know what my suffering is really like... Gordon looks across at the Prewittpenthouse... GORDON (O.S.) Where are you? Where's my family?! DENT Where my family died. Click. Gordon looks at the SWAT leader. Pale.125. SWAT LEADER Red Team. Go! Gordon moves to the door off the roof.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PENTHOUSE, PREWITTBUILDING -- CONTINUOUS Batman GRABS the Armed Clown, drops him, silently. He goes to disarm him- THE WEAPON IS DUCT-TAPED TO THE CLOWN'S HANDS. Batman RIPS off the clown mask: STARING, FRIGHTENED EYES- MOUTH DUCT-TAPED SHUT... it's ENGEL. Batman looks up: Four more clowns line the windows, weapons duct-taped to their hands. On SONAR: he looks into where the hostages are crouched... the ""PATIENTS"" and ""DOCTORS"" are carrying weapons- these are the Joker's men ... Above them SWATS RAPPEL FROM THE ROOFTOP. ~In the stairwells, two more teams prepping. BATMAN Don't. Move. Engel nods, terrified.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. ROOFTOP OVERLOOKING PREWITTBUILDING -- CONTINUOUS The SWATS line up the clowns in their sights...,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. STAIRWELL, PREWITT BUILDING -- CONTINUOUS The SWAT team arrives at the penthouse fire exit. They spread CHARGES across the inner wall-",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ROOFTOP OVERLOOKING PREWITT BUILDING -- CONTINUOUS The SWAT Leader checks his watch. SWAT LEADER Go! Go! Go! A SWAT Sniper zeroes in on a clown- the clown DISAPPEARS- the Sniper looks up, confused-",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PENTHOUSE, PREWITT BUILDING -- CONTINUOUS Batman yanks the clown along the floor using his grapple gun- the clown takes down the two next to him- Batman leaps for the nearest two as SHOTS SHATTER the glass-",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. PREWITT BUILDING -- CONTINUOUS The SWATS rappel down the building- SWING in through the broken windows-126.,SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PENTHOUSE, PREWITT BUILDING -- CONTINUOUS The ""hostages"" reel from the BLAST- The SWATS SWOOP in- aiming weapons at the clowns, throwing PERCUSSION GRENADES- Batman takes out the SWATS with fists and BATARANGS- The last SWAT aims at BATMAN- behind him a ""DOCTOR"" raises a shotgun... behind the ""Doctor"" Batman can see through the wall at SWATS preparing to breach... Batman VAULTS over the SWAT into a two-foot kick into the ""Doctor's"" chest-",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. STAIRWELL, PREWITT BUILDING -- CONTINUOUS The Swats BLAST OUT THE WALL- the team leader steps up to the hole... the BAT-GRAPPLE FIRES out-lodging in his kevlar vest... he is YANKED, SCREAMING, through the door. The rest of his team look at each other. Steel themselves. Move in through the hole...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PENTHOUSE, PREWITT BUILDING -- CONTINUOUS As the SWATS race in they find Engel, terrified, next to a pile of unconscious ""hostages"", and their team leader, one end of an absailing rope tied around his waist. Batman is on them, weaving KICKING, PUNCHING, and, with one hand, clipping carabinners looped to the absailing rope onto their webbing of vests. Batman steps back- picks up the team leader- SWAT weapons aim at him- he hurls the Team Leader out the window... the SWATS watch him go... the rope pays out... one by one they are YANKED out of the window...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ROOFTOP OVERLOOKING PREWITTBUILDING -- CONTINUOUS A SNIPER watches through his scope as the six man SWAT team soars out of the window and drops. The line snaps taut and they hang, like a mountaineering team in crisis. Batman, crouched in the broken window, secures the line. SNIPER What the hell's he doing? Batman looks right at the sniper- Raises his grapple gun- BAM.The bat grapple smashes into the Sniper's scope- the rifle is YANKED out of his hands.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. PREWITTBUILDING -- CONTINUOUS Batman races past a dazed Engel... ENGEL (pathetic) Thanks. ...into the main office. The Joker is there.127. THE JOKER You came. I'm touched. BATMAN Where's the detonator? The Dogs LEAP at Batman- SMASH him to the ground...,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PASSENGER LOUNGE, COMMUTER FERRY -- NIGHT The Pilot [Passenger Ferry] finishes counting the votes. Reads the verdict. PILOT [PASSENGER FERRY] The tally is 196 votes against. (looksdown) And 340 votes for. The passengers avoid eye contact with each other.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PASSENGER LOUNGE, PRISONER FERRY -- NIGHT The Corrections Officers are in a phalanx in the corner, facing off against hundreds of menacing Prisoners. PRISONER 1 Do you wannadie! The Warden and his men look at each other. At the clock.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PENTHOUSE, PREWITTBUILDING -- NIGHT Batman WRESTLES with the Rotweilers- a blinding mass of Batman, black fur and bared teeth- The Joker POPS a switchblade. Moves in to the mass- Batman KICKS OFF the last of the dogs- the Joker JABS his knife into Batman's RIBS- THE JOKER All the old familiar places. Batman recoils in pain. The Joker BUTTS him- KNEES him- ENERGY explodes from his lean frame- he KICKS the injured Batman back towards the glass...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PASSENGER LOUNGE, COMMUTER FERRY -- NIGHT The Pilot [Passenger Ferry] looks at the remote in his hands. PILOT [PASSENGER FERRY] I voted for it. Same as most of you. Doesn't seem right that we should all die... Someone calls out from the back.128. PASSENGER 3 So do it! PILOT [PASSENGER FERRY] I didn't say I'd do it. Don't forget. We're still here. Which means they haven't killed us, yet, either. He sets the remote down on a bench in the front of the lounge. The other passengers and guardsmen stare at it...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PASSENGER LOUNGE, PRISONER FERRY -- NIGHT A HUGE, TATTOOED PRISONER pushes his way to the front. He walks towards the Warden, who is sweating, looking at the remote. TATTOOED PRISONER You don't wannadie. But you don't know how to take a life. Give it to me. The Warden looks at the remote. At the clock. TATTOOED PRISONER These men will kill you and take it, anyway. Give it to me, you can tell people I took it by force... give it to me and I'll do what you should have done ten minutes ago.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PASSENGER LOUNGE, COMMUTER FERRY -- NIGHT Everyone stares at the remote. One minute left. The Businessman stands. Walks over and picks it up. BUSINESSMAN No one wants to get their hands dirty. Fine. I'll do it. Those men on that boat made their choices. They chose to murder and steal. It makes no sense for us to die, too. He looks at the other passengers. No one makes eye contact.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PASSENGER LOUNGE, PRISONER FERRY -- NIGHT The Warden slowly hands him the REMOTE. The Prisoner looks at it. He looks the Warden in the eye... Then TOSSES the remote out the window. Warden, prisoners and officers are stunned.129.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PENTHOUSE, PREWITTBUILDING -- NIGHT Batman FLIES backwards THROUGH THE WINDOW- glass flying- the Joker KICKS out a wooden brace holding up the STEEL FRAME- Batman's arms fly up as it comes crashing down onto his neck- saved by his protective gauntlets. Batman GRUNTS as the Joker STEPS onto the steel beam... THE JOKER If we don't stop fighting, we're going to miss the fireworks. BATMAN There won't be any fireworks. Batman STRUGGLES to keep the beam from CRUSHING his neck...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PASSENGER LOUNGE, COMMUTER FERRY -- NIGHT The Businessman stares at the remote in his hands. Finally, he puts it down. Sits down. Waits to die. The clock strikes MIDNIGHT.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PENTHOUSE, PREWITTBUILDING -- NIGHT Batman indicates the clock... twelve o'clock. BATMAN What were you hoping to prove? That deep down, we're all as ugly as you? The Joker looks at the clock...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. BOTH FERRIES -- CONTINUOUS The Passengers brace. Look at the clock. Confused...,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PREWITTBUILDING -- CONTINUOUS The smile disappears from the Joker's face. BATMAN You're alone. The Joker CROUCHES down, hovering above Batman's face and arms. Shows him the remote. THE JOKER Can't rely on anyone these days. The Joker ARMS the remote... THE JOKER Have to do everything yourself. I always have- and it's not always easy...130. (MORE) (smiles, remembering) You know how I got these scars? Batman looks up at him. BATMAN No. But I know how you get these- Batman's SCALLOP BLADES FIRE OUT OF HIS GAUNTLET, nailing the Joker in the chest and arm- he STAGGERS back- Batman, freed, leaps forward- KICKS HIM OVER THE EDGE- GRABS the remote- The Joker GIGGLES as he FALLS, enjoying the ride. Something SLAMS into his leg, and he JERKS to a stop- BATMAN'S GRAPPLE. The Joker HOLLERS in pain as Batman HAULS him up. THE JOKER Just couldn't let me go, could you? I guess this is what happens when an unstoppable force meets an immovable object. You truly are incorruptible, aren't you? Batman secures the Joker UPSIDE DOWN. The Joker is LAUGHING. THE JOKER You won't kill me out of some misplaced sense of self- righteousness... and I won't kill you because you're too much fun. We're going to do this forever. BATMAN You'll be in a padded cell, forever. THE JOKER Maybe we can share it. They'll need to double up, the rate this city's inhabitants are losing their minds... BATMAN This city just showed you it's full of people ready to believe in good. The Joker looks up at him. A twinkle in his eye. THE JOKER Till their spirit breaks completely. Until they find out what I did with the best of them. Until they get a good look at the real Harvey Dent, and all the heroic things he's done. (indicates ferry) Then those criminals will be straight back onto the streets and Gothamwill understand the true nature of heroism. (offlook)131. THEJOKER (cont'd) (MORE) You didn't think I'd risk losing the battle for the soul of Gothamin a fist fight with you? You've got to have an ace in the hole. Mine's Harvey. Batman hauls the Joker up, nose to nose. BATMAN What did you do? THE JOKER I took Gotham's white knight. And I brought him down to my level. It wasn't hard- madness is like gravity. All it takes is a little push. Joker laughs. Batman leaves him to the SWATS. BATMAN Lucius.Find Harvey Dent.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BURNT WAREHOUSE, 52NDSTREET -- NIGHT Gordon gets out of his car, gun drawn. Makes his way into the blackened wreck of a building...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BURNT WAREHOUSE, 52NDSTREET -- NIGHT Gordon peers into the darkness. GORDON Dent? No reply. Gordon makes his way deeper. Up the stairs.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SECOND FLOOR, BURNT WAREHOUSE -- NIGHT Gordon spots Barbara and their two children huddled together. He moves towards them- Barbara is shaking her head- WHAM!Dent cracks Gordon over the head with his gun. Dent disarms Gordon, rolls him over. He turns to look at the ENORMOUS hole in the floor. From this side, in the moonlight, Dent looks completely normal. DENT This is where they brought her, Gordon. After your people handed her over. This is where they bound her. This is where she suffered. This is where she died. GORDON I know. I was here. Trying to save her. Dent TURNS, revealing his dark side.132. THEJOKER (cont'd) DENT But you didn't, did you? GORDON I couldn't. DENT Yes, you could. DENT If you'd listened to me- if you'd stood up against corruption instead of doing your deal with the devil. GORDON I was trying to fight the mob- Dent MOVES towards Gordon. DENT You wouldn't dare try to justify yourself if you knew what I'd lost. Have you ever had to talk to the person you love most, wondering if you're about to listen to them die? You ever had to lie to that person? Tell them it's going to be all right, when you know it's not? Well, you're about to find out what that feels like. Then you'll be able to look me in the eye and tell me you're sorry. Dent turns- steps over to Barbara- puts the gun to her temple- GORDON Harvey. Put the gun down. You're not going to hurt my family. DENT No, just the person you need most. (cocksgun) So is it your wife? GORDON Put the gun down. Dent moves the gun to point at Gordon's little girl. GORDON Please, Harvey... Dent moves to James Gordon. Brushes the hair out of the boy's eyes with the muzzle. Gordon SNAPS. GORDON Goddamit. Stop pointing that gun at my family, Dent.133. DENT We have a winner. Dent pulls the boy away from his mother. BARBARA No! Jim stop him! Don't let him! Dent walks James past Gordon to the edge of the burnt floor. He touches the raw wood at the edge of the floor. GORDON I'm sorry, Harvey. For everything. But, please. Please don't hurt him. SIRENS.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BURNT WAREHOUSE, 52NDSTREET -- CONTINUOUS Cop cars descend on the warehouse.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SECOND FLOOR, BURNT WAREHOUSE -- CONTINUOUS Dent looks at Gordon, FURIOUS. DENT You brought your cops? GORDON All they know is there's a situation. They don't know who, or what. They're just creating a perimeter. DENT You think I want to escape?! There's no escape from this- Dent indicates his face. His suffering. GORDON No one needs to escape, because no one's done anything wrong. And nobody has to. Dent chuckles. A macabre sight. DENT I've done plenty wrong, Gordon. Just not quite enough. Yet. Dent squeezes the gun a little tighter against the little boy's neck. The boy WHIMPERS. BATMAN You don't want to hurt the boy, Dent. Dent turns. Batman steps from the shadows.134. DENT It's not about what I want. It's about what's fair. (toGordon and Batman) You thought we could be decent men in an indecent world. You thought we could lead by example. You thought the rules could be bent but not break... you were wrong. The world is cruel. (showshis coin) And the only morality in a cruel world is chance. Unbiased. Unprejudiced. Fair. BATMAN Nothing fair ever came out of the barrel of a gun, Dent. DENT (shows the coin) His boy's got the same chance she had. Fifty-fifty. Batman steps closer, desperate, trying to reach Dent. BATMAN What happened to Rachel wasn't chance. We decided to act. We three. We knew the risks and we acted as one. We are all responsible for the consequences. Dent looks at Batman. Pleading. DENT Then why was it only me who lost everything? Batman looks into Dent's eyes. Emotional. BATMAN It wasn't. DENT (furious) The Joker chose me! BATMAN Because you were the best of us. He wanted to prove that even someone as good as you could fall. DENT (bitter) And he was right.135. BATMAN But your fooling yourself if you think you're letting chance decide. You're the one pointing the gun, Harvey. So point it at the people who were responsible. We all acted as one. Gordon. Me. And you. Dent is listening, the wheels in his deranged mind turning. DENT Fair enough. Dent eases his grip on the boy. DENT You first. He points the gun at Batman. FLIPS the coin. TAILS. He SHOOTS. Batman COLLAPSES to the ground, clutching his gut. DENT My turn. He points the gun at his own head. FLIPS the coin. HEADS. He looks a little disappointed. Finally, he points the gun back at Gordon's son. DENT Your turn, Gordon. GORDON You're right, Harvey. Rachel's death was my fault. But punish me- DENT I'm about to. Tell your son it's going to be all right, Gordon. Lie. Like I lied. Gordon looks up. Pained. Locks eyes with his son. GORDON It's going to be all right, son. Dent FLIPS the coin. High. Dent's eyes FOLLOW the coin up- Batman HURLS himself at Dent and the boy. All three of them VANISH over the edge. A TERRIBLE CRASH- then silence, but for the sound of DENT'S COIN, SPINNING on the floor at the edge of the hole. Gordon, horrified, RUNS to the edge- peers down- Dent lies at the bottom of the hole, his neck broken. DEAD. The coin stops spinning, GOOD SIDE UP.136. Gordon's son swings into view, HANGING from Batman, who is holding onto a JOIST with all his strength... Gordon reaches down to GRAB his son- HAULS him up... Batman FALLS..., dropping and dropping, SMASHING THROUGH protruding WOOD and PIPES... He lands HARD near Dent.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BURNT WAREHOUSE, 52NDSTREET -- CONTINUOUS The cops prepare to STORM the front door.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BURNT WAREHOUSE, 52NDSTREET -- CONTINUOUS Gordon races down the stairs. Rushes over to Batman. JAMES Dad, is he okay? Gordon crouches at Batman's side. The Batman GRASPS Gordon's arm. STAGGERS to his feet. GORDON Thank-you. BATMAN You don't have to- GORDON Yes, I do. Gordon and Batman stare down at Dent's body. Grave. GORDON The Joker won. Gordon stares down at SCARRED SIDE of Harvey Dent. GORDON Harvey's prosecution, everything he fought for, everything Rachel died for. Undone. Whatever chance Gotham had of fixing itself... whatever chance you gave us of fixing our city... dies with Harvey's reputation. We bet it all on him. The Joker took the best of us and tore him down. People will lose all hope. BATMAN No. They won't. (looksat Gordon) They can never know what he did.137. GORDON (incredulous) Five dead? Two of them cops? We can't sweep that under- BATMAN No. But the Joker cannot win. Batman crouches to Dent's body. BATMAN Gothamneeds its true hero. Gently, he turns Dent's head so the good side of his face is up. Gordon looks from Dent's face to Batman. Understanding. GORDON You? You can't- BATMAN Yes, I can. Batman stands. Faces Gordon. BATMAN You either die a hero or live long enough to see yourself become the villain. I can do those things because I'm not a hero, like Dent. I killed those people. That's what I can be. GORDON (angry) No, you can't! You're not! Batman hands Gordon his police radio. BATMAN I'm whatever Gothamneeds me to be. INSERT CUT: GORDON STANDS AT A PODIUM AT DENT'S FUNERAL. BEHIND HIM IS A LARGE PHOTOGRAPH OF DENT SMILING. GORDON ...a hero. Not the hero we deserved- the hero we needed. Nothing less than a knight. Shining... GORDON (V.O.) They'll hunt you. BATMAN (V.O.) You'll hunt me.138. INSERT CUT: GORDON, ON THE ROOF OF GOTHAMCENTRAL, AXE IN HAND, WATCHED BY AN ASSORTMENT OF COPS AND REPORTERS... BATMAN (V.O.)(CONT’D) You'll condemn me, set the dogs on me... GORDON TAKES THE AXE TO THE BAT SYMBOL- SPARKING, SMASHING... BATMAN (V.O.)(CONT’D) ...because it's what needs to happen. INSERT CUT: ALFRED HOLDS THE LETTER FROM RACHEL. THINKING. BATMAN (V.O.)(CONT’D) Because sometimes the truth isn't good enough... INSERT CUT: ALFRED BURNS THE ENVELOPE FROM RACHEL. BATMAN (V.O.) (CONT’D) ...sometimes, people deserve more. INSERT CUT: LUCIUSFOX TYPES HIS NAME INTO THE SONAR MACHINE. INSERT CUT: FOX HITS THE ""X"". THE MACHINE FLASHES RED ""SELF- DESTRUCT WARNINGS"". THEN DIES. FOX SMILES TO HIMSELF. Batman hurries off. LIMPING into the shadows. JAMES Batman?! James RUNS down the stairs to join father- JAMES (CONT’D) Why's he running, Dad?! Gordon stares after Batman. GORDON Because we have to chase him...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. WAREHOUSE -- CONTINUOUS As Cops race into the buildings the DOGS get the scent and pull away from the doorway, following the SHADOW into the stacks of shipping containers...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. WAREHOUSE -- CONTINUOUS James looks at his father, confused. JAMES He didn't do anything wrong! Gordon stares after the Batman. The sound of the dogs becoming louder and more ferocious.139. JAMES (CONT’D) Why, dad? Why?! GORDON Because...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DOCKSIDE ROOFTOPS -- CONTINUOUS The Batman LURCHES between shipping containers. STUMBLING. BLEEDING. He makes it to the bat-pod... GORDON (V.O.) ...he's the hero Gothamdeserves... but not the one it needs right now. So we'll hunt him, because he can take it. Because he's not our hero... The bat-pod streaks through Gotham's underground streets, the Batman's cape fluttering behind. A wraith... GORDON (V.O.) ...he'sa silent guardian, a watchful protector... a dark knight. The Batman races up a ramp into a blinding light- CUT TO BLACK. CREDITS. END.140.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEART O' THE CITY HOTEL - NIGHT2The hotel was abandoned after a fire licked its wayacross the polyester carpeting, destroying several roomsas it spooled soot up the walls and ceiling, leavingpatterns of permanent shadow.We FOLLOW four armed POLICE OFFICERS using flashlights asthey creep down the blackened hall and ready themselveson either side of Room 303.The biggest of them violently kicks in the door. The othercops pour in behind him, guns thrust before them.BIG COPPolice! Freeze!The room is almost devoid of furniture. There is a fold-up table and chair with a phone, a modem, and a powerbookcomputer. The only light in the room is the glow of thecomputer.Sitting there, her hands still on the keyboard, isTRINITY; a woman in black leather.BIG COPHands behind your head! Now! Doit!She slowly puts her hands behind her head.3",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HEART O' THE CITY HOTEL - NIGHT3A black sedan with tinted windows glides in through thepolice cruisers. AGENT SMITH, AGENT BROWN, and AGENTJONES get out of the car.They wear dark suits and sunglasses even at night. Theyare also always hardwired; small Secret Service earphonesin one ear, the cord coiling back into their shirtcollars.AGENT SMITHLieutenant?LIEUTENANTOh shit.(CONTINUED) THE MATRIX - Rev. 3/9/984.3CONTINUED:3AGENT SMITHLieutenant, you were givenspecific orders --LIEUTENANTI'm just doing my job. You gimmethat Juris-my dick-tion and youcan cram it up your ass.AGENT SMITHThe orders were for yourprotection.The Lieutenant laughs.LIEUTENANTI think we can handle one littlegirl.Agent Smith nods to Agent Brown as they start toward thehotel.LIEUTENANTI sent two units. They'rebringing her down now.AGENT SMITHNo, Lieutenant, your men arealready dead.4",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEART O' THE CITY HOTEL4The Big Cop flicks out his cuffs, the other cops holdinga bead. They've done this a hundred times, they knowthey've got her, until the Big Cop reaches with the cuffsand Trinity moves --It almost doesn't register, so smooth and fast, inhumanlyfast.The eye blinks and Trinity's palm snaps up and the noseexplodes, blood erupting. Her leg kicks with the forceof a wrecking ball and he flies back, a two-hundred-fiftypound sack of limp meat and bone that slams into the copfarthest from her.Trinity moves again, BULLETS RAKING the walls,flashlights sweeping with panic as the remaining cops tryto stop a leather-clad ghost.A GUN still in the cop's hand is snatched, twisted, andFIRED. There is a final violent exchange of GUNFIRE andwhen it's over, Trinity is the only one standing.(CONTINUED) THE MATRIX - Rev. 3/9/985.4CONTINUED:4A flashlight rocks slowly to a stop.TRINITYShit.5",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. HEART O' THE CITY HOTEL5Agent Brown enters the hotel while Agent Smith heads forthe alley.6,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEART O' THE CITY HOTEL6Trinity is on the phone, pacing. The other end isanswered.MAN (V.O.)Operator.TRINITYMorpheus! The line was traced! Idon't know how. MORPHEUS (MANV.O.)I know. They cut the hardline.This line is not a viable exit.TRINITYAre there any Agents?MORPHEUS (V.O.)Yes.TRINITYGoddamnit!MORPHEUS (V.O.)You have to focus. There is aphone. Wells and Lake. You canmake it.She takes a deep breath, centering herself.TRINITYAll right --MORPHEUS (V.O.)Go.She drops the phone. THE MATRIX - Rev. 3/9/986.7",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HALL7She bursts out of the room as Agent Brown enters thehall, leading another unit of police. Trinity races tothe opposite end, exiting through a broken window ontothe fire escape.8",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FIRE ESCAPE8In the alley below, Trinity sees Agent Smith staring ather. She can only go up.9",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ROOF9On the roof, Trinity is running as Agent Brown rises overthe parapet, leading the cops in pursuit.Trinity begins to jump from one roof to the next, hermovements so clean, gliding in and out of each jump,contrasted to the wild jumps of the cops.Agent Brown, however, has the same unnatural grace.The roof falls away into a wide back alley. The nextbuilding is over 40 feet away, but Trinity's face isperfectly calm, staring at some point beyond the other roof.COPThat's it, we got her now.The cops slow, realizing they are about to see somethingugly as Trinity drives at the edge, launching herselfinto the air.From above, the ground seems to flow beneath her as shehangs in flight, then hits, somersaulting up, stillrunning hard.COPJesus Christ -- that's impossible!They stare, slack-jawed, as Agent Brown duplicates the moveexactly, landing, rolling over a shoulder up onto one knee.It is a dizzying chase up and over the dark plateauedlandscape of rooftops and sheer cliffs of brick. Ahead,she sees her only chance, 50 feet beyond the point whereher path drops away into a paved chasm, there is/nobreakspace--10",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. WINDOW10A yellow glow in the midst of a dark brick building.Trinity zeros in on it, running as hard as she can and --(CONTINUED) 7.10CONTINUED:10Hurtles herself into the empty night space, her bodyleveling into a dive. She falls, arms covering her headas the whole world seems to spin on its axis --A10",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BACK STAIRWELLA10And she crashes with an EXPLOSION of GLASS and WOOD, thenfalls onto a back stairwell, tumbling, bouncing downstairs bleeding, broken --But still alive.She wheels on the smashed opening above, her guninstantly in her hand, trained, waiting for Agent Brownbut is met by only a slight WIND that HISSES against thefanged maw of broken glass.Trinity tries to move. Everything hurts.TRINITYGet up, Trinity. You're fine.Get up -- just get up!She stands and limps down the rest of the stairs.11",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. STREET11Trinity emerges from the shadows of an alley and, at theend of the block, in a pool of white street light, shesees it/nobreakspace--The telephone booth.Obviously hurt, she starts down the concrete walk,focusing in completely, her pace quickening, as the PHONEbegins to RING.Across the street, a garbage truck suddenly u-turns, it'sTIRES SCREAMING as it accelerates. Trinity sees theheadlights of the truck arcing at the telephone booth asif taking aim.Gritting through the pain, she races the truck, slamminginto the booth, the headlights blindingly bright, bearingdown on the box of Plexiglas just as --She answers the phone.There is a frozen instant of silence before the hulkingmass of dark metal lurches up onto the sidewalk --(CONTINUED) THE MATRIX - Rev. 3/9/988.11CONTINUED:11Barreling through the booth, bulldozing it into a brickwall, SMASHING it to PLEXIGLAS PULP.After a moment, a black loafer steps down from the cab ofthe garbage truck. Agent Smith inspects the wreckage.There is no body. Trinity is gone.His jaw sets as he grinds his molars in frustration.Agent Jones and Brown walk up behind him.AGENT JONESShe got out.AGENT SMITHIt doesn't matter.AGENT BROWNThe informant is real.Agent Smith almost smiles.AGENT SMITHYes.AGENT JONESWe have the name of their next target.AGENT BROWNThe name is Neo.The handset of the pay phone lays on the ground, separatedin the crash like a severed limb.AGENT SMITHWe'll need a search running.AGENT JONESIt's already begun.We are SUCKED TOWARDS the mouthpiece of the phone, CLOSERand CLOSER, until the smooth gray plastic spreads outlike a horizon and the small holes widen until we FALLTHROUGH one --Swallowed by DARKNESS.The DARKNESS CRACKLES with phosphorescent energy, theword ""searching"" blazing in around us as we EMERGE FROM acomputer screen.The screen flickers with windowing data as a searchengine runs with a steady relentless rhythm.We DRIFT BACK FROM the screen and INTO -- 9.12",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. NEO'S APARTMENT12It is a studio apartment that seems overgrown withtechnology.Weed-like cables coil everywhere, duct-taped intothickets that wind up and around the legs of severaldesks. Tabletops are filled with cannibalized equipmentthat lay open like an autopsied corpse.At the center of this technological rat-nest is NEO, aman who knows more about living inside a computer thanoutside one.He is asleep in front of his PC. Behind him, thecomputer screen suddenly goes blank. A prompt appears:""Wake up, Neo.""Neo's eye pries open. He sits up, one eye still closed,looking around, unsure of where he is. He notices thescreen.He types ""CTRL X"" but the letter ""T"" appears.NEOWhat...?He hits another and an ""H"" appears. He keeps typing,pushing random functions and keys while the computertypes out a message as though it had a mind of its own.He stops and stares at the four words on the screen:""The Matrix has you.""NEOWhat the hell?He hits the ""ESC"" button. Another message appears:""Follow the white rabbit.""He hits it again and the message repeats. He rubs hiseyes but when he opens them, there is another message:""Knock, knock, Neo.""Someone KNOCKS on his door and he almost jumps out of hischair. He looks back at the computer, but the screen isnow blank.Someone KNOCKS again. Neo rises, still unnerved.NEOWho is it?CHOI (O.S)It's Choi.(CONTINUED) 10.12CONTINUED:12Neo flips a series of locks and opens the door, leavingthe chain on. A young Chinese MAN stands there withseveral of his friends.NEOYou're two hours late.CHOI (MAN)I know. It's her fault.NEOYou got the money?CHOITwo grand.He takes out an envelope and gives it to Neo through thecracked door.NEOHold on.He closes the door. On the floor near his bed is a book,Baudrillard's Simulacra and Simulations. The book hasbeen hollowed out and inside are several computer disks.He takes one, sticks the money in the book and drops iton the floor.Opening the door, he hands the disk to Choi.CHOIHallelujah! You are my Savior,man! My own personal JesusChrist!NEOIf you get caught using that --CHOII know, I know. This neverhappened. You don't exist.NEORight...Neo nods as the strange feeling of unrealness suddenlyreturns.CHOISomething wrong, man? You look alittle whiter than usual.NEOI don't know... My computer...(CONTINUED) 11.12CONTINUED: (2)12He looks back at Choi, unable to explain what justhappened.NEOYou ever have the feeling thatyou're not sure if you're awake orstill dreaming?CHOIAll the time. It's calledmescaline and it is the only wayto fly.He smiles and slaps the hand of his nearest droog.CHOIIt sounds to me like you need tounplug, man. A little R&R. Whatdo you think, Dujour, should wetake him with us?DUJOURDefinitely.NEOI can't. I have to work tomorrow.DUJOURCome on. It'll be fun. Ipromise.He looks up at her and suddenly notices on her blackleather motorcycle jacket dozens of pins: bands,symbols, slogans, military medals and --A small white rabbit. The ROOM TILTS.NEOYeah, yeah. Sure, I'll go.13",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. APARTMENT13An older apartment; a series of halls connects a chain ofsmall high-ceilinged rooms lined with heavy casements.Smoke hangs like a veil, blurring the few lights thereare.Dressed predominately in black, people are everywhere,gathered in cliques around pieces of furniture likejungle cats around a tree.(CONTINUED) 12.13CONTINUED:13Neo stands against a wall, alone, sipping from a bottleof beer, feeling completely out of place. He is about toleave when he notices a woman staring at him.The woman is Trinity. She walks straight up to him.In the nearest room, shadow-like figures grind againsteach other to the pneumatic beat of INDUSTRIAL MUSIC.TRINITYHello, Neo.NEOHow do you know that name?TRINITYI know a lot about you. I've beenwanting to meet you for some time.NEOWho are you?TRINITYMy name is Trinity.NEOTrinity? The Trinity? TheTrinity that cracked the I.R.S.D-Base?TRINITYThat was a long time ago.NEOGee-zus.TRINITYWhat?NEOI just thought... you were a guy.TRINITYMost guys do.Neo is a little embarrassed.NEODo you want to go somewhere andtalk?TRINITYNo. It's safe here and I don'thave much time.(CONTINUED) 13.13CONTINUED: (2)13The MUSIC is so LOUD they must stand very close, talkingdirectly into each other's ear.NEOThat was you on my computer?She nods.NEOHow did you do that?TRINITYRight now, all I can tell you, isthat you are in danger. I broughtyou here to warn you.NEOOf what?TRINITYThey're watching you, Neo.NEOWho is?TRINITYPlease. Just listen. I know whyyou're here, Neo. I know whatyou've been doing. I know why youhardly sleep, why you live aloneand why, night after night, yousit at your computer. You'relooking for him.Her body is against his; her lips very close to his ear.TRINITYI know because I was once lookingfor the same thing, but when hefound me he told me I wasn'treally looking for him. I waslooking for an answer.There is a hypnotic quality to her voice and Neo feelsthe words, like a drug, seeping into him.TRINITYIt's the question that drives us,the question that brought youhere. You know the question justas I did.NEOWhat is the Matrix?(CONTINUED) THE MATRIX - Rev. 3/22/9814.13CONTINUED: (3)13TRINITYWhen I asked him, he said that noone could ever be told the answerto that question. They have tosee it to believe it.She leans close, her lips almost touching his ear.TRINITYThe answer is out there, Neo.It's looking for you and it willfind you, if you want it to.She turns and he watches her melt into the shifting wallof bodies.A SOUND RISES steadily, growing out of the MUSIC,pressing in on Neo until it is all he can hear as we --CUT TO:14",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. NEO'S APARTMENT14The sound is an ALARM CLOCK, slowly dragging Neo toconsciousness. He strains to read the clock-face:9:15/nobreakspaceA.M.NEOShitshitshit.15",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SKYSCRAPER15The downtown office of Meta CorTechs, a softwaredevelopment company.16",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. META CORTECHS OFFICE16The main offices are along each wall, the windowsoverlooking downtown. RHINEHEART, the ultimate companyman, lectures Neo without looking at him, typing at hiscomputer continuously.Neo stares at two window cleaners on a scaffoldingoutside, dragging their rubber squeegees down the surfaceof the glass.RHINEHEARTYou have a problem with authority,Mr. Anderson. You believe thatyou are special, that somehow therules do not apply to you.Obviously, you are mistaken.(CONTINUED) 15.16CONTINUED:16His long, bony fingers resume clicking the keyboard.RHINEHEARTThis company is one of the topsoftware companies in the worldbecause every single employeeunderstands that they are a partof a whole. Thus, if an employeehas a problem, the company has aproblem.He turns again.RHINEHEARTThe time has come to make achoice, Mr. Anderson. Either youchoose to be at your desk on timefrom this day forth, or you chooseto find yourself another job. DoI make myself clear?NEOYes, Mr. Rhineheart. Perfectlyclear.17",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. NEO'S CUBICLE17The entire floor looks like a human honeycomb, with alabyrinth of cubicles structured around a core ofelevators.VOICE (O.S.)Thomas Anderson?Neo turns and finds a FEDERAL EXPRESS GUY at his cubicledoor.NEOYeah. That's me.Neo signs the electronic pad and the Fedex Guy hands himthe softpak.FEDEX GUYHave a nice day.He opens the bag. Inside is a cellular PHONE. It seemsthe instant it is in his hand, it RINGS. Unnerved, heflips it open.NEOHello?(CONTINUED) THE MATRIX - Rev. 3/9/9816.17CONTINUED:17MORPHEUS (V.O.)Hello, Neo. Do you know who thisis?Neo's knees give and he sinks into his chair.NEOMorpheus...MORPHEUS (V.O.)I've been looking for you, Neo. Idon't know if you're ready to seewhat I want to show you, butunfortunately, we have run out oftime. They're coming for you,Neo. And I'm not sure whatthey're going to do.NEOWho's coming for me?MORPHEUS (V.O.)Stand up and see for yourself.NEORight now?MORPHEUS (V.O.)Yes. Now.Neo starts to stand.MORPHEUS (V.O.)Do it slowly. The elevator.His head peeks up over the partition. At the elevator,he sees Agent Smith, Agent Brown and Agent Jones leading agroup of cops. A female employee turns and points outNeo's cubicle.Neo ducks.NEOHoly shit!MORPHEUS (V.O.)Yes.One cop stays at the elevator, the others follow theAgents.NEOWhat the hell do they want withme?!(CONTINUED) 17.17CONTINUED: (2)17MORPHEUS (V.O.)I'm not sure, but if you don'twant to find out, you better getout of there.NEOHow?!MORPHEUS (V.O.)I can guide you out, but you haveto do exactly what I say.The agents are moving quickly towards the cubicle.MORPHEUS (V.O.)The cubicle across from you isempty.NEOBut what if...?MORPHEUS (V.O.)Go! Now!Neo lunges across the hall, diving into the other cubiclejust as the Agents turn into his row.Neo crams himself into a dark corner, clutching the phonetightly to him.MORPHEUS (V.O.)Stay here for a moment.The Agents enter Neo's empty cubicle. A cop is sent tosearch the bathroom.Morpheus' voice is a whisper in Neo's ear.MORPHEUS (V.O.)A little longer...Brown is talking to another employee.MORPHEUS (V.O.)When I tell you, go to the end ofthe row to the first office on theleft, stay as low as you can.Sweat trickles down his forehead.MORPHEUS (V.O.)Now.(CONTINUED) THE MATRIX - Rev. 3/9/9818.17CONTINUED: (3)17Neo rolls out of the cubicle, his eyes popping as hefreezes right behind a cop who has just turned around.Staying crouched, he sneaks away down the row, shootingacross the opening to the first office on the left.18",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. EMPTY OFFICE18The room is empty.MORPHEUS (V.O.)Good. Outside there is a scaffold.NEOHow do you know all this?Morpheus laughs quietly.MORPHEUS (V.O.)The answer is coming, Neo. Thereis a window in front of you. Openit.He opens the window. The WIND HOWLS into the room.MORPHEUS (V.O.)You can use the scaffold to get tothe roof.NEONo! It's too far away.MORPHEUS (V.O.)There's a ledge. It's a shortshort climb. You can make it.Neo looks down; the building's glass wall vertigos into aconcrete chasm.NEONo way, no way, this is crazy.MORPHEUS (V.O.)There are only two ways out ofthis building. One is thatscaffold. The other is in theircustody. You take a chance eitherway. I leave it to you.CLICK. He hangs up. Neo looks at the door, then back atthe scaffold.(CONTINUED) 19.18CONTINUED:18NEOThis is insane! Why is thishappening to me? What did I do?I'm nobody. I didn't do anything.He climbs up onto the window ledge. Hanging onto theframe, he steps onto the small ledge. The scaffold seemseven farther away.NEOI'm going to die.The WIND suddenly BLASTS up the face of the building,knocking Neo off balance. Recoiling, he clings harder tothe frame, and the phone falls out of his hand.He watches as it is swallowed by the distance beneathhim.NEOThis is insane! I can't do this!Forget it!He climbs back into the office just as a cop opens thedoor.NEOShit!19",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SKYSCRAPER19The Agents lead a handcuffed Neo out of the revolvingdoors, forcing his head down as they push him into thedark sedan.Trinity watches in the rearview mirror of her motorcycle.TRINITYShit.20",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. INTERROGATION ROOM20CLOSE ON a camera monitor; a wide angle view of a whiteroom where Neo is sitting at a table alone. We MOVE INTOthe monitor, entering the room as if the monitor was awindow.At the same moment, the door opens and the Agents enter.Agent Smith sits down across from Neo. A thick manilaenvelope slaps down on the table. The name on the file:""Anderson, Thomas/nobreakspaceA.""(CONTINUED) THE MATRIX - Rev. 3/9/9820.20CONTINUED:20AGENT SMITHAs you can see, we've had our eyeon you for some time now, Mr.Anderson.He opens the file. Paper rattle marks the silence as heflips several pages. Neo cannot tell if he is looking atthe file or at him.AGENT SMITHIt seems that you have been livingtwo lives. In one life, you areThomas A. Anderson, program writerfor a respectable softwarecompany. You have a socialsecurity number, you pay yourtaxes and you help your landladycarry out her garbage.The pages continue to turn.AGENT SMITHThe other life is lived incomputers where you go by thehacker alias Neo, and are guiltyof virtually every computer crimewe have a law for.Neo feels himself sinking into a pit of shit.AGENT SMITHOne of these lives has a future.One of them does not.He closes the file.AGENT SMITHI'm going to be as forthcoming asI can be, Mr. Anderson. You arehere because we need your help.He removes his sunglasses, his eyes are an unnatural ice-blue.AGENT SMITHWe know that you have beencontacted by a certain individual.A man who calls himself Morpheus.Whatever you think you know aboutthis man is irrelevant. The factis that he is wanted for acts ofterrorism in more countries thanany other man in the world.(MORE)(CONTINUED) 21.20CONTINUED: (2)20AGENT SMITH (CONT'D)He is considered by manyauthorities to be the mostdangerous man alive.He leans closer.AGENT SMITHMy colleagues believe that I amwasting my time with you but Ibelieve you want to do the rightthing. It is obvious that you arean intelligent man, Mr. Anderson,and that you are interested in thefuture. That is why I believe youare ready to put your pastmistakes behind you and get onwith your life.Neo tries to match his stare.AGENT SMITHWe are willing to wipe the slateclean, to give you a fresh startand all we are asking in return isyour cooperation in bringing aknown terrorist to justice.Neo nods to himself.NEOYeah. Wow. That sounds like areal good deal. But I think Ihave a better one. How about Ijust give you the finger --He does.NEOAnd you give me my phone call!Agent Smith puts his glasses back on.AGENT SMITHYou disappoint me, Mr. Anderson.NEOYou can't scare me with thisGestapo crap. I know my rights.I want my phone call!Agent Smith smiles.(CONTINUED) 22.20CONTINUED: (3)20AGENT SMITHAnd tell me, Mr. Anderson, whatgood is a phone call if you areunable to speak?The question unnerves Neo and strangely he begins to feelthe muscles in his jaw tighten. The standing Agentssnicker, watching Neo's confusion grow into panic.Neo feels his lips grow soft and sticky as they slowlyseal shut, melding into each other until all traces ofhis mouth are gone.Wild with fear, he lunges for the door but the Agentsrestrain him, holding him in the chair.AGENT SMITHYou are going to help us, Mr.Anderson, whether you want to ornot.Smith nods and the other two rip open his shirt. From acase taken out of his suit coat, Smith removes a long,fiber-optic wire tap.Neo struggles helplessly as Smith dangles the wire overhis exposed abdomen. Horrified, he watches as theelectronic device animates, becoming an organic creaturethat resembles a hybrid of an insect and a fluke worm.Thin, whisker-like tendrils reach out and probe intoNeo's navel. He bucks wildly as Smith drops the creaturewhich looks for a moment like an uncut umbilical cord ---- before it begins to burrow, its tail thrashing as itworms its way inside.21",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. NEO'S APARTMENT - NIGHT21Screaming, Neo bolts upright in bed.He realizes that he is home. Was it a dream? His mouthis normal. His stomach looks fine. He starts to take adeep, everything-is-okay breath when --The PHONE RINGS.It almost stops his heart. It continues RINGING,building pressure in the room, forcing him up out of bed,sucking him in with an almost gravitational force. Heanswers it, saying nothing.(CONTINUED) THE MATRIX - Rev. 3/9/9823.21CONTINUED:21MORPHEUS (V.O.)This line is tapped so I must bebrief.NEOThe Agents --MORPHEUS (V.O.)They got to you first, but they'veunderestimated how important youare. If they knew what I know,you would probably be dead.NEOWhat are you talking about? Whatthe hell is happening to me?MORPHEUS (V.O.)You're the One, Neo. You see, youmay have spent the last few yearslooking for me, but I've spentmost of my life looking for you.Neo feels sick.MORPHEUS (V.O.)Do you still want to meet?NEO... Yes.MORPHEUS (V.O.)Go to the Adams Street bridge.CLICK. He closes his eyes, unsure of what he has done.22",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CITY STREET - NIGHT22It is just beyond the middle of the night; that time whenit seems there are no rules and everything feels unsafe.Neo's boots scrape against the concrete. Every pair ofeyes he passes seems to follow him. Rain pours from ablack sky.As he reaches the bridge, headlights creep in behind him.He turns just as the car slides quickly to a stop besidehim. The back door opens.TRINITYGet in. THE MATRIX - Rev. 3/9/9824.23",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAR 23A large man named APOC is driving. Beside him is abeautiful androgyne called SWITCH, aiming a large gun atNeo. WINDOW WIPERS BEAT HEAVILY against the windshield.NEOWhat the hell is this?!TRINITYIt's necessary, Neo. For ourprotection.NEOFrom what?TRINITYFrom you.She lifts a strange steel and glass device that lookslike a cross between a rib separator, speculum and aircompressor.SWITCHTake off your shirt.He looks at the strange device and the gun still trainedon him.NEOWhat? Why?SWITCHStop the car.Apoc does.SWITCHListen to me, coppertop! We don'thave time for 'twenty questions.'Right now there is only one rule.Our way or the highway.NEOFine.Neo opens the door.TRINITYNeo, please, you have to trust me.NEOWhy?(CONTINUED) THE MATRIX - Rev. 3/9/9825.23CONTINUED:23TRINITYBecause you've been down there,Neo. You already know that road.You know exactly where it ends.Neo stares out into the sheets of rain railing againstthe dark street beyond the open door.TRINITYAnd I know that's not where youwant to be.He closes the door.A23",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. DARK STREETA23A moment later the green street lights curve over thecar's tinted windshield as it rushes through the wetunderworld.24,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAR24Neo grudgingly strips off his T-shirt.TRINITYLie back.Trinity aims the device at Neo, its glass snout forming aseal over his navel. Switch snaps a cable into the frontseat cigarette lighter.NEOWhat is this thing?TRINITYWe think you're bugged. Try torelax.She turns a dial and the machine bears down on Neo'smidsection, the cylinder sucking hard at his stomach.Neo screams, squinting in pain as Trinity watches theneedle on a pressure gauge climb steadily.TRINITYCome on, come on...On a small monitor that projects an ultrasound-likeimage, we see Neo's insides begin to slither and churn.He gasps as something wiggles beneath his skin inside hisstomach.(CONTINUED) THE MATRIX - Rev. 3/9/9826.24CONTINUED:24SWITCHIt's on the move.TRINITYShit.SWITCHYou're gonna lose it.TRINITYNo I'm not. Clear.The foreboding word hangs in Neo's ear for a moment whenTrinity squeezes a trigger. Electric current hammersinto Neo and rigid convulsions take hold of him beneaththe flickering car lamp until --Something finally rockets wetly out of Neo's stomachthrough the extractor's coils.NEOJesus Christ! It's real?!That thing is real?!Trinity lifts a glass cage at the end of the tubing.Inside, the small fluke-like bug flips and squirms, itstendrils flapping against the clear walls.She unrolls the window and dumps it out.25",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CAR25It hits the pavement with a metallic tink, reverted backinto a common wire tap, as the car disappears into therainy night.26",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. HOTEL LAFAYETTE26The car stops in a deserted alley behind a forgottenhotel.27,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOTEL LAFAYETTE27It is a place of putrefying elegance, a rotting host ofurban maggotry.Trinity leads Neo from the stairwell down the hall of thethirteenth floor. They stop outside room 1313.TRINITYThis is it.(CONTINUED) THE MATRIX - Rev. 3/9/9827.27CONTINUED:27Neo can hear his own heart pounding.TRINITYLet me give one piece of advice.Be honest. He knows more than youcan possibly imagine.28",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROOM 131328Across the room, a DARK FIGURE stares out the tallwindows veiled with decaying lace. He turns and hissmile lights up the room. A dull ROAR of THUNDER shakesthe old building.MORPHEUSAt last.He wears a long black coat and his eyes are invisiblebehind circular mirrored glasses. He strides to Neo andthey shake hands.MORPHEUSWelcome, Neo. As you no doubthave guessed, I am Morpheus.NEOIt's an honor.MORPHEUSNo, the honor is mine. Please.Come. Sit.He nods to Trinity and she exits through a door to anadjacent room. They sit across from one another incracked, burgundy-leather chairs.MORPHEUSI imagine, right now, you must befeeling a bit like Alice, tumblingdown the rabbit hole?NEOYou could say that.MORPHEUSI can see it in your eyes. Youhave the look of a man who acceptswhat he sees because he isexpecting to wake up.A smile, razor-thin, curls the corner of his lips.(CONTINUED) 28.28CONTINUED:28MORPHEUSIronically, this is not far fromthe truth. But I'm getting aheadof myself. Can you tell me, Neo,why are you here?NEOYou're Morpheus. You're a legend.Most hackers would die to meetyou.MORPHEUSYes. Thank you. But I think weboth know there's more to it thanthat. Do you believe in fate,Neo?NEONo.MORPHEUSWhy not?NEOBecause I don't like the idea thatI'm not in control of my life.MORPHEUSI know exactly what you mean.Again, that smile that could cut glass.MORPHEUSLet me tell you why you are here.You have come because you knowsomething. What you know youcan't explain but you feel it.You've felt it your whole life,felt that something is wrong withthe world. You don't know what,but it's there like a splinter inyour mind, driving you mad. It isthis feeling that brought you tome. Do you know what I'm talkingabout?NEOThe Matrix?MORPHEUSDo you want to know what it is?Neo swallows hard and nods.(CONTINUED) 29.28CONTINUED: (2)28MORPHEUSThe Matrix is everywhere, it's allaround us, here even in this room.You can see it out your window oron your television. You feel itwhen you go to work, or go tochurch or pay your taxes. It isthe world that has been pulledover your eyes to blind you fromthe truth.NEOWhat truth?MORPHEUSThat you are a slave, Neo. Likeeveryone else, you were born intobondage, kept inside a prison thatyou cannot smell, taste, or touch.A prison for your mind.The LEATHER CREAKS as he leans back.MORPHEUSUnfortunately, no one can be toldwhat the Matrix is. You have tosee it for yourself.Morpheus opens his hands. In the right is a red pill.In the left, a blue pill.MORPHEUSThis is your last chance. Afterthis, there is no going back. Youtake the blue pill and the storyends. You wake in your bed andyou believe whatever you want tobelieve.The pills in his open hands are reflected in the glasses.MORPHEUSYou take the red pill and you stayin Wonderland and I show you howdeep the rabbit-hole goes.Neo feels the smooth skin of the capsules, the moisturegrowing in his palms.MORPHEUSRemember that all I am offering isthe truth. Nothing more.(CONTINUED) THE MATRIX - Rev. 3/9/9830.28CONTINUED: (3)28Neo opens his mouth and swallows the red pill. TheCheshire smile returns.MORPHEUSFollow me.29",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. OTHER ROOM29He leads Neo into the other room, which is cramped withhigh-tech equipment, glowing ash-blue and electric greenfrom the racks of monitors. Trinity, Apoc, Switch andCypher look up as they enter.MORPHEUSApoc, are we on-line?APOCAlmost.He and Trinity are working quickly, hardwiring a complexsystem of monitors, modules and drives.MORPHEUSNeo, time is always against us.Will you take a seat there?Neo sits in a chair in the center of the room and Trinitybegins gently fixing white electrode disks to him. Nearthe chair is an old oval dressing mirror that is cracked.He whispers to Trinity:NEOYou did all this?She nods, placing a set of headphones over his ears.They are wired to an old hotel phone.MORPHEUSThe pill you took is part of atrace program. It's designed todisrupt your input/output carriersignal so we can pinpoint yourlocation.NEOWhat does that mean?CYPHERIt means buckle up, Dorothy,'cause Kansas is going bye-bye.(CONTINUED) THE MATRIX - Rev. 3/9/9831.29CONTINUED:29Distantly, through the ear phones, he hears Apoc POUNDINGon a KEYBOARD. Sweat beads his face. His eyes blink andtwitch when he notices the mirror.Wide-eyed, he stares as it begins to heal itself, awebwork of cracks that slowly run together as though themirror were becoming liquid.NEODid you...?Cypher works with Apoc, checking reams of phosphorescentdata. Trinity monitors Neo's electric vital signs. Neoreaches out to touch the mirror and his fingers disappearbeneath the rippling surface.Quickly, he tries to pull his fingers out but the mirrorstretches in long rubbery strands like mirrored taffystuck to his fingertips.MORPHEUSHave you ever had a dream, Neo,that you were so sure was real?A flash of lightning flickers white hot against Neo.NEOThis can't be...MORPHEUSBe what? Be real?The strands thin like rubber cement as he pulls away,until the fragile wisps of mirror thread break.MORPHEUSWhat if you were unable to wakefrom that dream, Neo? How wouldyou know the difference betweenthe dreamworld and the real world?Neo looks at his hand; fingers distended into mirroredicicles that begin to melt rapidly, dripping, runninglike wax down his fingers, spreading across his palmwhere he sees his face reflected.NEOUh-oh...TRINITYIt's going into replication.MORPHEUSApoc?(CONTINUED) THE MATRIX - Rev. 3/9/9832.29CONTINUED: (2)29APOCStill nothing.Morpheus takes out a cellular phone and dials a number.MORPHEUSTank, we're going to need thesignal soon.The mirror gel seems to come to life, racing, crawling uphis arms like hundreds of insects.The mirror creeps up his neck as Neo begins to panic,tipping his head as though he were sinking into themirror, trying to keep his mouth up.NEOIt's cold.TRINITYI got fibrillation!MORPHEUSShit! Apoc?Streams of mercury run from Neo's nose.APOCTargeting... almost there.An ALARM on Trinity's monitor ERUPTS.TRINITYHe's going into arrest!APOCLock! I got him!MORPHEUSNow, Tank, now!His eyes tear with mirror, rolling up and closing as aHIGH-PITCHED ELECTRIC SCREAM erupts in the HEADPHONES.It is a piercing shriek like a computer calling toanother computer --Neo's body arches in agony and we are PULLED like we werepulled INTO the holes of the phone, sucked into his screamand swallowed by darkness.30",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. POWER PLANT - CLOSE ON MAN'S BODY30floating in a magenta amnion.(CONTINUED) THE MATRIX - Rev. 3/9/9833.30CONTINUED:30His body spasms, fighting against the thick gelatin.Metal tubes, surreal versions of hospital tubes, obscurehis face. Other lines like IVs are connected to limbsand cover his genitals.He is struggling desperately now. Air bubbles into theJell-O but does not break the surface. Pressing up, thesurface distends, stretching like a red rubber cocoon.Unable to breathe, he fights wildly to stand, clawing atthe thinning elastic shroud, until it ruptures, a holewidening around his mouth as he sucks for air. Tearinghimself free, he emerges from the cell.It is Neo.He is bald and naked, his body slick with gelatin.Dizzy, nauseous, he waits for his vision to focus.He is standing in an oval capsule of clear alloy filledwith magenta gelatin, the surface of which has solidifiedlike curdled milk. The IVs in his arms are plugged intooutlets that appear to be grafted to his flesh.He feels the weight of another cable and reaches to theback of his head where he finds an enormous coaxialplugged and locked into the base of his skull. He triesto pull it out but it would be easier to pull off afinger.To either side he sees other tube-shaped pods filled withmagenta gelatin; beneath the wax-like surface, pale andmotionless, he sees other human beings.Fanning out in a circle, there are more. All connectedto a center core, each capsule like a red, dimly-glowingpetal attached to a black metal stem.Above him, level after level, the stem rises seeminglyforever. He moves to the foot of the capsule and looksout. The image assaults his mind.Towers of glowing petals spiral up to incomprehensibleheights, disappearing down into a dim murk like anunderwater abyss.His sight is blurred and warped, exaggerating theintensity of the vision. The sound of the plant is likethe sound of the ocean heard from inside the belly ofLeviathan.(CONTINUED) 34.30CONTINUED: (2)30From above, a machine drops directly in front of Neo. Heswallows his scream as it seems to stare at him. It isalmost insect-like in its design; beautiful housings ofalloyed metal covering organic-like systems of hard andsoft polymers.The machine seizes hold of Neo, paralyzing him as thecable lock at the back of his neck spins and opens.The cable disengages itself. A long, clear plasticneedle and cerebrum-chip slides from the anterior ofNeo's skull with an ooze of blood and spinal fluid. Theother connective hoses snap free and snake away as themachine lets Neo go.Suddenly, the back of the unit opens and a tremendousvacuum, like an airplane door opening, sucks the gelatinand then Neo into a black hole.31",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. WASTE LINE31The pipe is a waste disposal system and Neo falls,sliding with the clot of gelatin.Banking through pipe spirals and elbows, flushing upthrough grease traps clogged with oily clumps ofcellulite.32",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SEWER MAIN32Neo begins to drown when he is suddenly snatched from theflow of waste.The metallic cable then lifts, pulling him up into thebelly of the futuristic flying machine hovering insidethe sewer main.33",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOVERCRAFT33The metal harness opens and drops the half-conscious Neoonto the floor. Human hands and arms help him up as hefinds himself looking straight at Morpheus.He smiles.MORPHEUSWelcome to the real world, Neo.Neo passes out. FADE TO BLACK. THE MATRIX - Rev. 3/9/9835.FADE IN:34",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOVERCRAFT34We have no sense of time. We hear voices whispering.MORPHEUS (O.S.)We've done it, Trinity. We foundhim.TRINITY (O.S.)I hope you're right.MORPHEUS (O.S.)I don't have to hope it. I knowit.Neo's eyes flutter open. We see Morpheus' face above us,angelic in the fluorescent glow of a light stick.NEO (O.S.)... am I dead?MORPHEUSFar from it. FADE TO BLACK.35",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOVERCRAFT - INFIRMARY35He opens his eyes again, something tingling through him.He focuses and sees his body pierced with dozens ofacupuncture-like needles wired to a strange device.DOZERHe still needs a lot of work.DOZER and Morpheus are operating on Neo.NEOWhat are you doing?MORPHEUSYour muscles have atrophied.We're rebuilding them.Fluorescent light sticks burn unnaturally bright.NEOWhy do my eyes hurt?MORPHEUSYou've never used them before.Morpheus closes Neo's eyes and Neo lays back.(CONTINUED) 36.35CONTINUED:35MORPHEUSRest, Neo. The answers arecoming.36",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. NEO'S ROOM36Neo wakes up from a deep sleep, feeling better. He beginsto examine himself. There is a futuristic IV plugged intothe jack in his forearm. He pulls it out, staring at thegrafted outlet.He runs his hand over the short hair now covering hishead. His fingers find and explore the large outlet inthe base of his skull.Just as he starts to come unglued, Morpheus opens thedoor.NEOMorpheus, what's happened to me?What is this place?MORPHEUSMore important than what is when?NEOWhen?MORPHEUSYou believe the year is 1997 whenin fact it is much closer to 2197.I can't say for certain what yearit is because we honestly do notknow.The wind is knocked from Neo's chest.MORPHEUSThere is no reason for me to tryto explain it when I can simplyshow it. Come with me.37",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOVERCRAFT37Like a sleepwalker, Neo follows Morpheus through theship.MORPHEUSThis is my ship, theNebuchadnezzar. It's ahovercraft.(MORE)(CONTINUED) THE MATRIX - Rev. 3/9/9837.37CONTINUED:37MORPHEUS (CONT'D)Small like a submarine. It'scramped and cold. But it's home.They climb a ladder up to the main deck.38",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MAIN DECK38Everyone is there.MORPHEUSThis is the main deck. You knowmost of my crew.Trinity smiles and nods.MORPHEUSThe ones you don't know. That'sMouse, Cypher, and Switch. Thosetwo guys are Tank and Dozer.The names and faces wash meaninglessly over Neo.MORPHEUSAnd this, this is the Core. Thisis where we broadcast our piratesignal and hack into the Matrix.It is a swamp of bizarre electronic equipment. Vines ofcoaxial hang and snake to and from huge monolithicbattery slabs, a black portable satellite dish and banksof life systems and computer monitors.At the center of the web, there are six ecto-skeletonchairs made of a poly-alloy frame and suspension harness.Near the circle of chairs is the control console andoperator's station where the network is monitored.MORPHEUSYou want to know what the Matrixis, Neo? The answer is righthere.He touches the back of Neo's head.MORPHEUSHelp him, Trinity.Neo allows himself to be helped into one of the chairs.He feels Morpheus guiding a coaxial line into the jack atthe back of his neck. The cable has the same kind ofcerebrum chip we saw inside the plant.(CONTINUED) 38.38CONTINUED:38MORPHEUSThis will feel a little weird.There are several disturbing noises as he works theneedle in.We MOVE IN as Neo's shoulders bunch and his face tightensinto a grimace until a loud CLICK fires and his ears poplike when you equalize them underwater.He relaxes, opening his eyes as we PULL BACK to a feelingof weightlessness inside another place --39",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CONSTRUCT39Neo is standing in an empty, blank-white space.MORPHEUSThis is the Construct.Startled, Neo whips around and finds Morpheus now in theroom with him.MORPHEUSIt is our loading program. We canload anything from clothes, toweapons, to training simulations.Anything we need.Morpheus walks past Neo and when Neo turns he sees thetwo leather chairs from the Hotel Lafayette set up infront of a large screen television.MORPHEUSSit down.Neo stands at the back of the chair as Morpheus sits.NEORight now, we're inside a computerprogram?Morpheus smiles.MORPHEUSIs it so hard to believe? Yourclothes are different, the plugsin your arms and head are gone.Look at your hair, you were bald amoment ago.Neo touches his head.(CONTINUED) 39.39CONTINUED:39MORPHEUSIt's what we call residual selfimage. The mental projection ofyour electronic self. Wild, isn'tit?Neo's hands run over the cracked leather.NEOThis -- This isn't real?MORPHEUSWhat is real? How do you definereal? If you're talking aboutwhat you feel, taste, smell, orsee, then real is simplyelectrical signals interpreted byyour brain.He picks up a remote control and clicks on thetelevision. On the television, we see images of theTwentieth Century city where Neo lived.MORPHEUSThis is the world you know. Theworld as it was at the end of theTwentieth Century. It exists nowonly as part of a neural-interactive simulation that wecall the Matrix.He changes the channel and we see a very different cityas we enter the television.MORPHEUSYou have been living inside adreamworld, Neo. As inBaudrillard's vision, your wholelife has been spent inside themap, not the territory. This isthe world as it exists today.In the distance, we see the ruins of a future cityprotruding from the wasteland like the blackened ribs ofa long-dead corpse.MORPHEUS'The desert of the real.'Beneath us, the water is gone.(CONTINUED) 40.39CONTINUED: (2)39We TURN AND DESCEND, SPIRALING DOWN TOWARD the lake bedwhich is scorched and split like burnt flesh, where weFIND Morpheus and Neo. Neo clings to the chair, tryingto get his bearings.MORPHEUSWe have only bits and pieces ofinformation. What we know forcertain is that, at some point inthe early Twenty-first Century,all of mankind was united incelebration. Through the blindinginebriation of hubris, we marveledat our magnificence as we gavebirth to A.I.NEOA.I.? You mean artificialintelligence?MORPHEUSYes. A singular consciousnessthat spawned an entire race ofmachines. I must say I find italmost funny to imagine the worldslapping itself on the back,toasting the new age. I sayalmost funny.He looks up and his sunglasses reflect the obsidianclouds roiling overhead.MORPHEUSWe don't know who struck first.Us or them. But we do know it wasus that scorched the sky. At thetime, they were dependent on solarpower. It was believed they wouldbe unable to survive without anenergy source as abundant as thesun.As we DESCEND INTO the circular window of his glasses,there is a flash of lightning.MORPHEUSThroughout human history, we havebeen dependent on machines tosurvive. Fate, it seems, is notwithout a sense of irony. 41.40",SENTI +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FETUS FIELDS40On the flash, we PULL BACK from the darkness whichreveals itself to be the black eye of a fetus.MORPHEUSThe Machines discovered a new formof fusion. All they needed was asmall electrical charge toinitiate the reaction.The fetus is suspended in a placenta-like husk, where itsmalleable skull is already growing around the brain-jack.MORPHEUSThe human body generates morebioelectricity than a 120-voltbattery and over 25,000 B.T.U.'sof body heat.The husk hanging from a stalk is plucked by a thresher-like farm machine.MORPHEUSThere are fields, endless fieldswhere human beings are no longerborn; we are grown.We RISE UP, the field stretching in every direction tothe horizon, lightning tearing open the sky as aharvester sweeps past us.A40",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. POWER PLANTA40From the yawning black of the waste port, we begin toPULL BACK as it snaps shut.Red amniotic gel flows into the pod below us, poolingaround a tiny newborn that suckles its feed tube.MORPHEUSFor the longest time, I wouldn'tbelieve it. But then I saw thefields with my own eyes, watchedthem liquefy the dead so theycould be fed intravenously to theliving and standing there, facingthe efficiency, the pure,horrifying precision, I came torealize the obviousness of thetruth.Still PULLING BACK, we see the image of the power plantnow on the television as we return to the white space ofthe construct. 42.41",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CONSTRUCT41Morpheus steps INTO VIEW as he clicks off the television.MORPHEUSWhat is the Matrix? Control.He opens the back of the television remote control.MORPHEUSThe Matrix is a computer-generateddreamworld built to keep us undercontrol in order to change a humanbeing into this.He holds up a coppertop battery.NEONo! I don't believe it! It's notpossible!MORPHEUSI didn't say that it would beeasy, Neo. I just said that itwould be the truth.NEOStop! Let me out! I want out!42",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MAIN DECK42His eyes snap open and he thrashes against the chair,trying to rip the cable from the back of his neck.NEOGet this thing out of me!TRINITYEasy, Neo. Easy.Dozer holds him while Trinity unlocks it. Once it's out,he tears away from them, falling as he trips free of theharness.NEODon't touch me! Get away from me!On his hands and knees, he reels as the world spins.Sweat pours off him as a pressure builds inside his skullas if his brain had been put into a centrifuge.NEOI don't believe it! I don'tbelieve it!(CONTINUED) 43.42CONTINUED:42CYPHERHe's going to pop!Vomiting violently, Neo pitches forward and blacks out.43",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. NEO'S ROOM43He blinks, regaining consciousness. The room is dark.Neo is stretched out on his bed.NEOI can't go back, can I?Morpheus is sitting like a shadow on a chair in the farcorner.MORPHEUSNo. But if you could, would youreally want to?Deep down, Neo knows that answer.MORPHEUSI feel that I owe you an apology.There is a rule that we do notfree a mind once it reaches acertain age. It is dangerous.They have trouble letting go.Their mind turns against them.I've seen it happen. I'm sorry.I broke the rule because I had to.He stares into the darkness, confessing as much tohimself as to Neo.MORPHEUSWhen the Matrix was first builtthere was a man born inside thathad the ability to change what hewanted, to remake the Matrix as hesaw fit. It was this man thatfreed the first of us and taughtus the truth; as long as theMatrix exists, the human race willnever be free.He pauses.(CONTINUED) 44.43CONTINUED:43MORPHEUSWhen he died, the Oracleprophesied his return andenvisioned that his coming wouldhail the destruction of theMatrix, an end to the war andfreedom for our people. That iswhy there are those of us thathave spent our entire livessearching the Matrix, looking forhim.Neo can feel his eyes on him.MORPHEUSI did what I did because I believethe search is over.He stands up.MORPHEUSGet some rest. You're going toneed it.NEOFor what?MORPHEUSYour training.44",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HOVERCRAFT44There is no morning; there is only darkness and then thefluorescent light sticks flicker on.45,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. NEO'S ROOM45Neo is awake in his bed, staring up at the lights. Thedoor opens and TANK steps inside.TANKMorning. Did you sleep?NEONo.TANKYou will tonight. I guarantee it.I'm Tank. I'll be your operator.He offers his hand and Neo shakes it. He notices thatTank doesn't have any jacks.(CONTINUED) 45.45CONTINUED:45NEOYou don't have...TANKAny holes? Nope. Me and mybrother Dozer, we are onehundred percent pure, old-fashioned, home-grown human.Born free. Right here in thereal world. Genuine childof Zion.NEOZion?TANKIf this war ended tomorrow, Zionis where the party would be.NEOIt's a city?TANKThe last human city. The onlyplace we got left.NEOWhere is it?TANKDeep underground. Near theearth's core, where it's stillwarm. You live long enough, youmight even see it.(he smiles)Goddamn, I got to tell you, I'mfairly excited to see what you arecapable of. I mean if Morpheus isright and all. We're not supposedto talk about any of that but ifyou are, well then this is anexciting time. We got a lot to doso let's get to it.46",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MAIN DECK46Neo is plugged in, hanging in one of the suspensionchairs.(CONTINUED) 46.46CONTINUED:46TANKWe're supposed to load all theseoperations programs first, butthis is some major boring shit.Why don't we start with somethinga little fun?Tank smiles as he plops into his operator's chair. Hebegins flipping through a tall carousel loaded with microdiscs.TANKHow about some combat training?Neo reads the label on the disk.NEOJujitsu? I'm going to learnjujitsu?Tank slides the disk into Neo's supplement drive.NEONo way.Smiling, Tank punches the ""load"" code. His body jumpsagainst the harness as his eyes clamp shut. The monitorskick wildly as his heart pounds, adrenaline surges, andhis brain sizzles. An instant later his eyes snap open.NEOHoly shit!TANKHey, Mikey, he likes it! Readyfor more?NEOHell yes!47",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MAIN DECK47CLOSE ON a computer monitor as grey pixels slowly fill asmall, half-empty box. It is a meter displaying how muchdownload time is left.The title bar reads: ""Combat Series 10 of 12,"" filecategories flashing beneath it: ""Savate, Jujitsu, Ken Po,Drunken Boxing...""Morpheus walks in.(CONTINUED) THE MATRIX - Rev. 3/9/9847.47CONTINUED:47MORPHEUSHow is he?TANKTen hours straight. He's amachine.Neo's body spasms and relaxes as his eyes open, breathhissing from his lips. He looks like he just orgasmed.NEOThis is incredible. I know kungfu.MORPHEUSShow me.48",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DOJO48They are standing in a very sparse Japanese-style dojo.MORPHEUSThis is a sparring program,similar to the programmed realityof the Matrix. It has the samebasic rules. Rules like gravity.What you must learn is that theserules are no different than therules of a computer system. Someof them can be bent. Others canbe broken. Understand?Neo nods as Morpheus assumes a fighting stance.MORPHEUSThen hit me, if you can.Neo assumes a similar stance, cautiously circling untilhe gives a short cry and launches a furious attack.It is like a Jackie Chan movie at high speed, fists andfeet striking from every angle as Neo presses his attack,but each and every blow is blocked by effortless speed.49",FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MAIN DECK49While their minds battle in the programmed reality, thetwo bodies appear quite serene, suspended in the drivechairs.Tank monitors their Life Systems, noticing that Neo iswildly and chaotically lit up as opposed to the slow andsteady rhythm of Morpheus. 48.50",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MESS HALL50MOUSE bursts into the room, interrupting dinner.MOUSEMorpheus is fighting Neo!All at once, everyone bolts for the door.51",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DOJO51Neo's face is knotted, teeth clenched, as he hurlshimself at Morpheus.MORPHEUSGood. Adaptation. Improvisation.But your weakness isn't yourtechnique.Morpheus attacks him and it is like nothing we have seen.His feet and fists are everywhere, taking Neo apart. Forevery blow Neo blocks, five more hit their marks until --Neo falls.Panting, on his hands and knees, blood spits from hismouth, speckling the white floor of the dojo.MORPHEUSHow did I beat you?NEOYou -- You're too fast.MORPHEUSDo you think my being faster,stronger has anything to do withmy muscles in this place?Neo is frustrated, still unable to catch his breath.MORPHEUSDo you believe that's air you arebreathing now?Neo stands, nodding slowly.MORPHEUSAgain.Their fists fly with pneumatic speed. 49.52",FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MAIN DECK52Everyone is gathered behind Tank, watching the fight,like watching a game of Mortal Kombat.MOUSEJeezus Keeerist! He's fast! Lookat his neural-kinetics! They'reway above normal!53",FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DOJO53Morpheus begins to press Neo, countering blows whileslipping in several stinging slaps.MORPHEUSCome on, Neo. What are youwaiting for? You're faster thanthis. Don't think you are. Knowyou are.Whack, Morpheus cracks Neo again. Neo's face twists withrage as the speed of the blows rises like a drum solo.MORPHEUSCome on! Stop trying to hit meand just hit me.Wham. A single blow catches Morpheus on the side of thehead, knocking off his glasses.54",FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MAIN DECK54There are several gasps.MOUSEI don't believe it!55,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DOJO55Morpheus rubs his face, then smiles.NEOI know what you're trying to do --MORPHEUSI'm trying to free your mind, Neo,but all I can do is show you thedoor. You're the one that has tostep through. Tank, load the jumpprogram. 50.56",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HOVERCRAFT56Apoc and Switch exchange looks as Tank grabs for thedisk.57,FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CONSTRUCT - ROOFTOP - DAY57Morpheus and Neo are again in the white space of theConstruct. Beneath their feet, we see the jump programrush up at them until they are standing on a rooftop in acity skyline.MORPHEUSLet it all go, Neo. Fear. Doubt.Disbelief. Free your mind.Morpheus spins, running hard at the edge of the rooftop.And jumps. He sails through the air, his coat billowingout behind him like a cape as he lands on the rooftopacross the street.NEOShit.Neo looks down at the street twenty floor below, then atMorpheus an impossible fifty feet away.NEOOkie dokie. Free my mind. Right.No problem.He takes a deep breath. And starts to run.58",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MAIN DECK58They are transfixed.MOUSEWhat if he makes it?APOCNo way. Not possible.TANKNo one's ever made their firstjump.MOUSEI know, but what if he does?APOCHe won't.(CONTINUED) 51.58CONTINUED:58Trinity stares at the screen, her fists clenching as shewhispers.TRINITYCome on.59",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ROOFTOP59Summoning every ounce of strength in his legs, Neolaunches himself into the air in a single maniacalshriek/nobreakspace---- but comes up drastically short.His eyes widen as he plummets. Stories fly by, theground rushing up at him, but as he hits, the ground givesway, stretching like a trapeze net. He bounces and flips,slowly coming to a rest, flat on his back.He laughs, a bit unsure, wiping the windblown tears fromhis face. Morpheus exits the building and helps him tohis feet.MORPHEUSDo you know why you didn't makeit?NEOBecause... I didn't think I would?Morpheus smiles and nods.60",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MAIN DECK60They break up.MOUSEWhat does it mean?SWITCHIt doesn't mean anything.CYPHEREveryone falls the first time,right, Trinity?But Trinity has already left.Neo's eyes open as Tank eases the plug out. He tries tomove and groans, cradling his ribs. While Tank helpsMorpheus, Neo spits blood into his hand.(CONTINUED) 52.60CONTINUED:60NEOI thought it wasn't real.MORPHEUSYour mind makes it real.Neo stares at the blood.NEOIf you are killed in the Matrix,do you die here?MORPHEUSThe body cannot live without themind.61",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. NEO'S ROOM61Trinity enters from the hall, carrying a tray of food.TRINITYNeo, I saved you some dinner --She sees him passed out on the bed. She sets the traydown and pulls the blanket over him.She pauses, her face close to his, then inhales lightly,breathing in the scent of him before slowly pulling away.62",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HALL62Trinity steps out of Neo's room to find Cypher watchingher.CYPHERI don't remember you ever bringingme dinner.Trinity says nothing.CYPHERThere's something about him, isn'tthere?TRINITYDon't tell me you're a believernow?(CONTINUED) 53.62CONTINUED:62CYPHERI just keep wondering if Morpheusis so sure, why doesn't he takehim to the Oracle? She wouldknow.TRINITYMorpheus will take him when he'sready.She turns and he watches her walk away.63",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CITY STREET - TRAINING PROGRAM - DAY63Morpheus moves effortlessly through a crowded downtownstreet while Neo struggles to keep up, constantly bumpedand shouldered off the path.MORPHEUSThe Matrix is a system, Neo, andthat system is our enemy. Butwhen you are inside and you lookaround, what do you see;businessmen, lawyers, teachers,carpenters. The minds of the verypeople we are trying to save. Butuntil we do, these people arestill a part of the system andthat makes them our enemy.A cop writing a parking ticket stares at Neo from behindhis sunglasses.MORPHEUSYou have to understand that mostof these people are not ready tobe unplugged and many of them areso inured, so hopelessly dependenton the system that they will fightto protect it.A beautiful woman in a red dress smiles at Neo as shepasses by.MORPHEUSWere you listening to me, Neo? Orwere you looking at the woman inthe red dress?NEOI was...(CONTINUED) 54.63CONTINUED:63MORPHEUSLook again.Neo turns just as Agent Smith levels a gun at his face.Neo screams.MORPHEUSFreeze it.Everything except Morpheus and Neo freezes.NEOThis -- this isn't the Matrix?MORPHEUSNo, it's another training programdesigned to teach you one thing;if you are not one of us, you'reone of them.NEOWhat are they?MORPHEUSSentient programs. They can movein and out of any software stillhardwired to their system. Thatmeans that anyone that we haven'tunplugged is potentially an Agent.Inside the Matrix, they areeveryone and they are no one.Neo stares at the Agent.MORPHEUSWe've survived by hiding fromthem, running from them, but theyare the gatekeepers, they'reguarding all the doors, holdingall the keys, which means thatsooner or later someone is goingto have to fight them.NEOSomeone?MORPHEUSI won't lie to you, Neo. Everysingle man or woman who has stoodtheir ground, who has fought anAgent, has died. But where theyfailed, you will succeed.(CONTINUED) THE MATRIX - Rev. 3/9/9855.63CONTINUED: (2)63NEOWhy?MORPHEUSI've seen an Agent punch through aconcrete wall. Men have emptiedentire clips at them and hitnothing but air. Yet theirstrength and their speed are stillbased on a world that is built byrules. Because of that they willnever be as strong or as fast asyou can be.Neo scratches his head.NEOWhat? Are you trying to tell methat I can dodge bullets?MORPHEUSNo, Neo. I'm trying to tell youthat when you're ready, you won'thave to.Morpheus' cell PHONE RINGS and he flips it open.TANK (V.O.)We got trouble.64",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SEWER MAIN64The Nebuchadnezzar blisters by, trailing a swirling,supercharged, electromagnetic wake.65",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COCKPIT65Morpheus slides into the copilot's chair next to Dozer.MORPHEUSDid Zion send the warning?DOZERNo. Another ship. Big Brother Ithink, they're running a parallelpipeline.Morpheus scans the decayed landscape of the sewer mainthat rolls by as Neo and Trinity squeeze into the cockpitbehind him. An ALARM BEGINS TO SOUND.(CONTINUED) THE MATRIX - Rev. 3/9/9856.65CONTINUED: 65DOZERShit, Squiddy's sweeping in quick.MORPHEUSSet it down in there.NEOSquiddy?TRINITYA Sentinel. It's a killingmachine designed for one thing.DOZERSearch and destroy.Neo feels the ship rock to the side as it squeezes into atiny supply line.66",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HOVERCRAFT66The Nebuchadnezzar sets down, almost wedged into a pipethat barely accommodates its size.67",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COCKPIT67Morpheus clicks the intercom.MORPHEUSHow we doing, Tank?68",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MAIN DECK68Tank works furiously at the operator's station as theceaseless WHIR of the ship's TURBINES GRIND TO a HALT.The main deck is plunged into dark silence. The restof the screw stands behind him as he whispers.TANKPower off-line. E.M.P. armed andready.Tank's fingers curl around a small key that glows a dimred.69,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COCKPIT69Neo leans into Trinity's ear.(CONTINUED) 57.69CONTINUED:69NEOE.M.P.?TRINITYAn electromagnetic pulse. Itdisables any electrical system inthe blast radius. It's the onlyweapon we have against themachines.Dozer looks up.DOZERNow we wait.THROUGH the cockpit's windshield, the vast cavern of thesewer main yawns before them. Strands of green haze curlround mossy icicles that dangle into a pool of churningfrozen waste. Neo begins to angle around Dozer butMorpheus grabs him.MORPHEUSDon't move. It'll hear you.Neo freezes and they wait. Without the Nebuchadnezzar'sheating systems, the temperature in the cockpit begins torapidly drop. The crew members huddle together, theirbreath freezing into a uniform cloud as it gets colderand colder.Dozer quietly reaches to brush away the frost on thewindshield and as his hand clears a swath --They see it.In the darkness, a shifting shadow of mechanized death.It is beautiful and terrifying. Black alloy skinflickers like sequins beneath sinewy coils and skeletalappendages.Neo can feel the hairs on the back of his neck rise as itsilently glides over them with shark-like malevolenceuntil it disappears into the darkness.In the frozen little room, everyone breathes a littleeasier.70",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HALL70The ship is quiet and dark. Everyone is asleep. 58.71,DRAAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MAIN DECK71The core glows with monitor light. Cypher is in theoperator's chair as Neo comes up behind him.CYPHERWhoa! Shit, Neo, you scared thebejeezus out of me.NEOSorry.CYPHERNo, it's all right.Neo's eyes light up as he steps closer to the screensthat seem alive with a constant flow of data.NEOIs that...?CYPHERThe Matrix? Yeah.Neo stares at the endlessly shifting river ofinformation, bizarre codes and equations flowing acrossthe face of the monitor.NEODo you always look at it encoded?CYPHERHave to. The image translatorssort of work for the constructprograms but there's way too muchinformation to decode the Matrix.You get used to it, though. Yourbrain does the translating. Idon't even see the code. All Isee is blonde, brunette, andredhead. You want a drink?Neo nods and he pours a clear alcohol from a plastic jug.CYPHERYou know, I know what you'rethinking 'cause right now I'mthinking the same thing.Actually, to tell you the truth,I've been thinking the same thingever since I got here.He raises the glass.(CONTINUED) THE MATRIX - Rev. 3/9/9859.71CONTINUED:71CYPHERWhy, oh why, didn't I take thatblue pill?He throws the shot down his throat. Neo does the sameand it almost kills him. Smiling, Cypher slaps him onthe back.CYPHERGood shit, eh? Dozer makes it.It's good for two things:degreasing engines and killingbrain cells.Red-faced, Neo finally stops coughing. Cypher pours himanother.CYPHERCan I ask you something? Did hehappen to tell you why he did it?Neo looks up, unsure.CYPHERWhy you're here?NEO... Yeah.CYPHERGee-zus! What a mindjob. You'rehere to save the world. You gottabe shitting me. What do you sayto something like that?Neo looks down at his drink.CYPHERI'm going to let you in on alittle secret here. Now don'ttell him I told you this, but thisain't the first time Morpheusthought he found the One.NEOReally?CYPHERYou bet your ass. It keeps himgoing. Maybe it keeps all of usgoing.NEOHow many were there?(CONTINUED) 60.71CONTINUED: (2)71CYPHERFive. Since I've been here.NEOWhat happened to them?CYPHERDead. All dead.NEOHow?CYPHERHonestly. Morpheus. He got themall amped up believing inbullshit. I watched each of themtake on an Agent and I watchedeach of them die. Little piece ofadvice: you see an Agent, you dowhat we do; run. Run your assoff.Neo gulps down another shot.NEOThanks... for the drink.CYPHERAnytime.Cypher nods as Neo heads for the ladder.CYPHERSweet dreams.A71",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RESTAURANT - NIGHTA71CHAMBER MUSIC and the ambiance of wealth soak therestaurant around us as we watch a serrated knife sawthrough a thick, gorgeous steak. The meat is so perfect,charred on the outside, oozing red juice from the inside,that it could be a dream.We hear a voice that we recognize immediately.AGENT SMITHDo we have a deal, Mr. Reagan?A fork stabs the cube of meat and we FOLLOW it UP TO theface of Cypher.(CONTINUED) THE MATRIX - Rev. 3/9/9861.A71CONTINUED:A71CYPHERYou know, I know that this steakdoesn't exist. I know when I putit in my mouth, the Matrix istelling my brain that it is juicyand delicious. After nine years,do you know what I've realized?He shoves it in, eyes rolling up, savoring the tenderbeef melting in his mouth.CYPHERIgnorance is bliss.Agent Smith watches him chew the steak loudly, smackingit between his teeth.CYPHERMmm so, so goddamn good.AGENT SMITHThen we have a deal?CYPHERI don't want to remember nothing.Nothing! You understand? And Iwant to be rich. Someoneimportant. Like an actor. Youcan do that, right?AGENT SMITHWhatever you want, Mr. Reagan.Cypher takes a deep drink of wine.CYPHERAll right. You get my body backin a power plant, reinsert me intothe Matrix and I'll get you whatyou want.AGENT SMITHAccess codes to the Zionmainframe.CYPHERI told you I don't know them. ButI can give you the man who does.AGENT SMITHMorpheus. THE MATRIX - Rev. 3/9/9862.72",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MESS HALL 72CLOSE ON breakfast, a substance with a consistencysomewhere between yogurt and cellulite.TANKHere you go, buddy. Breakfast ofchampions.Tank slides it in front of Neo and takes a seat with theother crew members enjoying breakfast.APOCYou mean the breakfast, lunch, anddinner of champions.MOUSEIf you close your eyes, it almostfeels like you're eating runnyeggs.APOCOr a bowl of snot.MOUSEBut you know what it reallyreminds me of? Cream of Wheat.Did you ever eat Cream of Wheat?SWITCHNo, but technically neither didyou.MOUSEExactly my point, because you haveto wonder, how do the machinesknow what Cream of Wheat reallytasted like? Maybe they got itwrong, maybe what I think Cream ofWheat tasted like actually tastedlike oatmeal, or tuna fish. Itmakes you wonder about a lot ofthings. Take chicken for example.Maybe they couldn't figure outwhat to make chicken taste likewhich is why chicken tastes likeeverything. And maybe --APOCShut up, Mouse.Neo scoops up a spoonful.(CONTINUED) THE MATRIX - Rev. 3/9/9863.72CONTINUED:72DOZERIt's a single-celled proteincombined with synthetic aminos,vitamins, and minerals.Everything your body needs. Wegrow it in a vat.MOUSEOh no, it doesn't have everythingthe body needs.He sidles up to Neo.MOUSESo I understand you've runthrough the Agent trainingprogram? You know, I wrote thatprogram.APOCHere it comes.MOUSESo what did you think of her?NEOOf who?MOUSEThe woman in the red dress. Idesigned her. She doesn't talkmuch but if you'd like to, youknow, meet her, I could arrangea more personalized milieu.SWITCHThe digital pimp hard at work.MOUSEPay no attention to thesehypocrites, Neo. To deny ourimpulses is to deny the verything that makes us human.Morpheus enters.MORPHEUSI want everyone on twelve-hourstandby. We're going in. I'mtaking Neo to see her.With that he turns and leaves.(CONTINUED) THE MATRIX - Rev. 3/9/9864.72CONTINUED:72NEOSee who?TANKThe Oracle.A72",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MAIN DECKA72Everyone is strapped into their chairs. Tank is at theoperator's station.TANKAll right, everyone please observethat the no smoking and fastenseat belt signs have been turnedon. Sit back and enjoy yourflight.He strikes the enter key and we RUSH CLOCKWISE OVER thechairs, each body reacting as we...CUT TO:B72",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HOTEL LAFAYETTE - ROOM 1313B72SPINNING COUNTER-CLOCKWISE AROUND an old PHONE that RINGSinside the empty room until we SPIN FULL CIRCLE and FINDeveryone now standing there.Morpheus answers the phone.MORPHEUSWe're in.73,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HOTEL LAFAYETTE - DAY73The door opens and for the first time since his release,Neo steps back into the Matrix. He squints at the sunwhich seems unnaturally bright. He is the only onewithout sunglasses.Apoc and Switch remain at the door as the others enterthe alley.MORPHEUSWe should be back in an hour.Cypher opens the driver's door of an old car as Trinity,Morpheus and Neo cross to the car, Cypher glances aboutquickly, then drops something inside a garbage can.(CONTINUED) THE MATRIX - Rev. 3/9/9864A.73CONTINUED:73It is a cellular phone and we see its blue display as theline connects.74",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAR74Neo sits beside Trinity in the back. He cannot stopstaring as the simple images of the urban street blurpast his window like an endless stream of data rushingdown a computer screen.MORPHEUSAlmost unbelievable, isn't it?Neo nods as the car continues to wind through the crowdedcity.(CONTINUED) 65.74CONTINUED:74NEOGod...TRINITYWhat?NEOI used to eat there... Really goodnoodles...He is speaking in a whisper, almost as if talking tohimself.NEOI have these memories, from myentire life but... none of themreally happened.He turns to her.NEOWhat does that mean?TRINITYThat the Matrix cannot tell youwho you are.NEOBut an Oracle can.TRINITYThat's different.NEOObviously.He turns to the window for a moment and then turns back.NEODid you go to her?TRINITYYes.NEOWhat did she tell you?TRINITYShe told me...She looks at him and suddenly she is unable to speak oreven breathe.(CONTINUED) 66.74CONTINUED: (2)74NEOWhat?The car suddenly jerks to a stop.MORPHEUSWe're here. Neo, come with me.Neo and Morpheus get out of the car. Cypher looks intothe rearview mirror at Trinity.CYPHERHere we go again, eh, Trin?He smiles as she turns to the window.75",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BUILDING75Tenement-like and vast, it is the kind of place wherepeople can disappear.76",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. BUILDING76Morpheus nods to a blind man who nods back. An elevatoropens and Neo follows Morpheus inside.77,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ELEVATOR77The idea of learning one's fate begins to weigh upon Neowith a steadily growing unease.NEOSo is this the same oracle thatmade the, uh, prophecy?MORPHEUSYes. She's very old. She's beenwith us since the beginning.NEOThe beginning?MORPHEUSOf the Resistance.NEOAnd she knows what? Everything?MORPHEUSShe would say she knows enough.(CONTINUED) 67.77CONTINUED:77NEOAnd she's never wrong.MORPHEUSDon't think of it in terms ofright and wrong. She is a guide,Neo. She can help you find thepath.NEOShe helped you?MORPHEUSYes.NEOWhat did she tell you?MORPHEUSThat I would find the One.DING. The ELEVATOR opens.78",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HALL78The long dark hall beckons. Neo follows Morpheus out ofthe elevator and the DOORS RATTLE shut behind him. Withevery step, a disturbing sense of inevitability closes inaround him.At the end of the hall, Morpheus steps to the side of adoor.MORPHEUSI told you that I can only showyou the door. You have to stepthrough it.Neo blows out a breath. His hand reaches but stops,hovering over the spherical handle. He backs away.NEOMorpheus, I don't think this is agood idea.MORPHEUSWhy?NEOI told you I don't believe in thisstuff. No matter what she saysI'm not going to believe it, sowhat's the point?(CONTINUED) 68.78CONTINUED:78MORPHEUSWhat do you believe in?NEOWhat do I believe in? Are youkidding me? What do you think?The world I grew up in isn't real.My entire life was a lie. I don'tbelieve in anything anymore. MORPHEUSThat's why we're here.NEOWhy? So I can hear some old ladytell me, what? That I'm this guythat everybody's been waiting for?That I'm supposed to save theworld? It sounds insane.Unbelievable. And I don't carewho says it, it's still going tosound insane and unbelievable.MORPHEUSFaith is not a matter ofreasonability. I do not believethings with my mind. I believethem with my heart. In my gut.NEOAnd you believe I'm the One?MORPHEUSYes I do.NEOYeah? What about the other fiveguys? The five before me? Whatabout them?Morpheus tries to hide his heart being wrenched from hischest.NEODid you believe in them too?MORPHEUSI believed what the Oracle toldme... no, I misunderstood what shetold me. I believed that it wasall about me.This is difficult for Morpheus to admit.(CONTINUED) 69.78CONTINUED: (2)78MORPHEUSI believed that all I had to dowas point my finger and anointwhoever I chose. I was wrong,Neo. Terribly wrong. Not a dayor night passes that I do notthink of them. After the fifth, Ilost my way. I doubted everythingthe Oracle had said. I doubtedmyself.He looks up at Neo.MORPHEUSAnd then I saw you, Neo, and myworld changed. You can call itan epiphany, you can call itwhatever the hell you want.It doesn't matter. It's notabout a word. It's about this.So I can't explain it to you.All I can do is believe, Neo,believe that one day you willfeel what I felt and know whatI know; you are the sixth andthe last. You are the One.His eyes blaze.MORPHEUSUntil that time all I am askingfrom you is for you to hold on towhatever respect you may have forme and trust me.Neo feels a rush from Morpheus's intensity, theunadulterated confidence of a zealot.NEOAll right.He reaches for the handle which turns without him eventouching it. A WOMAN wearing white opens the door.PRIESTESS (WOMAN)Hello, Neo. You're right on time.79",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ORACLE'S APARTMENT79It seems particularly normal.PRIESTESSMake yourself at home, Morpheus.(CONTINUED) 70.79CONTINUED:79MORPHEUSThank you.PRIESTESSNeo, come with me.She leads Neo down another hall and into what appears tobe a family room.There is another woman in white sitting on a couchwatching a soap opera. Scattered about the room are ahalf dozen children. Some of them are playing, others aredeep in meditation. All of them exude a kind of Zen calm.PRIESTESSThese are the other Potentials.You can wait here.Neo watches a little girl levitate wooden alphabetblocks. Closer to him, a SKINNY BOY with a shaved headholds a spoon which sways like a blade of grass.In front of him is a pile of spoons bent and twisted intoknots. Neo crosses to him and sits. The boy smiles andhands Neo the spoon which is now perfectly straight.SPOON BOY (SKINNY BOY)Do not try to bend the spoon.That is impossible. Instead, onlytry to realize the truth.NEOWhat truth?SPOON BOYThat there is no spoon.Neo nods, staring at the spoon.NEOThere is no spoon.SPOON BOYThen you will see that it is notthe spoon that bends. It is onlyyourself.The entire room is reflected inside the spoon and as Neostares into it, it slowly begins to bend until --A hand touches his shoulder.PRIESTESSThe Oracle will see you now.Spoon Boy smiles. 71.80",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. KITCHEN 80An OLD WOMAN is huddled beside the oven, peering insidethrough a cracked door.NEOHello?ORACLE (OLD WOMAN)I know. You're Neo. Be rightwith you.NEOYou're the Oracle?ORACLEBingo. Not quite what you wereexpecting, right? I got to say Ilove seeing you non-believers.Always a pip. Almost done. Smellgood, don't they?NEOYeah.ORACLEI'd ask you to sit down, butyou're not going to anyway. Anddon't worry about the vase.NEOWhat vase?He turns to look around and his elbow knocks a VASE fromthe table. It BREAKS against the linoleum floor.ORACLEThat vase.NEOShit, I'm sorry.She pulls out a tray of chocolate chip cookies and turns.She is an older woman, wearing big oven mitts,comfortable slacks and a print blouse. She looks likesomeone's grandma.ORACLEI said don't worry about it. I'llget one of my kids to fix it.NEOHow did you know...?She sets the cookie tray on a wooden hot pad.(CONTINUED) 72.80CONTINUED:80ORACLEWhat's really going to bake yournoodle later on is, would youstill have broken it if I hadn'tsaid anything.Smiling, she lights a cigarette.ORACLEYou're cuter than I thought. Isee why she likes you.NEOWho?ORACLENot too bright though.She winks.ORACLEYou know why Morpheus brought youto see me?He nods.ORACLESo? What do you think? You thinkyou're the One?NEOHonestly? I don't know.She gestures to a wooden plaque, the kind every kitchenhas, except that the words are in Latin.ORACLEYou know what that means? It'sLatin. Means, 'Know Thyself.'I'm gonna let you in on a littlesecret. Being the One is justlike being in love. Nobody cantell you you're in love. You justknow it. Through and through.Balls to bones.She puts her cigarette down.ORACLEWell, I better have a look at you.Open your mouth. Say, 'ahh.'She widens his eyes, checks his ears, then feels theglands in his neck. She nods, then looks at his palms.(CONTINUED) 73.80CONTINUED: (2)80ORACLEOkay, now I'm supposed to say,'Hmmm, that's interesting but...'Then you say --NEOBut what?ORACLEBut you already know what I'mgoing to tell you.NEOI'm not the One.ORACLESorry, kid. You got the gift butlooks like you're waiting forsomething.NEOWhat?ORACLEYour next life, maybe. Who knows?That's how these things go.Neo almost has to laugh.ORACLEWhat's funny?NEOMorpheus. He almost had meconvinced.ORACLEI know. Poor Morpheus. Withouthim we are lost.NEOWhat do you mean, without him?The Oracle takes a long drag, regarding Neo with the eyesof a Sphinx.ORACLEAre you sure you want to hearthis?Neo nods.(CONTINUED) 74.80CONTINUED: (3)80ORACLEMorpheus believes in you, Neo, andno one, not you or even me canconvince him otherwise. Hebelieves it so blindly that he'sgoing to sacrifice his life tosave yours.NEOWhat?ORACLEYou're going to have to make achoice. In one hand, you willhave Morpheus's life. In theother hand, you will have yourown. One of you is going to die.Which one, will be up to you.Neo can't breathe.ORACLEI'm sorry, kiddo. I really am.You have a good soul and I hategiving good people bad news. Butdon't worry, as soon as you walkoutside that door, you'll startfeeling better. You'll rememberthat you don't believe any of thisfate crap. You're in control ofyour own life, remember?He tries to nod as she reaches for the tray of cookies.ORACLEHere, take a cookie. I promise bythe time you're done eating it,you'll feel right as rain.Neo takes a cookie, the tightness in his chest slowlybeginning to fade.81",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SITTING ROOM - DAY81Morpheus rises from a couch as the priestess escorts Neoout. When they are alone, Morpheus puts his hand onNeo's shoulder.MORPHEUSYou don't have to tell anyone whatshe told you. What was said wassaid for you and you alone.Neo nods and takes a bite of his cookie. THE MATRIX - Rev. 3/22/9875.82",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAR82Neo and Morpheus get in the car.MORPHEUSLet's go.Cypher looks into the rearview mirror at Neo.CYPHERWell, good news or bad news?MORPHEUSNot now, Cypher.Cypher slaps the car in gear and pulls into traffic.Trinity looks at Neo who is staring at the final bit ofcookie. He puts it in his mouth and chews.TRINITYAre you all right?NEO... Right as rain.83OMITTED8384",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. ROOM 1313 - DAY84Mouse's CELLULAR RINGS.MOUSEWelcome to Movie-Phone.TANK (V.O.)They're on their way.85,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CITY STREET - DAY85As they get out of the car, Cypher smiles at Neo.CYPHERLike the man says, welcome to thereal world.Cypher, following the others into the hotel, nervouslyglances around, wiping the sweat from his forehead.86",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MAIN DECK86Sweat rolls down Cypher's face and neck. At theoperator's station, Tank is typing rapidly.(CONTINUED) THE MATRIX - Rev. 3/22/9875A.86CONTINUED:86TANKWhat is that...?87",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOTEL LAFAYETTE - DAY87Light filters down the throat of the building through acaged skylight at the top of the open elevator shaft.Six figures glide up the dark stairs that wind aroundthe antique elevator.(CONTINUED) 76.87CONTINUED:87Neo notices a black cat, a yellow-green eyed shadow thatslinks past them and pads quickly down the stairs.A moment later, Neo sees another black cat that looks andmoves identically to the first one.NEOWhoa. Deja vu.Those words stop the others dead in their tracks.88",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MAIN DECK88The monitors suddenly glitch as though the Matrix had anelectronic seizure.TANKOh shit! Oh shit!89,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOTEL LAFAYETTE - DAY89Trinity turns around, her face tight.TRINITYWhat did you just say?NEONothing. Just had a little dejavu.TRINITYWhat happened? What did you see?NEOA black cat went past us and thenI saw another that looked justlike it.TRINITYHow much like it? Was it the samecat?NEOIt might have been. I'm not sure.Trinity looks at Morpheus who listens quietly to theRASPING breath of the old BUILDING.NEOWhat is it?(CONTINUED) THE MATRIX - Rev. 3/9/9877.89CONTINUED:89TRINITYA deja vu is usually a glitch inthe Matrix. It happens when theychange something.She also listens as the staccato BEAT of HELICOPTERBLADES GROWS ominously LOUD.90",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MAIN DECK90Tank sees what was changed.TANKIt's a trap!91,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. STAIRCASE - DAY91Morpheus looks up the stairs as he hears a HELICOPTER.MORPHEUSCome on!Apoc slaps a gun into Neo's hand.APOCSomething to ward off evilspirits.Neo nods, stuffing it into his belt.92",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. BASEMENT - DAY92Heavy bolt cutters snap through the main phone cable.93,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROOM 1313 - DAY93Hearing the HELICOPTER, Mouse goes to the draped windowsas his CELLULAR RINGS. He answers it.TANK (V.O.)They cut the hardline! It's atrap! Get out!Mouse yanks open the curtain.MOUSEOh no.The windows are bricked up. Mouse spins as the RUMBLE ofcombat BOOTS BUILDS, then explodes into the room. THE MATRIX - Rev. 3/9/9878.94",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MAIN DECK94Tank watches helplessly.TANKNo, no, no.95",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. STAIRS - DAY95Morpheus stops as Mouse's SCREAM is drowned out by thereport of MACHINE GUN FIRE.96,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. ROOM 1313 - DAY96Mouse sails backwards as BULLETS POUND him against theblood-spattered brick window.97,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MAIN DECK97Mouse's body thrashes against its harness, blood coughingfrom his mouth in one final spasm, then lying perfectlystill. The flatline ALARM softly cries out from the lifeMONITOR.98OMITTED9899",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. STAIRWELL - DAY99Flying downstairs, Morpheus stops, hearing POLICESWARMING below.A99",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HALL - DAYA99He turns and rushes down the hall of the eighth floor.At the end of it, he finds the bricked-up windows.CYPHERThat's what they changed. We'retrapped. There's no way out.The sound of heavy BOOT-STEPS close around them with themechanical sureness of a vice.MORPHEUSGive me your phone.TRINITYThey'll be able to track it.(CONTINUED) THE MATRIX - Rev. 3/9/9879.A99CONTINUED:A99MORPHEUSWe have no choice.Morpheus rips off his jacket.100",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MAIN DECK100Tank answers the call.MORPHEUS (V.O.)Tank, find a structural drawing ofthis building and find it fast.101",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HOTEL LAFAYETTE - DAY101Flashlights probe the rotting darkness as the policesearch every floor.102,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MAIN DECK102The diagram windows onto the screen.TANKGot it.MORPHEUS (V.O.)I need the main wet-wall.103,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROOM 1313 - DAY103Agent Smith stands over Mouse's dead body, his hand goingto his earpiece.104",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROOM 808 - DAY104Morpheus is guided by Tank.TANK (V.O.)Now left, and that's it in front ofyou.MORPHEUSGood.105",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. ROOM 1313 - DAY105Agent Smith hears the LINE CLICK dead.(CONTINUED) THE MATRIX - Rev. 3/9/9880.105CONTINUED:105AGENT SMITHEighth floor. They're on theeighth floor.A105,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. STAIRWELL - DAYA105Agent Brown listens to his earpiece.106,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. STAIRWELL - DAY106Boots clatter up the marble staircase.A106,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HALL - DAYA106Cops flood the eight floor, rushing everywhere.107",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROOM 808 - DAY107Several cops sweep through the room. It is empty. Asthey pass the bathroom, we see a man-sized hole smashedthrough the plaster and lath.108",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. WALL - DAY108They are inside the main plumbing wall, slowly wormingtheir way down the grease-black stack pipes. Above them,light fills the hole they made to get inside.109",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HALL - DAY109Agent Brown and Agent Smith stand over Morpheus's jacket.AGENT BROWNWhere are they?110,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROOM 608 - DAY110The cops search in silence, straining for a clue, whenone hears SOMETHING STRANGE near the bathroom.111",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. WALL - DAY111Cypher has slipped and is wedged between the wall andseveral thick supply pipes. THE MATRIX - Rev. 3/9/9880A.112,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROOM 608 - DAY112The COP leans in, his ear almost against the thinmembrane of plaster separating them. He can hearWHISPERS, HISSES and a GRUNT when --The wall suddenly bulges, shatter-cracking as the Coprealizes --COPThey're in the walls!113",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. WALL - DAY113Trinity pulls Cypher free just as the Cop OPENS FIRE,BULLETS PUNCHING shafts of light like swords into the boxof soot-black space.Neo finds his GUN first and begins BLASTING wildlythrough the plaster and lath.114",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROOM 608 - DAY114The Cop spins out of the bathroom for cover, Neo'sBULLETS SPLINTERING the door jamb.(CONTINUED) 81.114CONTINUED:114About to whirl back in, he freezes as something seems toseize hold of him. The Cop's body starts to spasm andhis M-16 falls to the ground, long shadows springing upfrom the mounted flashlight.115",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. WALL - DAY115Neo listens for a moment, the gunfire quiet, when hehears FOOTSTEPS RISING FAST.Two arms suddenly smash through the wall, punching Neoback against the iron stack pipe, fingers gouging intohis neck.CYPHERIt's an Agent!Just as Neo's throat is about to collapse, Morpheusexplodes through the tattered plaster and lath, diving ontop of Agent Smith.The two men crash to the wet terrazzo floor.Before Agent Smith can find his weapon, Morpheus is onhim, pinning him in an iron grip.In the crawlspace, Trinity tries to scramble up pastCypher.TRINITYMorpheus!Morpheus squeezes Agent Smith's throat.MORPHEUSTrinity, you must get Neo out. Doyou understand? He is all thatmatters.Neo suddenly glimpses what is happening but is powerlessto stop it.NEONo. No! Morpheus! Don't!MORPHEUSTrinity! Go!Trinity's fists ball in frustration. She yells down toApoc.TRINITYGo!(CONTINUED) 82.115CONTINUED:115NEOWe can't leave him!TRINITYWe have to!She grabs his ankle and they begin almost falling, usingthe lath as a brake, skidding down the inside of thewall.116",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BASEMENT - DAY116This part of the basement, a dark concrete cavern, wasthe main mechanical room. There are four enormousboilers, dinosaur-like technology that once pumped hotwater like arteries.Soldier's blinding lights cut open the darkness asTrinity, Neo and the others crash through the ceiling.Around them they hear a chorus of short, sharp coughs ofgrenade launchers from gas-masked figures.Smoke blossoms from the green metal canisters. Trinitynever stops moving. Searching the floor, she finds whatshe needs; the cover of the catch basin.Cypher watches her pry open the grate, when a gas canbounces near him.TRINITYCome on!Cypher seems to trip as the cloud envelops him.Trinity watches Cypher disappear into the smoke, thenfollow the others down the wet-black hole.117",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROOM 608 - DAY117Morpheus and Agent Smith remain on the ground, locked ineach other's death grip.AGENT SMITHThe great Morpheus. We meet atlast.MORPHEUSAnd you are?AGENT SMITHSmith. I am Agent Smith.(CONTINUED) 83.117CONTINUED:117MORPHEUSYou all look the same to me.Agent Smith counters Morpheus and slowly begins to pryhis hands from his throat. Striking like a viper,Morpheus, drives a vicious head butt into Agent Smith'sface. His nose and glasses shatter.Agent Smith, unfazed, smiles, blood oozing from theshattered bridge of his nose, and returns Morpheus's headbutt with three of his own in pneumatic succession.Morpheus staggers back, his body going slack when anotherkick buries him deep into crunching plaster and lathe.Morpheus turns in time to see a wall of men in thedoorway.AGENT SMITHTake him.The wall of cops rushes Morpheus, filling the tinybathroom until he disappears under the tide.118",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MAIN DECK118Tank reaches out to the screen as if reaching forMorpheus.TANKNo!119OMITTED119120,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. STREET - DAY120A manhole cover cracks open. Two eyes peek out just as aTRUCK RATTLES over it. The THUNDER DOPPLERS away and thecover opens. Trinity climbs out.121,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MAIN DECK121Tank is again at the monitors, searching the Matrix whenthe PHONE RINGS.TANKOperator.CYPHER (V.O.)I need an exit! Fast!(CONTINUED) THE MATRIX - Rev. 3/9/9884.121CONTINUED:121TANKCypher?122",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. STREET - DAY122Cypher is standing at a public phone. Across the streetis the burning paddy wagon that appears to have collidedwith an oncoming car.CYPHERThere was an accident. A goddamncar accident. All of a sudden.Boom. Jesus, someone up therestill likes me.TANK (V.O.)I got you.CYPHERJust get me outta here.TANK (V.O.)Nearest exit is Franklin and Erie.An old TV repair shop.Cypher hangs up and smiles as we hear FIRE TRUCKS in thedistance.CYPHERAn actor. Definitely.123",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MAIN DECK123The PHONE RINGS. Tank answers.TRINITY (V.O.)Tank, it's me.124",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. STREET - DAY124All four are moving quickly down a back street.NEOIs Morpheus alive?TRINITYIs Morpheus still alive, Tank?TANK (V.O.)Yes. They're moving him. I don'tknow where yet.(CONTINUED) THE MATRIX - Rev. 3/9/9885.124CONTINUED:124TRINITYHe's alive.Again, inevitability seems to cinch around Neo.TRINITYWe need an exit!TANK (V.O.)You're not far from Cypher.TRINITYCypher, I thought --TANK (V.O.)So did we. I sent him to Franklinand Erie.TRINITYGot it.A124",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. TV REPAIR SHOP - DAYA124In a deserted alley, Cypher steps onto a dumpster in frontof a small boarded-up window.125",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TV REPAIR SHOP - DAY125Dead machines, eviscerated and shrouded with dust, lay onmetal shelves like bodies in a morgue. Plywood coveringa small window is ripped off and Cypher crawls inside.Deep in the back room, a PHONE that has not rung in yearsbegins to RING.126",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. STREET - DAY126Trinity sees the TV repair shop.127,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MAIN DECK127Tank punches the exit command.TANKGot him.Cypher's body twitches in its harness, jerking itselfawake. THE MATRIX - Rev. 3/9/9886.128",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. TV REPAIR SHOP - DAY128Neo crawls through the window that Cypher opened.129,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MAIN DECK129Tank finishes loading the exit program as Cypher pullsback a heavy blanket, exposing a high-tech rifle.130",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TV REPAIR SHOP - DAY130The PHONE begins to RING as the others crawl in.SWITCHGod, I love that sound.131",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MAIN DECK131Suddenly, a white bolt of LIGHTNING EXPLODES againstTank's chair, blasting him into the air.Cypher checks the GUN, unable to believe he missed.CYPHERShit.Tank is on his feet, lunging when Cypher FIRES again,square into his chest.DOZERNo!132",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TV REPAIR SHOP - DAY132The PHONE is still RINGING.TRINITYYou first, Neo.Neo answers the PHONE when there is a CLICK. There is nosignal. Nothing but silence.TRINITYWhat happened?NEOI don't know. It just went dead.Trinity listens to the dead line and takes out thecellular. THE MATRIX - Rev. 3/9/9887.133",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MAIN DECK133The operator PHONE begins to RING. Cypher steps over theSIZZLING BODY of Dozer and looks at the monitor.134,FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TV REPAIR SHOP - DAY134Every unanswered RING wrings her gut a little tighter,until --CYPHER (V.O.)Hello, Trinity.TRINITYCypher? Where's Tank?CYPHER (V.O.)He had an accident.TRINITYAn accident?!INTERCUT WITH:135",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MAIN DECK135He walks over to Trinity's body, staring down at ithanging in its coma-like stillness.CYPHERYou know, for a long time, Ithought I was in love with you,Trinity. I used to dream aboutyou...He nuzzles his face against hers, feeling the softness ofit.CYPHERYou are a beautiful woman. Toobad things had to work out likethis.TRINITYYou killed them.APOCWhat?!SWITCHOh, God.Wearing Tank's operator headgear, Cypher moves among thesilent bodies.(CONTINUED) THE MATRIX - Rev. 3/22/9888.135CONTINUED:135CYPHERI'm tired, Trinity. I'm tired ofthis war, I'm tired of fighting.I'm tired of this ship, of beingcold, of eating the same goddamngoop every day. But most of all,I'm tired of this jagoff and allof his bullshit.Cypher leans over, talking to Morpheus.CYPHERSurprise, asshole. But you neversaw this coming, did you? God, Iwish I could be there when theybreak you. I wish I could walkin just as it happens, so rightthen, you'd know it was me.TRINITYMy God. Morpheus. You gave themMorpheus.CYPHERHe lied to us, Trinity! Hetricked us! If he would've toldus the truth, we would've toldhim to shove that red pill uphis ass!TRINITYThat's not true, Cypher. He setus free.CYPHERFree? You call this free? All Ido is what he tells me to do. IfI have to choose between that andthe Matrix, I choose the Matrix.TRINITYThe Matrix isn't real!CYPHEROh, I disagree, Trinity. Idisagree. I think the Matrix canbe more real than this world. Imean, all I do is pull a plughere. But there, you have towatch a man die.She looks up at Apoc, her face going white.(CONTINUED) THE MATRIX - Rev. 3/22/9888A.135CONTINUED: (1A)135APOCTrinity?He grabs hold of the cable in Apoc's neck, twists it andyanks it out.CYPHERWelcome to the real world, ehbaby?Apoc seems to go blind for an instant, a scream caught inhis throat, his hands reaching for nothing, and thenfalls dead.SWITCHNo!TRINITYBut you're out, Cypher. You can'tgo back.CYPHERThat's what you think. They'vepromised to take me back. They'regoing to reinsert my body. I'llgo back to sleep and when I wakeup, I'll be fat and rich and Iwon't remember a goddamned thing.It's the American dream.He laughs, his hand sliding around the neck of Switch ashe takes hold of her plug.CYPHERBy the way, if you have anythingterribly important to say toSwitch, I suggest you say it now.TRINITYOh no, please don't.Trinity eyes find Switch and she knows she's n",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","ext.SWITCHNot like this. Not like this.She suddenly feels her body severed from her mind asshe is murdered.CYPHERYoo late.(CONTINUED) 89.135CONTINUED: (2)135TRINITYGoddamn you, Cypher!CYPHERDon't hate me, Trinity. I'm justthe messenger. And right now I'mgoing to prove it to you.He stands over Neo.CYPHERIf Morpheus was right, thenthere's no way I can pull thisplug, is there?She turns to Neo, eyes wide with fear and he knows he isn",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","ext.CYPHERIf Neo is the One, then in thenext few seconds there has to besome kind of miracle to stop me.Right? How can he be the One ifhe's dead?He takes hold of the cord.CYPHERYou never did answer me, Trinity,when I asked you before. Did youbuy Morpheus's bullshit? Come on.You can tell me, did you? All Iwant is a little yes or no. Lookinto his eyes, Trinity, those bigpretty eyes and tell me the truth.Yes or no.Trinity stares at Neo as a single word falls soundlesslyfrom her lips.TRINITY... yes.CYPHERNo!Charred and bloody, Tank levels the gun.CYPHERI don't believe it!TANKBelieve it or not, you piece ofshit, you're still going to burn.(CONTINUED) THE MATRIX - Rev. 3/9/9890.135CONTINUED: (3)135He FIRES a CRACKLING BOLT of LIGHTNING that knocks Cypherflying backwards.136OMITTED136137",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. TV REPAIR SHOP137Trinity throws her arms around Neo and for a moment theyare alone and alive until the PHONE RINGS.NEOGo. You first this time.138,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MAIN DECK138Trinity's eyes snap open, a sense of relief surgingthrough her at the sight of the ship. As Tank unplugsher, she sees his charred wounds.TRINITYTank, you're hurt.TANKI'll be all right.TRINITYDozer?Tank's face tightens and she takes him into her arms.139",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. GOVERNMENT BUILDING - DAY139A government highrise in the middle of downtown where amilitary helicopter sets down on the roof.Agent Jones gets out of the helicopter, flanked bycolumns of Marines. They open the roof access door andenter the top floor maintenance level of the hotel.140",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. EXECUTIVE OFFICE - DAY140Agent Smith stands, staring out the windows at the citybelow shimmering with brilliant sunlight.(CONTINUED) 91.140CONTINUED:140AGENT SMITHHave you ever stood and stared atit, Morpheus? Marveled at itsbeauty. Its genius. Billions ofpeople just living out theirlives... oblivious.Morpheus is handcuffed to a chair, stripped to the waist.He is alternately shivering and sweating, wired tovarious monitors with white disk electrodes. Beside him,Agent Brown sucks a serum from a glass vial, filling ahypodermic needle.AGENT SMITHDid you know that the first Matrixwas designed to be a perfect humanworld? Where none suffered, whereeveryone would be happy. It was adisaster. No one would accept theprogram. Entire crops were lost.Agent Brown jams the needle into Morpheus's shoulder andplunges down.AGENT SMITHSome believed we lacked theprogramming language to describeyour perfect world. But I believethat, as a species, human beingsdefine their reality throughsuffering and misery.Agent Brown studies the screens as the life signs reactviolently to the injection.AGENT SMITHThe perfect world was a dream thatyour primitive cerebrum kepttrying to wake up from. Which iswhy the Matrix was redesigned tothis: the peak of yourcivilization.He turns from the window.AGENT SMITHI say 'your civilization' becauseas soon as we started thinking foryou, it really became ourcivilization, which is, of course,what this is all about.He sits down directly in front of Morpheus.(CONTINUED) 92.140CONTINUED: (2)140AGENT SMITHEvolution, Morpheus. Evolution.He lifts Morpheus's head.AGENT SMITHLike the dinosaur. Look out thatwindow. You had your time.Morpheus stares hard at him, trying not to show the painracking his mind.AGENT SMITHThe future is our world, Morpheus.The future is our time.Agent Smith looks at Agent Brown.AGENT SMITHDouble the dosage.Agent Jones suddenly enters.AGENT JONESThere could be a problem.141",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MAIN DECK141Tank drapes a sheet over his dead brother. The otherbodies are covered.Neo looks at Morpheus, whose body is covered with a coldsweat.NEOWhat are they doing to him?TANKThey're breaking into his mind.It's like hacking a computer. Allit takes is time.NEOHow much time?TANKDepends on the mind. Buteventually, it will crack and hisalpha pattern will change fromthis to this.(CONTINUED) 93.141CONTINUED:141Tank punches several commands on Morpheus's personalunit. The monitor waves change from a chaotic pattern toan ordered symmetrical one.TANKWhen it does, Morpheus will tellthem anything they want to know.NEOWhat do they want?TANKThe leader of every ship is giventhe codes to Zion's mainframecomputer. If an Agent had thosecodes and got inside Zion'smainframe, they could destroy us.He looks up at Trinity who is pacing relentlessly.TANKWe can't let that happen, Trinity.Zion is more important than me.Or you, or even Morpheus.Trinity sees Cypher's dead body. Rage overtakes her andshe kicks him.TRINITYGoddamnit! Goddamnit!NEOThere has to be something that wecan do.TANKThere is. We have to pull theplug.TRINITYYou're going to kill him? KillMorpheus?!TANKTrinity, we don't have any otherchoice.142",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GOVERNMENT BUILDING142Morpheus is fighting to hold his mind together. TheAgents stand over him.(CONTINUED) 94.142CONTINUED:142AGENT SMITHNever send a human to do amachine's job.AGENT BROWNIf, indeed, the insider hasfailed, they will sever theconnection as soon as possible,unless --AGENT JONESThey are dead. In either case --AGENT SMITHWe have no choice but to continueas planned. Deploy the sentinels.Immediately.143",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MAIN DECK143Tank kneels beside Morpheus's body.Neo suddenly sees it perfectly clear, fate rushing at himlike an oncoming train.TANKMorpheus, you were more than ourleader. You were... a father. Wewill miss you, always.Trinity can't bear to watch. As she closes her eyes, hertears slip free.Tank closes his eyes and takes hold of the plug.Neo is paralyzed, his whole life is suddenly suspended bythe finality of this moment hurling at him with the speedof a bullet.NEOStop!They both look at him.NEOGoddamnit! I don't believe thisis happening!TANKNeo, this has to be done!(CONTINUED) 95.143CONTINUED:143NEODoes it? I don't know. Thiscan't be just coincidence. Itcan't be! Can it?TANKWhat are you talking about?NEOThe Oracle. She told me thiswould happen. She told me...Neo stops, his stare fixed on Morpheus.NEOThat I would have to make achoice...TRINITYWhat choice?He makes his choice. Turning, he walks to his chair.TRINITYWhat are you doing?NEOI'm going in.TRINITYYou can't!NEOI have to.TRINITYMorpheus sacrificed himself so wecould get you out! There's no wayyou're going back in!NEOMorpheus did what he did becausehe believed that I'm something I'mnot.TRINITYWhat?NEOI'm not the One, Trinity. TheOracle hit me with that, too.Trinity is stunned.(CONTINUED) 96.143CONTINUED: (2)143TRINITYNo, you... have to be.NEOI'm sorry, I'm not. I'm justanother guy. Morpheus is the onethat matters.TRINITYNo, Neo. That's not true. Itcan't be true.NEOWhy?TRINITYBecause...Uncertainty swallows her words and she is unable to tellhim what she wants to.TANKNeo, this is loco. They've gotMorpheus in a military controlledbuilding. Even if you somehow gotinside, those are Agents holdinghim. Three of them! I wantMorpheus back, too, but what youare talking about is suicide.NEOI know that's what it looks like,but it's not. I can't logicallyexplain to you why it's not.Morpheus believed something and hewas ready to give his life forwhat he believed. I understandthat now. That's why I have togo.TANKWhy?NEOBecause I believe in something.TRINITYWhat?NEOI believe I can bring him back.(CONTINUED) 97.143CONTINUED: (3)143Trinity stares at him, hovering on the edge that he justjumped off. Her jaw sets and she starts climbing intothe chair beside him.NEOWhat are you doing?TRINITYI'm coming with you.NEONo you're not.TRINITYNo? Let me tell you what Ibelieve. I believe Morpheus meansmore to me than he does to you. Ibelieve that if you are seriousabout saving him then you aregoing to need my help and since Iam the ranking officer on thisship, if you don't like it then Ibelieve that you can go to hell,because you aren't going anywhereelse.There is nothing more to say except --TRINITYTank, load us up.144",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. EXECUTIVE OFFICE - DAY144Agent Smith sits casually across from Morpheus who ishunched over, his body leaking and twitching.AGENT SMITHI'd like to share a revelationthat I've had during my time here.It came to me when I tried toclassify your species. I'verealized that you are not actuallymammals.The life signs continue their chaotic patterns.AGENT SMITHEvery mammal on this planetinstinctively develops a naturalequilibrium with the surroundingenvironment. But you humans donot.(MORE)(CONTINUED) 98.144CONTINUED:144AGENT SMITH (CONT'D)You move to an area and youmultiply and multiply until everynatural resource is consumed andthe only way you can survive is tospread to another area.He leans forward.AGENT SMITHThere is another organism on thisplanet that follows the samepattern. Do you know what it is?A virus.He smiles.AGENT SMITHHuman beings are a disease, acancer of this planet. You are aplague. And we are... the cure.A144",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. CONSTRUCTA144Neo and Trinity stand in the white space of the constructas he answers his RINGING cell PHONE.TANK (V.O.)Okay. What do you need? Besidesa miracle...NEOGuns. Lots of guns.145,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MAIN DECK145Neo and Trinity's bodies hang motionless in their drivechairs as Tank hits load.146,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. CONSTRUCT146Racks of weapons appear and they begin to arm themselves.TRINITYNo one has ever done anything likethis.NEOYeah?He snap-cocks an Uzi.(CONTINUED) 99.146CONTINUED:146NEOThat's why it's going to work.147,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. EXECUTIVE OFFICE - DAY147Agent Smith is again at the window.AGENT SMITHWhy isn't the serum working?AGENT BROWNPerhaps we are asking the wrongquestions.Agent Smith hides his knotting fist. He is becomingangry. It is something that isn't supposed to happen toAgents.AGENT SMITHLeave me with him.Agents Brown and Jones look at each other.AGENT SMITHNow!They leave and Agent Smith sits beside Morpheus.AGENT SMITHCan you hear me, Morpheus? I'mgoing to be honest with you.He removes his earphone, letting it dangle over hisshoulder.AGENT SMITHI hate this place. This zoo.This prison. This reality,whatever you want to call it, Ican't stand it any longer. It'sthe smell, if there is such athing. I feel saturated by it. Ican taste your stink and everytime I do, I fear that I'vesomehow been infected by it.He wipes sweat from Morpheus' forehead, coating the tipsof his fingers, holding them to Morpheus' nose.AGENT SMITHRepulsive, isn't it?(CONTINUED) 100.147CONTINUED:147He lifts Morpheus' head, holding it tightly with bothhands.AGENT SMITHI must get out of here, I must getfree. In this mind is the key.My key.Morpheus sneers through his pain.AGENT SMITHOnce Zion is destroyed, there isno need for me to be here. Do youunderstand? I need the codes. Ihave to get inside Zion. You haveto tell me how.He begins squeezing, his fingers gouging into his flesh.AGENT SMITHYou are going to tell me or youare going to die.148",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MAIN DECK148Tank sits down beside Morpheus, whose face is ashen likesomeone near death. He takes hold of his hand.TANKHold on, Morpheus. They're comingfor you. They're coming.149",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. GOVERNMENT BUILDING - DAY149A dark wind blows.150,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GOVERNMENT BUILDING - DAY150In long black coats, Trinity and Neo push through therevolving doors.Neo is carrying a duffel bag. Trinity has a large metalsuitcase. They cut across the lobby to the securitystation, drawing nervous glances.Dark glasses, game faces.Neo calmly passes through the METAL DETECTOR which beginsto WAIL immediately. A SECURITY GUARD moves over towardNeo, raising his metal detection wand.(CONTINUED) THE MATRIX - Rev. 3/9/98101.150CONTINUED:150GUARDWould you please remove anymetallic items you are carrying:keys, loose change --Neo slowly sets down his duffel bag and throws open hiscoat, revealing an arsenal of guns, knives and grenadesslung from a climbing harness.GUARDHoly shit --Neo is a blur of motion. In a split second, three guardsare dead before they hit the ground.A fourth guard dives for cover, clutching his radio.GUARD #4Backup! Send in the backup!He looks up as Trinity sets off the metal detector. It isthe last thing he sees.The backup arrives. A wave of soldiers blocking theelevators. The concrete cavern of the lobby becomes awhite noise ROAR of GUNFIRE.Slate walls and pillars pock, crack, and craterunder a hail storm of EXPLOSIVE-tipped BULLETS.They are met by the quivering spit of a SUB-HAND MACHINEGUN and the RAZORED WHISTLE of throwing knives. Weaponslike extensions of their bodies, are used with the samedeadly precision as their feet and their fists.Bodies slump down to the marbled floor while Neo andTrinity hardly even break their stride.151",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. EXECUTIVE OFFICE151Agents Jones and Brown burst into the room. Agent Smithreleases Morpheus.AGENT BROWNWhat were you doing?Agent Smith recovers, replacing his earpiece.AGENT JONESYou don't know.AGENT SMITHKnow what?(CONTINUED) THE MATRIX - Rev. 3/9/98101A.151CONTINUED:151Agent Smith listens to his earphone, not believing whathe is hearing.152",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ELEVATORS - DAY152They get in. Trinity immediately drops and opens thesuitcase, wiring a plastique and napalm bomb.Neo hits the emergency stop. He pulls down part of thefalse ceiling and finds the elevator shaft access panel. 102.153",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. EXECUTIVE OFFICE - DAY153Agent Jones looks at Morpheus.AGENT JONESI think they're trying to savehim.154,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ELEVATOR SHAFT - DAY154Neo ratchets down a clamp onto the elevator cable. Bothof them lock on. He looks up the long, dark throat ofthe building and takes a deep breath.NEOThere is no spoon.Neo whips out his GUN and presses it to the cable, lowerthan they attached themselves.BOOM! The CABLE SNAPS.The counter-weights plummet, yanking Trinity and Neo upthrough the shaft as the elevator falls away beneath them,distending space, filling it with the sound of WHISTLINGMETAL as they sear to the top.155",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LOBBY - DAY155The ELEVATOR hits the bottom.BA-BOOM!The massive explosion blows open the doors, fire cloudsengulfing the elevator section of the lobby.156",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. EXECUTIVE OFFICE - DAY156The Agents hear the BLAST of FIRE ALARMS.AGENT JONESLower level --AGENT BROWNThey are actually attacking.Another enormous EXPLOSION thunders above them, shakingthe building. The ALARM sounds, emergency sprinklersbegin showering the room.Agent Smith smashes a table.(CONTINUED) 103.156CONTINUED:156AGENT SMITHFind them and destroy them!Agent Jones nods and touches his earpiece.157",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ROOF - DAY157The roof-access tower is now engulfed in flames as Neoand Trinity stand amongst a pile of their fallen enemies.Across the roof, the PILOT inside the army helicopterwatches the last of their ferocious onslaught.PILOTI repeat, we are under attack!Suddenly his face, his whole body dissolves, consumed byspreading locust-like swarm of static as Agent Jonesemerges.Just as she drops the final Marine, Trinity sees what'scoming. Neo sees her, the fear in her face, and he knowswhat is behind him.Screaming, he whirls, guns filling his hands withthought-speed.Fingers pumping, shells ejecting, dancing up and away, welook THROUGH the sights and gun smoke AT the Agentblurred with motion --Until the hammers click against the empty metal.NEOTrinity!Agent Jones charges.NEO... Help.His GUN BOOMS as we ENTER the liquid space of ---- BULLET-TIME.The AIR SIZZLES with wads of lead like angry flies as Neotwists, bends, ducks just between them.Agent Jones, still running, narrows the gap, the bulletscoming faster until Neo, bent impossibly back, one handon the ground as a spiraling gray ball shears open hisshoulder.(CONTINUED) THE MATRIX - Rev. 3/9/98104.157CONTINUED:157He starts to scream as another digs a red groove acrosshis thigh. He has only time to look up, to see AgentJones standing over him, raising his gun a final time.AGENT JONESOnly human...Suddenly Agent Jones stops. He hears a sharp metalclick.Immediately, he whirls around and turns straight into themuzzle of Trinity's .45 ---- jammed tight to his head.TRINITYDodge this!BOOM! BOOM! BOOM! The body flies back with a flash ofmercurial light and when it hits the ground, it is thepilot.Trinity helps Neo up.TRINITYNeo, how did you do that?NEODo what?TRINITYYou moved like they moved. I'venever seen anyone move that fast.NEOIt wasn't fast enough.He checks his shoulder wound.TRINITYAre you all right?NEOI'm fine. Come on, we have tokeep moving.Neo sees the helicopter.NEOCan you fly that thing?TRINITYNot yet.She pulls out the cellular phone. THE MATRIX - Rev. 3/29/98105.158",FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOVERCRAFT158Tank is back at the controls.TANKOperator.TRINITY (V.O.)Tank, I need a pilot program for amilitary B-212 helicopter.Tank is immediately searching the disk drawers.TRINITY (V.O.)Hurry!His fingers flash over the gleaming laser disks, findingone that he feeds into Trinity's supplement drive,punching the ""load"" commands on her keyboard.159",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ROOF - DAY159Trinity's eyes flutter as information surges into herbrain, all the essentials of flying a helicopter absorbedat light-speed.TRINITYLet's go.160OMITTED160161",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. EXECUTIVE OFFICE - DAY161Agent Jones throws open the door and enters, walkingthrough the puddles pooling in the carpet. Over theRUSHING WATER and the ALARMS, Agent Smith hears a soundand understands the seriousness of the attack.He turns to the wall of windows as the helicopter dropsINTO VIEW --Neo is in the back bay, aiming the mounted .50 machinegun.AGENT SMITHNo.The GUN jumps and BULLETS EXPLODE THROUGH the WINDOW in aCACOPHONY of CRASHING GLASS as the Agents go for theirweapons.But Neo is too close, the .50 caliber too fast andBULLETS are everywhere, PERFORATING the room.(CONTINUED) 106.161CONTINUED:161Agent Jones is hit first, his body jack-knifing back,blood arcing out with a sudden flash of light --Then Agent Brown, his GUN still FIRING as his body falls.And finally Agent Smith.Neo stares at Morpheus, trying to will him into action.NEOGet up, Morpheus! Get up!Neo grabs the climbing rope and attaches one end to hisharness.162",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HALL - DAY162Just outside the executive office, three Marines blisterwith snow-static.163",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. EXECUTIVE OFFICE - DAY163Slowly, Morpheus lifts his face into the room's rain.When he finally opens his eyes, they are again dark andflashing with fire.He rises from the chair, snapping his handcuffs just asthe Agents enter the adjoining room. Agent Smith stopsand sees Morpheus run past the open door.AGENT SMITHNooo!He FIRES SWEEPING ACROSS the sheetrocked WALL in aperfect line.For an instant, we see the BULLETS SHRED, PUNCTURING theWALL, searing through the wet air with jet trails ofchalk.And as Morpheus starts his dive for the window, a bulletburies itself in his leg, knocking him off balance.NEOHe won't make it.Morpheus lunges, out of control --As Neo spins, every move a whip crack, snapping the otherrope-end on to a bolted bar as --Morpheus begins to fall, when Neo hurls himself into thewide blue empty space, flying for a moment.(CONTINUED) THE MATRIX - Rev. 3/9/98107.163CONTINUED:163The rope snaking out behind him; an umbilical cordattached to a machine.As their two bodies, set in motion, rushing at each otheron a seemingly magnetic course until they collide.Almost bouncing free of each other, arms, legsscrambling, hands searching in furious desperation,finding hold and clinging.Until the LINE ends, SNAPPING taut, cracking theirfragile embrace. Morpheus tumbles, legs flipping over,falling down --The ground deliriously distant as Neo snatches hold of hismentor's still handcuffed wrist.NEOGotcha!164",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. GOVERNMENT BUILDING - DAY164Trinity pulls the copter up and away as Agent Smithstands in the shattered window, aiming his GUN outthrough the curtain of rain.PONK. PONK. PONK. The rear hull is punched full ofholes and smoke and oil pour out like black blood.TRINITYShit-shit-no!Neo hears the helicopter begin to die.NEOUh-oh --Trinity throws the helicopter towards the roof of thenearest building.Morpheus and Neo cling to one another as they and themachine above them begin to fall.The ENGINE GRINDS, the chopping blades start to slowwhile --Trinity guides the parabolic fall over the nearest roofwhere --Neo and Morpheus drop safely, rolling free as the ropegoes slack. Neo gets to his feet, trying to detachhimself but --(CONTINUED) THE MATRIX - Rev. 3/9/98108.164CONTINUED:164The helicopter is falling too fast, arcing over the rooflike a setting sun --The coils of slack snap taut, yanking Neo off his feet,dragging him with ferocious speed towards the edge even as --Trinity lunges for the back door, her gun in one hand,grabbing for the rope with the other --Neo flies like a skipping stone, hurtling at the parapet,when his feet hit the rain gutter and he levers up justas --Trinity fires, severing the cord from the helicopter,falling free of it as it SMASHES, blades first into aGLASS skyscraper.Holding on to the rope she swings, connected to Neo, whostands on the building's edge watching her arc beneathhim as the HELICOPTER EXPLODES --She bounces against a shatterproof WINDOW that SPIDER-CRACKS out while flames erupt behind her.165",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MAIN DECK165Tank stares at the screen, his mouth agape.TANKI knew it! He's the One!166OMITTED166167",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ROOFTOP - DAY167Neo pulls Trinity up into his arms. Both shaking, theyhold each other again.MORPHEUSDo you believe it now, Trinity?Trinity looks at Neo.NEOMorpheus, the Oracle... she told me --MORPHEUSShe told you exactly what youneeded to hear. That's all.Sooner or later, Neo, you're goingto realize just like I did thedifference between knowing a pathand walking a path. THE MATRIX - Rev. 3/9/98109.168",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MAIN DECK168The PHONE RINGS.MORPHEUS (V.O.)Tank.TANKGoddamn! It's good to hear yourvoice, sir!MORPHEUS (V.O.)We need an exit.TANKGot one ready, sir. Subway.State and Balbo.MORPHEUS (V.O.)We're on our way --169",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ROOFTOP - DAY169We rush at the roof access door as it suddenly slams openand the three Agents charge out. But Neo, Trinity andMorpheus are already gone.AGENT SMITHDamnit!AGENT BROWNThe trace was completed.AGENT JONESWe have their position.AGENT BROWNSentinels are standing by.AGENT JONESOrder the strike.Agent Smith can't stand listening to them. He moves tothe edge of the building, looking out at the surroundingcity.AGENT SMITHThey're not out yet.170",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SUBWAY STATION - DAY170An old man sits hunched in the far corner of the station,shadows gathered around him like blankets.(CONTINUED) 110.170CONTINUED:170Mumbling, he nurses from a bottle of Thunderbird when --A PHONE begins to RING.Neo leads Trinity and Morpheus bounding over a set ofturnstiles towards the ringing phone inside a graffiti-covered booth.NEOLet's go! You first, Morpheus.Morpheus gets in and answers the phone.Lost in the shadow, the old man watches as Morpheusdisappears, the phone dropping, dangling by its cord.His eyes grow wide, glowing white in the dark.171",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ROOFTOP - DAY171Agent Smith stares, his face twisted with hate. He willnever be free of the Matrix.He starts to turn from the edge of the building when hesuddenly hears it, his head whipping back around,staring/nobreakspace--172",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SUBWAY - OLD MAN'S POV - DAY172Through the old man's eyes as the world begins to RUMBLE.Trinity hangs up the phone, then turns to Neo.TRINITYNeo, I have to tell you something.I don't know what it means or evenif it matters but I feel I have tosay it.The RUMBLE GROWS, the ground beginning to shake.TRINITYI've never told anyone thisbefore. I think I've been afraidto.Behind her, the PHONE begins to RING.TRINITYWhen I went to the Oracle, shetold me... she told me that I wasgoing to fall in love... But...(CONTINUED) 111.172CONTINUED:172The RUMBLE RISES, drowning her voice. Neo is drawntowards her, their lips close enough to kiss when a TRAINBLASTS into the station.For a moment, they are frozen by the strobing lights ofthe train until Neo whispers in her ear.NEOPromise me you'll tell me therest?She nods as he closes the booth. The PHONE RINGS oncemore before she lifts the receiver when, In the darknessof the far corner, Neo sees the old man in the flashingtrain-light as he becomes --Agent Smith, raising a fistful of black gun-metal.NEONo!The GUN FIRES, the BULLET flying at her, BURSTING throughthe PLASTIC WINDOW just as Trinity disappears.The handset hanging in the air as the BULLET HITS,SHATTERING the EAR-PIECE.173",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOVERCRAFT173Trinity blinks, shivering as her conscious exits theConstruct.TRINITYNeo!TANKWhat the hell just happened?TRINITYAn Agent! You have to send meback!TANKI can't!174",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. SUBWAY STATION - DAY174The destroyed phone dangles in the empty booth. Neoturns to Agent Smith whose gun stares at him like a thirdeye.AGENT SMITHMr. Anderson. 112.175,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MAIN DECK175Morpheus and Trinity stand behind Tank riveted to thescrolling code.TRINITYRun, Neo. Run.176",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SUBWAY STATION - DAY176Neo looks at the dead escalator that rises up behind him.Slowly he turns back and in his eyes we see somethingdifferent, something fixed and hard like a gunfighter'sresolve.There is no past or future in these eyes. There is onlywhat is.177",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MAIN DECK177Trinity is unable to understand.TRINITYWhat is he doing?MORPHEUSHe's beginning to believe.178,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SUBWAY STATION - DAY178Neo whip-draws his gun with the flashpoint speed oflightning as/nobreakspace--Smith OPENS FIRE.GUN REPORT THUNDERS through the underground, both menBLASTING, moving at impossible speed.For a blinking moment we enter BULLET-TIME.Gun flash tongues curl from Neo's gun, bullets floatforward like a plane moving across the sky, cartridgescartwheel into space.An instant later they are nearly on top of each other,rolling up out of a move that is almost a mirroredreflection of the other --Each jamming their gun tight to the other's head.They freeze in a kind of embrace; Neo sweating, panting,Agent Smith machine-calm. Agent Smith smiles.(CONTINUED) 113.178CONTINUED:178AGENT SMITHYou're empty.Neo pulls the TRIGGER. CLICK.NEOSo are you.The smile falls. Agent Smith yanks his TRIGGER.CLICK.Agent Smith's face warps with rage and he attacks, fistsflying at furious speed, blows and counters, Neoretreating as --A knife-hand opens his forearm, and a kick sends himslamming back against a steel column. Stunned, he ducksjust under a punch that CRUNCHES into the BEAM, STEELCHUNKS EXPLODING like shrapnel.Behind him, Neo leaps into the air, delivering a neck-snapping reverse round-house. Agent Smith's glasses flyoff and he glares at Neo; his eyes ice blue.AGENT SMITHI'm going to enjoy watching youdie, Mr. Anderson.Agent Smith attacks with unrelenting fury, fists poundingNeo like jackhammers.179",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOVERCRAFT179Trinity watches Neo as his body jerks, mouth coughingblood, his life signs going wild.TRINITYJesus, he's killing him!180",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SUBWAY STATION - DAY180Agent Smith grabs hold of him, lifting him into the air,hurling him against the curved wall of the train tunnel,where he falls inches from the electrified third-rail.The Agent is about to jump down and press his attack whenhe hears something. From deep in the tunnel, like ananimal cry; a BURST of HIGH-SPEED METAL GRINDING againstMETAL.The sound of an ONCOMING TRAIN.(CONTINUED) 114.180CONTINUED:180Neo tries to get up. Agent Smith jumps down onto thetracks and drop-kicks him in the face. The world againbegins to shake, RUMBLING as a TRAIN NEARS.AGENT SMITHDo you hear that, Mr. Anderson?Agent Smith grabs Neo in a choke-hold forcing him to lookdown the tracks, the train's headlight burning a hole inthe darkness.AGENT SMITHThat is the sound ofinevitability.Neo sees it coming and he starts to fight.AGENT SMITHIt is the sound of your death.There is another METAL SCREECH, much LOUDER, CLOSER, asAgent Smith tightens his hold. Neo is unable to breathe.AGENT SMITHGood-bye, Mr. Anderson.The TRAIN ROARS at them, swallowing Agent's Smith'swords. The veins bulge in Neo's head, as he gritsthrough the pain.He is not ready to die.NEOMy name is Neo.Impossibly, he hurls himself straight up, smashing Smithagainst the concrete ceiling of the tunnel.They fall as the sound and fury of the TRAIN EXPLODESinto the station. Neo backflips up off the tracks justas/nobreakspace--The train barrels over Agent Smith.Neo stands, knees shaking, when the TRAIN SLAMS on itsemergency brake. With an ear-splitting SHRIEK oftortured RAILS, the train slows, part of it still in thestation.Neo turns, limping, starting to run, racing for theescalator/nobreakspace--As the train comes to a stop and the doors of the lastcar open; Agent Smith bursts out in furious pursuit, hisglasses again intact. 115.181",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOVERCRAFT181Tank searches the Matrix.TRINITYWhat just happened?TANKI don't know. I lost him.MORPHEUSHe's on the run/nobreakspace--Suddenly, a SIREN SOUNDS.TANKOh shit!Morpheus bolts to the ladder.182",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COCKPIT182Morpheus climbs into the cockpit. On the hologram radar,he sees the sentinels.TRINITYOh no.Trinity is behind him.TRINITYHow long?MORPHEUSFive minutes. Maybe six.Morpheus lifts the headset.MORPHEUSTank, charge the E.M.P.TANK (V.O.)Yes, sir.TRINITYYou can't use that until Neo isout!MORPHEUSI know, Trinity. Don't worry.He's going to make it. THE MATRIX - Rev. 3/9/98116.183",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CITY STREET - DAY183A BUSINESSMAN walks along the sidewalk, wheeling anddealing into his cell phone when it disappears, snatchedby Neo as he flashes by.MAN (BUSINESSMAN)What the shit/nobreakspace-- my phone!The Man turns to call for help and when he turns back, itis Agent Smith.Neo is in a full-out sprint, spinning and weaving awayfrom every pedestrian, every potential Agent. He flipsopen the cell phone and dials long distance.184",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOVERCRAFT184Tank answers.TANKOperator.NEO (V.O.)Mr. Wizard, get me the hell out ofhere!185",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CITY STREET - DAY185Neo dives down an alley, Agent Smith starting to gain.NEOHurry, Tank! I got some seriouspursuit!186",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOVERCRAFT186The KEYBOARD is CLICKING, Tank searches for an exit.Trinity screams into the headset.TRINITYNeo, you better get your ass backhere!187",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ALLEY187Agent Smith stops and takes aim.NEOI'm trying, Trinity. I'm trying.(CONTINUED) THE MATRIX - Rev. 3/9/98117.187CONTINUED:187A BULLET SHATTERS the image of Neo in a truck's rearviewMIRROR.188",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MAIN DECK188Tank speed-reads the reams of Matrix code.TANKI got a patch on an old exit.Wabash and Lake. A hotel. Room303.189OMITTED189190,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. OPEN MARKET190Neo spins away, turning, and finds himself in an openmarket that teems with people.He kamikazes his way down the/nobreakspacelittle avenues lined withvendors and shops, careening through the labyrinth, out ofcontrol. And at every turn there is an Agent; appearingfrom crowds, behind fish counters, tent flaps and crates.191OMITTED191192",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ALLEY192He dives from the maze/nobreakspacedown a service alley but it is adead end.Neo turns back as the Agents emerge from the market.NEOUh, help! Need a little help!193",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MAIN DECK 193Tank frantically scans the monitor like a road map.TANKThe door.194,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ALLEY194Neo dives for it but/nobreakspace--(CONTINUED) THE MATRIX - Rev. 3/9/98118.194CONTINUED:194NEOIt's locked.TANK (V.O.)Kick it in!Peeling back, Neo almost kicks the door from its hinges,lunging from the Agents' BULLETS.195",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. APARTMENT BUILDING - STAIRCASE195Neo springs up the old crooked apartment building stairs.A195,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. APARTMENT BUILDING - HALLA195He is halfway down the hall, running in sharp, longstrides when a door explodes open at the end.TANK (V.O.)Shit! The door on your left.Neo lurches, kicking in an apartment door.TANK (V.O.)No! Other left!He whirls back to his other left, battering through thedoor which splinters, perforated by BULLETS.An old woman watches TV as Neo blurs past her and intoher kitchen, where another woman is chopping vegetables.TANK (V.O.)That window!Neo throws it open, leaping for the fire escape just as aknife buries itself in the window casing.TANK (V.O.)Down! Down!B195",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. APARTMENT BUILDING - FIRE ESCAPEB195Tumbling down the RATTLING FIRE ESCAPE, Neo leaps thelast ten feet into the alley below with Agent Brown rightbehind him.Neo scrapes himself to his feet, broken and bleeding,charging for the end of the alley. THE MATRIX - Rev. 3/22/98119.196",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MAIN DECK196Finger on the monitor, Tank traces Neo's path.TANKThat's it! You're almost there!That fire escape at the end of thealley!197",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. HEART O' THE CITY HOTEL - DAY197Agent Smith suddenly pauses as if recognizing something;the faded NEON BUZZES: Heart O' The City Hotel.198,SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOVERCRAFT198Tank loads the exit.TANKI'm going to make the call.MORPHEUSDo it!Suddenly, the lights go red.TRINITYNo.Morpheus looks up.MORPHEUSHere they come.199",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SEWER MAIN199The sentinels open and shift like killer kaleidoscopes asthey attack, slamming down on the Nebuchadnezzar.200",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HOVERCRAFT200The hovercraft booms down as they hit. Morpheus opensthe lock on the EMP detonator.Trinity watches him.MORPHEUSHe's going to make it. THE MATRIX - Rev. 3/9/98120.201,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ALLEY - DAY201Neo scrambles up the fire escape, BULLETS SPARKING andRICOCHETING around him as Agents Brown and Jones closethe gap.A201",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HALL - DAYA201On the third floor, he kicks in the window, jumping intothe hall. The doors count backwards: 310... 309...202",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MAIN DECK202Another SYSTEM ALARM SOUNDS.TANKThey've burned through the outerhull.TRINITYHurry, Neo.203",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HALL - DAY203Neo can hear the PHONE RINGING. 305... 304...Agent Brown reaches the broken window behind him just asNeo grabs the handle of 303, throwing open the door tofind/nobreakspace--Agent Smith, waiting, .45 cocked.Neo can't move/nobreakspace-- can't think/nobreakspace--BOOM.204",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MAIN DECK204Neo's body jerks, and everyone hears it as the LIFEMONITORS SNAP FLATLINE.Trinity screams. Morpheus stumbles back in disbelief.(CONTINUED) 121.204CONTINUED:204MORPHEUSNo, it can't be. It can't be.Lasers suddenly sear through the main deck as thesentinels slice open the hull.205",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HALL - DAY205Three holes in his chest, Neo falls to the blue shagcarpeting, blood smearing down the wallpaper. AgentSmith stands over him, still aiming, taking no chances.AGENT SMITHCheck him.206",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MAIN DECK206Amid the destruction raining around her, Trinity takeshold of Neo's body.TRINITYNeo...207",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HALL - DAY207Kneeling beside him, Agent Brown checks his vital signs.AGENT BROWNHe's gone.Agent Smith smiles, standing over him.AGENT SMITHGood-bye, Mr. Anderson.208",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MAIN DECK208In tears, Morpheus takes hold of the EMP switch.Trinity whispers in Neo's ear.TRINITYNeo, please, listen to me. Ipromised to tell you the rest.The Oracle, she told me that I'dfall in love and that man, the manI loved would be the one. Yousee? You can't be dead, Neo, youcan't be because I love you. Youhear me? I love you!(CONTINUED) 122.208CONTINUED:208Her eyes close and she kisses him, believing in all herheart that he will feel her lips and know that they speakthe truth.209",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HOTEL HALL - DAY209He does. And they do.His eyes snap open.210,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MAIN DECK210Trinity screams as the monitors jump back to life. Tankand Morpheus look at each other.It is a miracle.TRINITYNow get up!211,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HALL - DAY211Holding his chest, Neo struggles to get up. At the endof the hall, the Agents wait for the elevator when AgentSmith glances back. He rips off his sunglasses, lookingat Neo as if he were looking at a ghost.Neo gets to his feet, all three Agents grabbing for theirguns. As one, they FIRE.NEONo!Neo raises his hands and the BULLETS, like a cloud ofobedient bees, slow and come to a stop. They hang frozenin space, fixed like stainless steel stars.The Agents are unable to absorb what they are seeing.Neo plucks one of the bullets from the air. We see himand the hall reflected in the bright casing. We MOVECLOSER UNTIL the bullet fills our vision and thedistorted reflection morphs, becoming the ""real"" image.He drops the bullet and the others fall to the floor.Neo looks out, now able to see through the curtain of theMatrix. For a moment, the walls, the floor, even theAgents become a rushing stream of code. 123.212",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MAIN DECK212All three stare transfixed with awe as the scrolling codeaccelerates, faster and faster, as if the machinelanguage was unable to keep up or perhaps describe whatis happening.They begin to blur into streaks, shimmering ribbons oflight that open like windows, as/nobreakspace--Each screen fills with brilliant, saturated color imagesof Neo standing in the hall.TANKHow...?!MORPHEUSHe is the one. He is the one!An EXPLOSION shakes the entire ship.213",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HALL213Agent Smith screams, his calm machine-like expressionshredding with pure rage.He rushes Neo. His attack is ferocious but Neo blockseach blow easily. Then with one quick strike to thechest he sends Agent Smith flying backwards.For the first time since their inception, the Agents knowfear.Agent Smith gets up, bracing himself as Neo charges himand springs into a dive. But the impact doesn't come.Neo sinks into Agent Smith, disappearing, his tie and coatrippling as if he were a deep pool of water.Spinning around he looks to the others and feelssomething, like a tremor before a quake, something deep,something that is going to change everything.Suddenly a SEARING SOUND stabs through his earpiece ashis chest begins to swell, then balloon as/nobreakspace--Neo BURSTS up out of him. And with a final death scream,Agent Smith EXPLODES like an empty husk in a brilliantcacophony of light, his shards spinning away, absorbed bythe Matrix until/nobreakspace--Only Neo is left.Neo faces the remaining Agents. They look at each other,the same idea striking simultaneously/nobreakspace--They run. 124.214",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MAIN DECK214sentinels are everywhere destroying the ship.TRINITYNeo!215,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HALL 215Again he hears her. He reacts to the RINGING PHONE,rushing toward it even as/nobreakspace--216",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MAIN DECK216A sentinel descends towards Morpheus. On the screen wesee Neo dive for the phone as/nobreakspace--TRINITYNow!Morpheus turns the key.217,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. OVERFLOW PIT217A blinding shock of white light floods the chamber;sentinels blink and fall instantly dead, filling the pitwith their cold metal carcasses.218",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOVERCRAFT218In the still darkness, only the humans are alive.TRINITYNeo?His eyes open. Tears pour from her smiling eyes as hereaches up to touch her.And she kisses him; it seems like it might last forever.FADE TO BLACK.FADE IN:219CLOSE ON COMPUTER SCREEN 219as in the opening. The cursor beating steadily, waiting.A PHONE begins to RING.(CONTINUED) THE MATRIX - Rev. 3/9/98125.219CONTINUED:219It is answered and the screen fills instantly with thetrace program. After a long beat, we recognize Neo'svoice.NEO (V.O.)Hi. It's me. I know you're outthere. I can feel you now.We CLOSE IN ON the racing columns of numbers shimmeringacross the screen.NEO (V.O.)I imagine you can also feel me.The numbers begin to lock into place.NEO (V.O.)You won't have to search for meanymore. I'm done running. Donehiding. Whether I'm donefighting, I suppose, is up to you.We GLIDE IN TOWARDS the screen.NEO (V.O.)I believe deep down, we both wantthis world to change. I believethat the Matrix can remain ourcage or it can become ourchrysalis, that's what you helpedme to understand. That to befree, you cannot change your cage.You have to change yourself.We DIVE THROUGH the numbers, surging UP THROUGH thedarkness, sucked TOWARDS a tight constellation of stars.NEO (V.O.)When I used to look out at thisworld, all I could see was itsedges, its boundaries, its rulesand controls, its leaders andlaws. But now, I see anotherworld. A different world whereall things are possible. A worldof hope. Of peace.We realize that the constellation is actually the holesin the mouthpiece of a phone. Seen from inside.NEO (V.O.)I can't tell you how to get there,but I know if you can free yourmind, you'll find the way. THE MATRIX - Rev. 3/9/98125A.220",SENTI +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. STREET - PHONE BOOTH 220We SHOOT THROUGH the holes as/nobreakspaceNeo hangs up the phone.(CONTINUED) 126.220CONTINUED:220He steps out of the phone and slides on a pair ofsunglasses. He looks up and we RISE.HIGHER and HIGHER, until the city is miles below.After a moment, Neo blasts by us, his long, black coatbillowing like a black leather cape as he flies fasterthan a speeding bullet.FADE OUT.THE END",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CARRIER DECK - DAWN 1 1 FIGHTER JETS roll on the silhouetted deck as FLIGHT CREWS work their technical ballet. Men and women devoted to detail and duty, preparing their warriors for the arena. All the while, MUSIC builds over OPENING TITLES as jets LAUNCH into the sky, afterburners blazing, roaring like thunder...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CARRIER ELEVATOR - DAWN A3 A3 AN F-18 silhouetted against the morning sky, rising to the main deck. A HELMET edges into frame, bearing red white and blue stripes along with the name: MAVERICK. BOOM UP TO REVEAL the man holding the helmet, his back to us, his head turned slightly. Something troubles him. Deeply. MAVERICK Talk to me, Goose... MAN’S VOICE (O.S.) Captain Mitchell. And as the pilot turns we MATCH CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. AIRSTREAM - DAY A12 A12 PETE “MAVERICK” MITCHELL opens his eyes from a deep sleep. He sits up, takes a deep breath, taking in the humble trailer he calls home. For those of us who know Maverick from long ago, we’re left to wonder how he ended up here. He stands, moves to the kitchenette to start the coffee machine and, along with, his day.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HANGAR HOME - DUSK 12 12 CLOSE ON the door of Mav’s trailer as he exits, holding a plate with his breakfast and a cup of joe. Pull back with him TO REVEAL: The Airstream occupies a space one could only describe as the ultimate bachelor pad - motorcycles, a vintage car, a workbench covered with memories of a life dedicated to flight and, the centerpiece: A World War Two-era P-51 MUSTANG. If we suspected for a moment that Maverick had ended up on his ass, we were sorely mistaken. TIME CUT: As Maverick eats his breakfast at a small table across from an empty chair. (CONTINUED) Maverick finishes his breakfast, stands, pats the P-51 with affection as he passes her on his way to the workbench. REVEAL: CLOSE SHOTS of Mav’s surroundings (as he dresses in b.g.): TROPHIES and AIRSPEED RECORDS, PHOTOS of a younger Maverick, with ICEMAN, at Ice’s wedding, with GOOSE, CAROLE and their young son BRADLEY. Mav with that same boy as a TEEN. He opens a cabinet lined with jackets. He pulls one out, wrapped in plastic, saved for special occasions, it seems. He rips the plastic off revealing patch laden leather that’s been around a long, long time. Mav passes a calendar, the date marked in red: MACH 9 TODAY He walks past a COLLECTION OF MOTORCYCLES, a beaten up old Pepsi machine, stops at one bike under a tarp. Revealing a familiar ‘86 KAWASAKI NINJA. CLOSE ON: Aviators and a set of keys by a helmet. He takes the keys and sunglasses, leaves the helmet...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HANGAR - DESERT ROAD 13 13 VROOOM. Maverick screams away from the hangar, spiraling dust, taking his machine to the limit.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CHINA LAKE TEST FACILITY - CALIFORNIA - DUSK 14 14 A maximum security military facility. At a gatehouse checkpoint, two ARMED UNIFORMS see him coming, open the gate, wave him through without stopping. They watch him go.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TEST HANGAR - DUSK 15 15 A prototype high-hypersonic jet, THE DARKSTAR, dominates the hangar. It is unlike any machine we’ve ever seen before - itching to scream across the heavens. All it needs is a pilot. Mav strides in, ready to ride it. He stops, sees: Several ENGINEERS (JACK, SIMON & MATTHEW) and TECHS, strangely motionless. Something is amiss. All sense of momentum stops. An amiable, salty Warrant Officer, BERNIE “HONDO” COLEMAN (35), grimaces. MAVERICK Hey. What is it?CONTINUED: 12 12 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 2. MATTHEW (SENIOR) It’s over Mav. Three years of our lives, down the drain. HONDO We’ve been ordered to stand down. They’re scrapping her. MAVERICK Says who? Hondo looks to SIMON, the meek engineer who balks. HONDO Well go on. JACK (JADED) (to Maverick) His girlfriend works at the Pentagon- SIMON (MEEK) She swore me to secrecy- JACK (JADED) Just tell us. HONDO They say we fell short. The contract threshold is Mach Ten. MAVERICK Mach ten. That’s Mach ten two months from now. Today’s test point is Mach Nine. HONDO Well, that’s not good enough for someone at the Pentagon. Maverick focuses on Simon. MAVERICK Who? JACK (JADED) Just say who it is. HONDO Spit it out Simon. JACK (JADED) Go.CONTINUED: 15 15 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 3. SIMON (MEEK) Admiral Cain. MATTHEW (SENIOR) So it really is over. HONDO Of course. The Drone Ranger. He wants our budget for his unmanned program... MAVERICK Well he’s not gonna get it. Not today. SIMON (MEEK) Mav, Cain’s coming down now. He’s on his way to shut us down personally. MAVERICK He’s not here yet. (re: plane) They want Mach ten, let’s give it to them. Get her ready to run up at eighteen-thirty. SIMON (MEEK) The test wasn’t ‘til nineteen hundred. MAVERICK Well, that was before the weather changed. The team looks out at the perfectly calm, clear sky. MAVERICK (CONT’D) Gotta get out early if we want to beat this storm. HONDO That’s... blue sky up there, Mav. MAVERICK Yeah, but dark blue. Ominous. JACK (JADED) (catching on) Ah. Yeah. Downright menacing. MATTHEW (SENIOR) Scary.CONTINUED: (2) 15 15 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 4. SIMON (MEEK) Guys, the weather’s fine, I’ve been checking all d- Matthew gives Simon a shoulder tap. SIMON (MEEK) (CONT’D) Oh... OOOOOH.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SUIT-UP ROOM - TEST FACILITY - DUSK 16 16 State of the art. Maverick runs a treadmill. He wears a HIGH- TECH OXYGEN MASK and heart monitor. Deep, steady breathing. HONDO Don’t do this, Mav. (Mav keeps running) Mav, for God’s sake, you don’t need to do this. She hasn’t passed mach eight point five. She’s months away from ten. There’s no way this ends well. But he doesn’t. He just keeps running. TIME CUT: Mav finishes dressing in a pressure suit. A17 A17 HONDO (CONT’D) Hey, you know, Mike called. He’s out in Reno with all those billionaires racing their P-51s. He’s making money hand over fist fixing warbirds, test flying ‘em, too. He needs guys who know their stuff. We’d be rolling in it. But Maverick isn’t listening.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LONG CORRIDOR - DAY AA17 AA17 DOZENS OF DARKSTAR TEAM MEMBERS - a mix of MEN and WOMEN - CIVILIANS and MILITARY alike, mill about in a long corridor, talking quietly, waiting. A door opens OS and everyone falls silent. All eyes focus on: MAVERICK, clad in his space suit, carrying his oxygen. We follow him from behind, watching as the team parts to let him pass. Hondo falls in step with him. We move with them in profile.CONTINUED: (3) 15 15 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 5. HONDO Now remember. Contact threshold is Mach ten. Not point-one, not point- two. Mach Ten. That should keep the program alive. (off Mav’s nod) I don’t like that look, Mav. MAVERICK Only one I got. And off Hondo’s sigh we CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. TEST HANGAR - NIGHT B17 B17 The Darkstar is rolled from the hangar into tarmac position.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DARKSTAR HANGAR - NIGHT 17 17 CLOSE ON: Mav’s gloved hand stroking the nose of the aircraft. WITH A TECH carrying his O2 unit, Mav does a walk-around inspection of the prototype jet. The engineers look on.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DARKSTAR COCKPIT - NIGHT 18 18 Maverick STRAPS IN the pilot’s chair. TECHS attach cables and hoses, secure Mav to his seat, give his harness a big yank. He fist bumps both of them before they step down. Hondo remains. HONDO Now remember. Contact threshold is Mach ten. Not point-one, not point- two. Mach Ten. That should keep the program alive. (off Mav’s nod) I don’t like that look, Mav. MAVERICK Only one I got. The canopy LOWERS, drowning him out. Mav gives a thumbs-up. 19 19 Hondo glares. Gives a reluctant thumbs-up back and hops down. Maverick takes a deep breath, a moment of apprehension as it sinks in what he’s about to do. MAVERICK (CONT’D) Okay.CONTINUED: AA17 AA17CHERRY 11.25.19 - OFFICIAL 6.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MISSION CONTROL - NIGHT - MOMENTS LATER A20 A20 Hondo now has a headset on, amongst Engineers and Techs watching satellite feeds, cockpit cameras, etc. MAVERICK Control, this is Darkstar. How do you read?",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. COCKPIT/PLANE - NIGHT 20 20 HONDO Darkstar, Control loud and clear, how me? MAVERICK Loud and clear. Ready for APU start. HONDO You know Mav, you don’t have to do this. MAVERICK I know what happens to the program if I don’t. (alt) I know what happens to everyone else if I don’t. (alt) Everyone loses their job if I don’t. (alt) They’ll scrap the whole program if I don’t. (alt) Alright sweetheart, one last ride. HONDO Cleared APU start. Mav presses the APU START button and the left engine whines. MAVERICK Good start. HONDO Ready left engine start. Mav flips switch and the left engine whines. MAVERICK Good start. (CONTINUED)CHERRY 11.25.19 - OFFICIAL 7. HONDO Ready for right engine start. Mav flips switch and the right engine whines. MAVERICK Good start. Darkstar is ready for taxi.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CONTROL ROOM A21 A21 Hondo turns to his engineers. HONDO Thumbs for taxi? The engineers at their consoles give a thumbs up. HONDO (CONT’D) We are ready for taxi. MAVERICK (ON RADIO) Taxi-ing. (to plane) Alright, sweetheart. Let’s go for a ride. With a PRIMAL ROAR, exhaust cones spit plumes of BLUE FIRE. 21 21 INT/",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. COCKPIT - NIGHT 22 22 Mav is on the radio. MAVERICK (ON RADIO) Tower, this is Darkstar, we are taxing with information Alpha. Mav is taxi-ing. TOWER Darkstar, you’re cleared taxi. Runway two-one. Winds two-one-zero at ten. MAVERICK (ALT) Engine temperatures are looking good. HONDO Control concurs.CONTINUED: 20 20 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 8. MAVERICK (ALT) Batteries holding at ninety-five percent. MAVERICK (ALT) (CONT’D) Cabin pressure looks good. MAVERICK (ALT) (CONT’D) Defog set. MAVERICK (ALT) (CONT’D) Hey Hondo, make a note, right main feels a little stiff. HONDO Copy. We’ll make a note. MAVERICK (ALT) I like the new LEDs on the Mach gauge. Good job. HONDO Glad to hear you like it. MAVERICK (ALT) Checking CG control. HONDO Showing good checks. MAVERICK CG at nineteen percent. MAVERICK (ALT (CONT’D) Fuel temp’s are looking good. HONDO Control concurs. MAVERICK (ALT) Hydrogen pressure at thirty-five PSI. MAVERICK (ALT) (CONT’D) Fuel cell’s warming up. Looks like good H2 and oxygen flow. MAVERICK (ALT) (CONT’D) Adjusting helmet temp. Adjusting Suit temp. HONDO Check data on. CONTINUED: 22 22 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 9. MAVERICK (ALT) Recorderâ€��s on. HONDO Good data. MAVERICK (ALT) Nav points check good. MAVERICK (ALT) (CONT’D) IFF on. Squawking one-four-zero- two. MAVERICK (ALT) (CONT’D) Engine oil pressure is looking good. HONDO (ALT) Ready for H2 pressure relief check. MAVERICK (ALT) Switch on. Switch off. HONDO Good check. HONDO (ALT) (CONT’D) Control’s ready for sweeps. Mav moves the stick accordingly. MAVERICK (ALT) Forward. Aft. Left. Right. Paddle switch on. Off. HONDO Good sweeps. MAVERICK (ALT) Control are you ready for flight control test? HONDO Control’s ready for test. MAVERICK (ALT) Test complete. HONDO Control shows good test. MAVERICK (ALT) I’ve got a flight control air data caution.CONTINUED: (2) 22 22 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 10. HONDO Yeah, we’re looking into it. (beat) It looks like we lost a probe. Press reset. Maverick presses reset button. HONDO (CONT’D) Looks like good reset. Cleared to continue. MAVERICK (ALT) Take-off pre-checks complete. Seat armed. HONDO Control concurs. MAVERICK (ALT) Tower, Darkstar is ready for take- off. Requesting unrestricted climb to six-zero-zero and above. TOWER (ON RADIO) Darkstar the runway’s yours. Unrestricted climb to flight level six-zero-zero and above is approved. Contact Joshua on three- six-zero point two. MAVERICK Cleared take-off six-zero-zero and above, switching. MAVERICK (CONT’D) Joshua, Darkstar checking in. JOSHUA (ON RADIO) Darkstar, you’re cleared Isabella and Owens MOAs, test area 25-0-8 above flight level six-zero-zero. Your test frequency is two-four-one point one-two-five. MAVERICK Roger. Darkstar, is cleared Isabella, Owens, 25-0-8 above flight level six-zero-zero. Switching to test. Mav sets the frequency for 241.125. The Darkstar rolls out, lining up on the tarmac. RUMBLING...CONTINUED: (3) 22 22 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 11. HONDO Everyone go for takeoff, starting with engine. SIMON (MEEK) Engine. Go. MATTHEW (SENIOR) Thermals. Go. FUEL Fuel. Go. JACK (JADED) Electric. Go. SURFACES Control surfaces. Go. HONDO (O.S.) Darkstar, Control. Do you feel the need?HONDO (ALT) Darkstar, Control. How do you feel? HONDO (ALT) (CONT’D) Mav, we’re a go. How do you feel? MAVERICK (ALT) I feel the need... Maverick pushes the throttle forward. HONDO (ALT) Maverick, Cain just pulled up to the gate. We got a choice here, we can stop this right now. How do you feel? Maverick thinks this over. MAVERICK (ALT) I feel the need... Maverick pushes the throttle forward. Afterburners kick in. Maverick takes off.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. GATEHOUSE - NIGHT 23 23 A government sedan arrives. The checkpoint guard meets it: CAIN’S AIDE Rear Admiral Chester Cain.CONTINUED: (4) 22 22 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 12. The guard glances at the OMINOUS SILHOUETTE in the back seat and waves the sedan through. Just then, a distant rumbling catches their attention, growing louder, shaking the foundations of the guardhouse. REAR ADMIRAL CHESTER “HAMMER” CAIN, a cold-eyed 2-Star Admiral emerges from the back of his sedan as: DARKSTAR SUDDENLY RIPS OVERHEAD WITH A DEAFENING ROAR. Cain’s driver recoils, hit by a gale force DUST BLAST. Cain himself just closes his steely eyes.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. DARKSTAR - NIGHT 24 24 The ground swiftly recedes behind Mav as he heads skyward...,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MISSION CONTROL - MINUTES LATER - NIGHT 25 25 Hondo and the crew of Engineers and Techs sit with headsets, watching satellite feeds, cockpit cameras, telemetry, etc. HONDO Darkstar, you are cleared above six- zero-zero. Increase to Mach 3.5. MAVERICK (OVER RADIO) Copy, Mach 3.5.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DARKSTAR COCKPIT A26 A26 MAVERICK (to plane) Just a walk in the park for you, though, isn’t it, girl? Maverick pushes the throttle.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MISSION CONTROL B26 B26 Cain walks in. Engineers stand, struggle to act as if nothing’s amiss. HONDO Admiral. Uh, just in time, sir- CAIN I’m early. And so are you. Care to explain?CONTINUED: 23 23 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 13. Awkward looks all around. Hondo never takes his eyes off of Cain as he reaches for the radio. HONDO (into radio) Uh Mav, I have Admiral Cain here... Uh, how’s that storm-front?",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. COCKPIT - NIGHT 26 26 MAVERICK My bad. You guys were right. Looks like it’s breaking up. Guess I’m buying the beers tonight.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MISSION CONTROL - NIGHT 27 27 CAIN Tell him to land. HONDO He’s already at 60,000 feet, sir. On the test profile for Mach nine- CAIN Now. MAVERICK (OVER RADIO) Transitioning to scramjet. (to plane) All right, angel, let your hair down.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT./,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DARKSTAR - NIGHT 28 28 Mav hits switches: main engines SHUT DOWN. An eerie silence, then a THUNDEROUS PEAL as SCRAMJET engine bursts to life. Darkstar ROCKETS into the upper atmosphere, where rapidly thinning air gives way to the blackness of space.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MISSION CONTROL - NIGHT 29 29 The Engineers are rapt, monitoring with nervous tension... HONDO Uh, Mav, Admiral Cain is asking-- CAIN Ordering-CONTINUED: B26 B26 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 14. HONDO Ordering that we bring her down- MAVERICK Pi- -ive -grees -ood -lpha- HONDO This is where we’ve had trouble with comms. Earth’s curvature...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DARKSTAR - NIGHT A30 A30 Maverick is, in fact, simulating the breakup verbally: MAVERICK -assing -ach ive- oint-four at, ninety- -ousan- -eet. -ach six. HONDO (ON RADIO) Mav, you have orders to land. Mav, do you read me? Mav? Mav says nothing, his half-smile turning to pure focus.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MISSION CONTROL - NIGHT B30 B30 HONDO (to Cain) Sir, I apologize- MAVERICK (to himself) Come on sweetheart, let’s show ‘em what you’ve got. MATTHEW (SENIOR) He’s at Mach seven, pushing eight. Flight data? Simon, the meek engineer checks a monitor to reveal a trickle of code unreadable to the untrained eye - gaining speed. SIMON (MEEK) Receiving. Data is good.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT./,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DARKSTAR - NIGHT 30 30 Thin atmosphere screams past Darkstar’s prow, SHEETING INTO FLAME from the concussive friction. Maverick’s in the zone:CONTINUED: 29 29 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 15. MAVERICK (TO SELF) Temperature’s climbing. Responses still stable. We’re feeling good. He’s hitting switches, making minute adjustments. Exertion. Sweat. Airspeed gauges spin upward...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MISSION CONTROL - NIGHT 31 31 MATTHEW (SENIOR) Mach eight point eight. Eight- nine... Mach nine. They share looks of concern. Everyone is sweating. They are into the unknown now... Hondo looks at the flight data monitor, a steady flow now. HONDO He’s the fastest man alive. CAIN This changes nothing. You know why I’m here.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COCKPIT - NIGHT 32 32 MAVERICK Just a little push. And he gently nudges the stick. HONDO (OVER RADIO) Great work, Mav. Bring it on home. Mav stows his final test card, looks to the now-blank board. He shuts eyes, trusts his feel, and whispers: MAVERICK Talk to me, Goose... And he gently nudges the stick.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SATELLITE ALTITUDE - DAY A33 A33 Looking down from space, that Darkstar leaves a contrail in a wide arch across the western half of the U.S.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MISSION CONTROL - NIGHT 33 33 Amidst the celebration, one engineer now notices:CONTINUED: 30 30 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 16. SIMON (MEEK) Mach nine-one... nine-two... Cain steps to the screen with just a hint of a smile. CAIN You got balls there, stick-jockey. I'll give you that.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COCKPIT 34 34 But Mav’s all resolve. He tenses the throttle, JAMS it all the way forward. Gauges roll past Mach 9.3... 9.4...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MISSION CONTROL - NIGHT 35 35 SIMON (MEEK) Mach nine-three... nine-four. Passing one hundred thirty thousand. Approaching high- hypersonic. MAVERICK (ON RADIO) Nine point five. CLOSE ON: One of the tech’s screen flashes a SURFACE TEMP HOT warning.' MATTHEW (SENIOR) Surface temps rising. JACK (JADED) We’re watching it. Hondo looks at Cain who stares back. HONDO Did anyone offer you a coffee?,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COCKPIT - NIGHT 36 36 Scramjet engine SCREAMING like a banshee, PLASMA ripping off the nose, casting a purple glow over the cockpit. The speed gauge keeps rolling and reaches Mach 10. Mav grits his teeth. MAVERICK ALMOST... THERE, GIRL. SHOW ‘EM WHAT YOU CAN DO. MAVERICK (CONT’D) Wind shield hot caution.CONTINUED: 33 33 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 17. MAVERICK (CONT’D) Come on sweetheart, just a little more. MAVERICK (CONT’D) Come on. Maverick looks down at the warning lights. MAVERICK (CONT’D) (yells) COME ON.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MISSION CONTROL - NIGHT 37 37 MATTHEW (SENIOR) Nine-nine... Jesus. JACK (JADED) Mach TEN. The team CHEERS. Hondo notes the data recorder exploding with new data. A gusher. Cain realizes what this means. The geeky engineer pumps a fist: SIMON (MEEK) Put THAT in your Pentagon budget. (catching Cain’s stare) Uh... Sir. But Hondo stares at his monitor. He knows his friend well. HONDO (TO SELF) Arright. You made your point, Mav. Now bring it home.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COCKPIT - NIGHT 38 38 The speed gauge needle trembles ever so higher... MAVERICK That’s it, just a little. 10.1. 10.1... 10.2... MAVERICK (CONT’D) You see? I knew you could do it. But now Darkstar JOLTS VIOLENTLY. WARNING LIGHTS pepper the console, ALARMS buzzing in his ear. He swallows hard: BOOM. Maverick is slammed against the canopy.CONTINUED: 36 36CHERRY 11.25.19 - OFFICIAL 18.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MISSION CONTROL - NIGHT 39 39 All screens go DARK. The stream of flight data vanishes. HONDO (INTO RADIO) MAVERICK? Static. Cain doesn’t say anything. He doesn’t need to. SILENCE,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. TRUCK STOP - DAWN 44 44 A country highway. Some trucks blow past; a tumbleweed rolls.,SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TRUCK STOP - DAWN A46 A46 A bell jingles. One by one, PATRONS take in a sight at the door in awe. REVEAL: Maverick, dazed, parched, helmet in one hand, stick in the other. Patrons stare. A WAITRESS at the counter pours water for a dumbstruck CUSTOMER and his YOUNG SON eating ice cream. MAVERICK Excuse me, miss? Maverick motions towards the ice water she just poured. She hands it to him. He drinks it. All of it. MAVERICK (CONT’D) Where am I? KID WITH ICE CREAM Earth. NOISE O.S. Helicopters. The sound of his fate.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. TEST HANGAR - DAY 46 46 A Navy “Rescue Hawk” HH-60 helicopter lands. Maverick is escorted into the waiting embrace of TWO MPs. Maverick glances back at the heli as it flies away. He sighs, walks away with the MPs to face the music.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LONG CORRIDOR - DAY B47 B47 Mav enters, followed by the MPs. He stops. REVEAL: (CONTINUED)CHERRY 11.25.19 - OFFICIAL 19. Hondo and the same Darkstar team members Maverick left behind are here to greet him. The emotions are mixed; they are proud of what they’ve all achieved, but unsure of the cost was worth it. He moves on. They part for him, offering muted thanks, some words of encouragement. Some can’t even look him in the eye. It is a solemn moment of farewell. The passing of a legend. As he passes the last of them, he stops and looks back. (Note: We stay in the wide so as not to undercut the moment later in Cain’s office) MAVERICK Y’all built one helluva a plane. Bittersweet smiles from the team. Yes they did. Mavericks walks on, ready to face the music. Out on his terms.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HANGAR OFFICE - DAY - MOMENTS LATER 47 47 SILENCE. The SPs flank the door. Cain sits behind a desk, turns page after page of a file. Mav waits, sweating in his flight suit, gently thumbing the stick in his hand. CAIN (looking at file) Maverick... (sighs) Thirty plus years of service... combat medals... citations... the only man to shoot down three enemy aircraft in the last forty years... ALT: distinguished...distinguished. After a long wait, Cain closes the file, stares. CAIN (CONT’D) Yet you can’t get a promotion, you won’t retire and, despite your best efforts, you refuse to die. You should be a two-star admiral by now. If not a senator. Yet here you are... Captain. Why is that? MAVERICK One of life’s mysteries, sir. CAIN This isn’t a joke. I asked you a question.CONTINUED: B47 B47 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 20. He stares, waits. Maverick’s smile flickers ever so slightly. This is the end of the line. Beat: MAVERICK I’m where I belong... sir. CAIN Navy doesn’t see it that way. Not anymore. Cain stands. Stares out the window at the future. CAIN (CONT’D) These planes you’ve been testing, Captain, one day they won’t need pilots at all. Pilots that need to sleep, eat, take a piss... Pilots that can disobey. All you did was buy time for those men out there. (turns to Maverick) The future is coming. And you’re not in it. Without taking his eyes off Maverick: CAIN (CONT’D) Escort this man off the base... take to him to his quarters... wait with him while he packs his gear... (turns away) I want him on the road to North Island within the hour. Beat. MAVERICK North Island... sir? CAIN Call came in with impeccable timing. Right when I was driving here to ground your ass once and for all. It galls me to say it, but for reasons known only to the almighty and your guardian angel... you’ve been called back to Top Gun. Cain turns, sits back at the desk. Even Maverick is confused. MAVERICK Sir- CAIN You are dismissed, Captain.CONTINUED: 47 47 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 21. Maverick stands, hesitates, can’t help himself: MAVERICK On behalf of the team... He plants the DARKSTAR’S STICK on the desk. MAVERICK (CONT’D) Mach 10 capable, sir. As promised. Cain never looks up. Maverick turns to leave, stopping on: CAIN The end is inevitable, Maverick. Your kind is headed for extinction. MAVERICK Yes, sir... But not today. ALT: Maybe so, but not today, Sir. And with a sly grin, Maverick is gone.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. POINT LOMA - DAY 49 49 AERIAL RIPS over Point Loma revealing the North Island NAS, as the TOP GUN ANTHEM theme kicks in.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. NAVAL AIR STATION NORTH ISLAND, CORONADO - DAY 50 50 Maverick rips down a taxiway as an F-18 Super Hornet takes off beyond. He watches it soar. Can’t believe he’s back.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. AIRBASE ENTRANCE A51 A51 Mav rides along an entry drive, stopping to look up at: An old F-14 TOMCAT displayed on a museum pedestal like a relic from a bygone era. CLOSE ON: The faded name just under the canopy: LT. PETE “MAVERICK” MITCHELL Under that are the silhouettes of three planes, all X’d out. Maverick drives on.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. OFFICERS’ BUILDING 51 51 Maverick enters the North Island NAS Headquarters.CONTINUED: (2) 47 47CHERRY 11.25.19 - OFFICIAL 22.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HALLWAY - DUSK 52 52 CLOSE ON: Photos of faces we might recognize: ICEMAN, SLIDER and, of course, GOOSE. For anyone unfamiliar, it’s obvious there is story here - Glory and ghosts. We pass a photo of ICEMAN AND MAVERICK, settle on a prominent photo of: A stern-jawed ADMIRAL TOM KAZANSKY aka ICEMAN. “Commander of the Pacific Fleet”. REVEAL: Maverick, staring at the past. ADMIRAL’S AIDE (O.S.) Captain Mitchell... Captain Mitchell. Maverick snaps from his thoughts.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. OFFICERS’ BOARDROOM - DUSK 53 53 A MONITOR with an image that means little to us now but will come to dominate our thoughts. A HANDSOME, SQUARE-JAWED MAN (40s) steps in front of it. This is: CYCLONE At ease. Captain Pete “Maverick” Mitchell. Your reputation precedes you. MAVERICK Thank you, sir. CYCLONE It wasn’t a compliment. Admiral Beau Simpson. I’m the Airboss. I believe you know Admiral Bates. CLOSE ON: ADMIRAL BATES (55). An affable, brilliant two-star, otherwise known as: MAVERICK Warlock, Sir. I must admit, I wasn’t expecting an invitation back. WARLOCK They’re called orders, Maverick. His tone is friendly enough, but the meaning is clear. No one is exactly excited to see Maverick back. (CONTINUED)CHERRY 11.25.19 - OFFICIAL 23. WARLOCK (CONT’D) You two have something in common. Cyclone here was first in his class back in ‘88. MAVERICK Actually, sir, I finished second. Just want to manage expectations. Awkward silence. Cyclone nods to Warlock who takes a remote and summons images on the monitors on the walls. Warlock clicks through SURVEILLANCE IMAGES of INDUSTRIAL BUILDINGS at the base of a forbidding valley. WARLOCK The target is an unsanctioned uranium enrichment plant, constructed in violation of a unilateral NATO treaty. The uranium produced there represents a direct threat to our allies in the region. The Pentagon has tasked us with assembling a strike team and taking it out before it becomes fully operational. Maverick steps closer, studying the screens as Warlock points to corresponding satellite and archival images, along with a profile of the run: WARLOCK (CONT’D) The plant sits in a recess at the end of this valley. Said valley is GPS jammed and defended by an extensive radar array, serving a limited number of fifth generation fighters which, in turn, are backed up by a plentiful reserve of surplus aircraft; F-16s and even a few old F-14s. CYCLONE Seems we’re not the only ones holding on to old relics. Maverick lets that go. He has to. WARLOCK What’s your read, Captain? MAVERICK Normally, this would be a cake-walk for the F-35’s stealth. But the GPS jamming negates that. CONTINUED: 53 53 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 24. The surface-to-air threat necessitates a low level, laser- guided strike, tailor made for the F-18. I figure two precision bombs minimum. Makes it four planes, flying in pairs. (studies topography) That’s one helluva steep climb out, exposing you to all the surface-to- air missiles. Survive that, it’s a dogfight all the way home. WARLOCK All requirements for which you have real-world experience. MAVERICK Not in the same mission, sir. Beat. Maverick realizes. MAVERICK (CONT’D) Somebody’s not coming back from this. CYCLONE Can it be done or not? MAVERICK How soon until the plant becomes operational? WARLOCK Three weeks. Maybe less. Maverick realizes... MAVERICK Well, it’s a been a while since I’ve flown an F-18... And I’m not sure who I’d trust to fly the other three. Beat. WARLOCK I think you misunderstand, Captain. MAVERICK Sir? CYCLONE We don’t want you to fly it. We want you to teach it. CONTINUED: (2) 53 53 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 25. The words just hang there. MAVERICK Teach... sir... Warlock hits a button and TWELVE PILOT I.D. PHOTOS appear: CYCLONE We’ve recalled twelve Top Gun graduates from their squadrons, all top of their class. You will narrow this pool down to six - the best of the best. They will fly the mission. Maverick’s eyes lock on one face in particular. The stoic face of BRADLEY “ROOSTER” BRADSHAW. CYCLONE (CONT’D) Is there a problem, Captain? MAVERICK You know there is... sir. CYCLONE (glances at screen) Bradley Bradshaw. AKA Rooster. I understand you flew with his old man... What was his call sign? MAVERICK Goose. Sir. CYCLONE Tragic what happened. Warlock is uncomfortable with this: WARLOCK Captain Mitchell was cleared of any wrongdoing. Goose’s death was an accident. CYCLONE That how you see it, Captain? (points to Bradshaw) Is that how Goose’s son sees it? Maverick has had about enough of this shit, but soldiers on. MAVERICK With all due respect, sir. I’m not a teacher.CONTINUED: (3) 53 53 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 26. CYCLONE You were a Top Gun instructor before. MAVERICK Sir, that was thirty years ago. I lasted two months. This is not where I belong. CYCLONE Let me be perfectly blunt. You weren’t our first choice. You weren’t even on the list. But someone put your name in the SECDEF’s ear. We all know who. WARLOCK Captain Mitchell has real-world experience akin to every segment of this operation. CYCLONE What Captain Mitchell has is a friend in the Pacific Fleet. (to Maverick) You’re here at the request of Admiral Kazansky. Iceman is a man I deeply admire. He seems to think you still have something to offer the Navy. What that is, I can’t imagine. You don’t have to take the job, but I should make it clear: This is your last post, Captain. You fly for Top Gun or you don’t fly for the Navy. Ever again. Maverick looks at the picture of Rooster one more time.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. “THE HARD DECK” BAR - DUSK - ESTABLISHING 54 54 An old yacht club converted into a ramshackle shrine to wild nights and Naval history, beneath a big sign (”The Hard Deck”) and a small one (“Help Wanted”).",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HARD DECK - BAR AREA - DUSK 55 55 Quiet. A FEW PATRONS waiting for the evening to kick off. Maverick, in his civvies, sits at the bar, his back to the door. In the corner, he sees TWO YOUNG PILOTS playing darts: JAVY “COYOTE” MACHADO and JAKE “HANGMAN” SERESIN.CONTINUED: (4) 53 53 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 27. Hangman hits three bulls-eyes in a row, smiles, doesn’t crow, takes money from Coyote before making brief eye contact with Maverick - no idea who he’s looking at. CLOSE ON: Mav’s phone buzzes on the bar. The icon photo is that of ICEMAN, in Admiral’s uniform. ICE: That went well. Mav grudgingly responds. M: The kid’s not ready for this mission. ICE: No one is. That’s why you’re here. M: You could have warned me. ICE: Would you have come? Maverick’s thumbs hover, unsure how to reply. Beat. ICE: Sorry I couldn’t be there. M: Where were you? Beat. ICE: Think it over. He sighs, places his phone on the bar. VOICE (O.S.) Of all the gin joints in all the towns in all the world, he walks into mine. He looks up at THE BARTENDER: PENNY BENJAMIN has a striking face with kind eyes that have seen it all - so much that nothing really ever gets her down. MAVERICK Penny. PENNY (sighs) Pete. MAVERICK What are you doing here? PENNY I should ask you the same thing.CONTINUED: 55 55 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 28. MAVERICK Long story. PENNY I doubt that. Who’d you piss off this time? MAVERICK Another Admiral. Speaking of - how’s your father? PENNY Still mad at you. Retired. I moved back to be closer. And I have to admit it was the one place I thought for sure I’d never run into you. MAVERICK I’m just as surprised as you are. How long have you been here? PENNY I bought this place three years a go... You must be in a lotta trouble. No way you’d come back here willingly. (off his look) Well, you’ll sort it out. MAVERICK No, this is... I think this is it. PENNY Come on. You’ve been saying that for thirty years. You said it after my father chased you out my bedroom window. You said it again when they busted you for that high speed pass. Next thing I know you’re off to Bosnia. Then Iraq. Both times. I don’t even remember the charges before they shipped you off to the desert, test-flying God knows what. You get yourself in trouble, Iceman makes a call, you’re back in the air. MAVERICK Penny, this is different.CONTINUED: (2) 55 55 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 29. PENNY Trust me. No matter how improbable it seems right now, somehow you’ll be back in a fighter plane with your tail on fire. MAVERICK Penny- PENNY Too late. MAVERICK What? PENNY You were about to ask me what time I get off. MAVERICK No, I was gonna- PENNY Too late. He just looks at her. PENNY (CONT’D) Don’t gimme that. MAVERICK Give you what? PENNY That look. MAVERICK I’m not giving you a look. I swear. PENNY It’s the only look you got. And this is not happening. MAVERICK I’m not asking. PENNY You never ask. That way I never get to say no. Well, this time it’s no. MAVERICK Penny.CONTINUED: (3) 55 55 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 30. PENNY No. MAVERICK Fine. PENNY Fine. Pause. MAVERICK You look good. PENNY I know. She reaches over and rings a bell, CLANG-CLANG-CLANG-CLANG. The entire bar CHEERS. AN AVIATOR slaps him on the back: FERG Much appreciated, pal. MAVERICK What I miss? Penny points to a “House Rules” sign: MAVERICK (CONT’D) (reads) Disrespect a lady, the Navy, or put your cell phone on my bar... PENNY You buy a round. MAVERICK For everyone? PENNY I’m afraid rules are rules. You’re lucky it’s early. HANGMAN WHAT DO WE HAVE HERE? Maverick follows Hangman’s eyeline to the door. The first of the night’s REVELERS enter, occupying tables, circling the bar, giving the joint a little life. Among them are THREE PILOTS: REUBEN “PAYBACK” FLOYD, MICKEY “FANBOY” GARCIA, and NATASHA “PHOENIX” TRACE.CONTINUED: (4) 55 55 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 31. Maverick watches them over to the pool table with interest.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HARD DECK - POOL TABLE - DUSK A56 A56 HANGMAN Here I thought we were special, Coyote. Turns out the invite went to anyone... Keepin’ it tight, I see, Phoenix. Phoenix smiles, annoyed but patient. As she approaches: PHOENIX Fellas, this here’s Bagman. HANGMAN Hangman. PHOENIX Whatever. (to Payback and Fanboy) You’re looking at the only Naval Aviator on active duty with a confirmed air-to-air kill. Hangman demurs with a bit of false modesty. PHOENIX (CONT’D) Mind you, the other guy was in a museum piece from the Korean War. Hangman’s smile fades. Coyote jumps in to defend. COYOTE Cold war. PAYBACK Same century. FANBOY Not this one. Hangman looks at Coyote. “Thanks for nothing.” COYOTE (to Phoenix) Who’re your friends? PHOENIX Payback, Fanboy, that’s Coyote. (nodding) Who’s he?CONTINUED: (5) 55 55 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 32. COYOTE Who’s who? Phoenix motions, Coyote sees a guy with glasses sitting in the corner - human wallpaper: LT ROBERT “BOB” FLOYD. COYOTE (CONT’D) When did you come in? BOB I’ve been here the whole time. Beat. The other share a look. Bob would have to be invisible for no one to have noticed. And that’s exactly what Bob is. HANGMAN The man’s a stealth pilot. Literally. BOB Weapons Systems Officer, actually. HANGMAN With no sense of humor. Hangman walks away toward the bar as: PHOENIX What do they call you? BOB Bob. PAYBACK No, your call sign. BOB ...Bob. Awkward pause. Phoenix studies him. PHOENIX You’re my new back-seater. Sent from Lemoore. BOB Looks like it. Long pause. No telling what Phoenix thinks about this until: She grabs a pool cue. PHOENIX Nine ball, Bob. Rack ‘em.CONTINUED: A56 A56CHERRY 11.25.19 - OFFICIAL 33.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HARD DECK - BAR AREA - NIGHT B56 B56 Hangman approaches with an empty bottle, gets Penny’s attention. HANGMAN I’ll have six more on the old timer. Maverick sighs, then: PHOENIX BRADSHAW. Is that you? Maverick freezes. Over his shoulder, BRADLEY BRADSHAW, aka ROOSTER, enter. Phoenix strides over with open arms: PHOENIX (CONT’D) This is how I find out you’re stateside? ROOSTER I thought I’d surprise you. He goes to hug her. She feints a punch to his gut, he flinches. PHOENIX Guess I surprised you back. ROOSTER (recovering) It’s good to see you. PHOENIX Good to see you, too. Maverick watches with renewed interest as the pilots settle around the pool table everyone sizing everyone up. All of them are good. They all want to know who’s best. Penny hands Hangman his beers. HANGMAN Much obliged, Pops. He heads back to the other pilots. More people are entering the bar, the night kicking off. Penny sees Maverick watching Rooster. (CONTINUED)CHERRY 11.25.19 - OFFICIAL 34. PENNY Did you see Goose’s son? (off Maverick’s nod) Not gonna say hello? Mav decides he should. Just as he stands, Rooster turns and looks at Mav, as if he knew he was there all along. They stare for a beat, then Rooster turns back to Phoenix. Penny sees this entire thing. MAVERICK How’s about ringing me out before the evening rush. Maverick hands her his card. Penny heads off with it to close him out.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HARD DECK - POOL AREA - DUSK C56 C56 ON THE PILOTS: HANGMAN Bradshaw. As I live and breathe. He hands Rooster a beer. ROOSTER You look good, Hangman. HANGMAN I am good, Rooster. I’m very good. Phoenix and Rooster share a glance. PAYBACK So anybody know what this “special detachment’s” all about? HANGMAN A mission’s a mission. That don’t confront me. What I wanna know is who’s team leader? And which’a y’all have what it takes to follow me? Hangman winks at Rooster, needling him. ROOSTER Hangman, the only place you’ll ever lead anyone is an early grave.CONTINUED: B56 B56 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 35. Hangman looks up from his next shot, stands and walks to Rooster, face-to-face. HANGMAN Anyone follows you is just gonna... run outta fuel. But then that’s you all over, ain’t it... Rooster? Snug on your perch, waitin’ for juuuuust the right moment. That never comes. Cold beat. The song changes. HANGMAN (CONT’D) I love this song. He walks off. Rooster exhales as Phoenix steps up, unimpressed by the high-chesting. Rooster never takes his eyes off of Hangman as: PHOENIX He hasn’t changed. ROOSTER No, he sure hasn’t. ANGLE ON: Hangman stepping to the jukebox, smiles and makes a selection. JOHNNY CASH’ COCAINE BLUES kicks off. The energy in the room shifts. It’s Hangman’s party. Mav makes note of this, shifts his eyes back to Rooster and Phoenix, who are slightly annoyed that it’s too loud to talk now. ON THE PILOTS: FANBOY Check it out. More patches. At the door: a second wave of PILOTS enter. More hot shots. PAYBACK Omaha, Halo, Harvard, Yale... Shit, that’s Fritz. PHOENIX A regular who’s-who. Everyone a top graduate. FANBOY ‘The hell kinda mission is this?CONTINUED: C56 C56 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 36. PHOENIX That’s not the question you should be asking. (off their looks) Everybody here is the best there is. Who the hell are they gonna get to teach us? And a look darkens Rooster’s face as he realizes...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HARD DECK - BAR AREA - NIGHT D56 D56 Penny drops Mav’s card on the bar. PENNY It’s been declined. MAVERICK You’re kidding me. As Maverick sighs, reaches into his pocket: CLOSE ON: A hand grabs a power cord and yanks it from the wall. All of the music in the bar stops. The crowd groans, catcalls, whistles. CLOSE ON: Hands pull up a bench, open the lid of a piano. WIDE SHOT of the crowd, all heads turning as someone starts pounding on the piano. At the bar, Maverick turns and sees Rooster at the piano, playing away, the reaction in the room skeptical. In the back, Phoenix smiles, nods to Payback and Fanboy to follow her. They do, unsure of what’s going on. Hangman stands up from his next shot at the pool table, left alone with Coyote. The party is no longer his. CLOSE ON: Rooster banging away on the keys, finishing the intro. He starts singing. Phoenix joins in, motions for Fanboy and Payback to do the same. It takes a moment, but people in the bar get into it. At the bar, Maverick holds up all the money he’s got. PENNY That won’t cover it.CONTINUED: (2) C56 C56 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 37. MAVERICK (sees the bill, winces) I can come back tomorrow. PENNY (shaking her head) I’m afraid rules are rules. Penny rings the bell, this time like a five alarm fire. Everyone cheers. Whatever that sound is, they love it. CROWD OVERBOAAAAAAAARD. A hand grabs Maverick’s shoulder. He turns to see Hangman, backed by Coyote, Payback and Fanboy. Maverick looks back to Penny. PENNY Great to see you, Mav. She waves him away. Maverick is dragged back, hoisted bodily into the air, carried to the door as the crowd chants: CROWD OVERBOARD. OVERBOARD. At the piano, Rooster plays on, his friends singing. His back to the action, he doesn’t see Maverick being hauled out.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. REAR OF HARD DECK - NIGHT 56 56 The “Over-board” CHANT builds. The back door BLOWS OPEN and Hangman and Payback force Maverick off back steps into the sand. A raucous CHEER erupts inside. HANGMAN Thanks for the beers. Come back anytime. The pilots all laugh and head back in.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HARD DECK - BAR AREA - NIGHT 57 57 Hangman high fives Coyote, greets the other pilots. But his smile fades when the music at the piano changes; the first strains of Great Balls of Fire. The crowd is into it now. Rooster has them in his hand.CONTINUED: D56 D56 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 38. ROOSTER You shake my nerves and you rattle my brains/that kinda love drives a man insane...",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HARD DECK - NIGHT 58 58 Maverick’s headed for his bike, brushing off the sand. He hears the song, turns and looks back at the bar. MAV’s POV. Through the windows, he sees Rooster at the piano.",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HARD DECK BAR - NIGHT 59 59 ROOSTER (O.S.) Your kind, so fine/Got to tell this world that you’re- EVERYONE IN THE JOINT MINE, MINE, MINE, MINE.",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT./,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HARD DECK - NIGHT 60 60 Maverick sees a ghost. From this angle, the kid is a dead ringer for Goose, just as gawky and gangly, loving life. Penny clocks Maverick outside. She looks to Rooster, back to Mav. She knows something of this moment’s significance.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. TOP GUN TARMAC - MORNING 62 62 MUSIC kicks in as jets arrive. Sleek F-18 (Echoes) and doubles (Foxtrots)... Maverick stands in the path of an arriving vehicle. Hondo steps out. As they walk: HONDO I was out. Inches from a clean getaway. MAVERICK Thanks for coming. HONDO Halfway to Reno. A lady waiting for me, too. MAVERICK I need at least one person on my side here.CONTINUED: 57 57 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 39. HONDO She’s an acrobat. Very flexible. MAVERICK I’m never gonna hear the end of this, am I? HONDO No you are not. ‘The hell they got you doing here, anyway? MAVERICK Teaching. Hondo looks at him. Maverick nods, for real. HONDO Teaching what? How to recycle perfectly good airplanes? (Maverick shrugs) At least we won’t be here long. ADMIRAL’S AIDE (PRE-LAP) STAND BY... ATTENTION ON DECK.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TOP GUN DETACHMENT HANGAR - DAY 69 69 All snap to attention. Cyclone watches from the wings as Warlock steps to a podium and addresses: Rooster, Phoenix, Hangman, Coyote, Bob, Payback and Fanboy along with pilots we met briefly in the bar: LT BRIGHAM “HARVARD” LENNOX, LT LOGAN “YALE” LEE, LT CALLIE “HALO” BASSETT and LT NEIL “OMAHA” VIKANDER, along with BILLY “FRITZ” AVALONE. WARLOCK Good morning. Take your seats. (they do) I’m Admiral Bates, NAWDC Commander. Welcome to your special training detachment. You’re all Top Gun graduates, the elite, best of the best. That was yesterday. You’ve all spent your careers flying close air support for troops on the ground with little to no air-to-air threat. Rooster and Phoenix share a look and sit up as Warlock reveals the image of a new enemy fighter.CONTINUED: 62 62 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 40. WARLOCK (CONT’D) The enemy’s new fifth generation fighter has leveled the playing field. Details are few, but you can be sure we no longer possess the technological advantage. Success, now more than ever, comes down to the man or woman in the box. Hangman winks at Phoenix, who just rolls her eyes. WARLOCK (CONT’D) This mission requires two F-18 Echo solo pilots and two Foxtrot dual- seat teams. Half of you will make the cut, half will remain in reserve... One of you will be named Mission Leader. Rooster and Hangman share a glance. It’s on. WARLOCK (CONT’D) Your instructor is a Top Gun graduate with real-world experience in every mission aspect you will be expected to master. His exploits are legendary and he is considered to be one of the finest pilots this program has ever produced. CLOSE ON: Cyclone shakes his head. Jesus. WARLOCK (CONT’D) What he has to teach you may very well mean the difference between life and death. I give you Captain Pete Mitchell, call sign: Maverick. CLOSE ON: Rooster, hearing the name, his expression icy. Phoenix shoots him a concerned glance. She understands the significance of this moment. Or thinks she does. Maverick steps to the podium and the other pilots recognize him immediately. They all squirm, Hangman especially. Maverick looks past Rooster to Hangman and nods as if to say “that’s right.” He raises a thick bound MANUAL: MAVERICK Good morning. The F-18 NATOPS. It contains everything there is to know about your aircraft. What’s the load limit of the F-18?CONTINUED: 69 69 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 41. HANGMAN 7.5Gs. Section Four, Chapter Five. MAVERICK Max airspeed? PHOENIX Mach 1.8. Section Two, Chapter One. Meanwhile, Hondo has sidled up next to Cyclone, whispering: HONDO Sir. Bernie Coleman. They call me Hondo. I work with Maverick. But don’t hold it against me. Hondo smiles. Cyclone doesn’t. HONDO (CONT’D) I’ll stand somewhere else. As he slinks away: Maverick points to Coyote: MAVERICK Lift limit? COYOTE 34 Alpha. MAVERICK (to Fanboy) Maximum role rate. FANBOY Two hundred and twenty five degrees per second. MAVERICK (to Payback) Maximum afterburner. PAYBACK 42,000 pounds of thrust. MAVERICK Max rate of climb, everyone. CLASS Forty-five thousand feet per minute.CONTINUED: (2) 69 69 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 42. MAVERICK So you know the manual/book. Inside and out. Along with the so called limits of your aircraft. ALL TRAINEES BUT ROOSTER Yes, sir/Damn straight, sir/etc. He DROPS his copy of the manual in the trash. The trainees react. Cyclone glowers, throws a look to Warlock. MAVERICK ... So does your enemy. Warlock nods. He’ll deal with it. Cyclone walks out. This is not lost on Maverick or Hondo. HONDO (sotto) And we’re off. MAVERICK What the enemy doesn’t know is you. Your limits. I intend to find them. Test them. Push beyond... Flying faster than the speed of sound with one split second to make a life or death decision requires a level of trust, feel, instinct that doesn’t exist in any manual. And for the first time, Maverick and Rooster make eye contact. MAVERICK (CONT’D) Today we’re going to start with what you only think you know. Show me what you’re made of.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. SKIES ABOVE DESERT - SORTIE 1 - DAY 72 72 An explosion of sound as [TWO F-18S ROAR PAST].,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MAVERICK/ROOSTER/PAYBACK F-18S - INTERCUT - SORTIE 1 73 73 [ROOSTER FLIES FORMATION WITH P/FANBOY ON HIS REAR-RIGHT]. [LEVEL FLIGHT]CONTINUED: (3) 69 69 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 43. MAVERICK (ON RADIO) Good morning, aviators. This is your Captain speaking. Welcome to basic fighter maneuvers. [LEVEL FLIGHT] FANBOY Morning, Sir. They immediately search the sky when they hear Mav. Rooster looks down at his radar: a wide cone shape emanating from the nose of a jet icon, sweeping an empty sky.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MAVERICK'S F-18 - SORTIE 1 - (OLD SC73) A77 A77 [LEVEL FLIGHT] MAVERICK (ON RADIO) As briefed the arena today is a ten mile radius. The hard deck is five thousand feet. ALT for arena: practice area The exercise is dog-fighting and the rules are simple. Working as a team, you have to shoot me down. Or else.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROOSTER'S F-18 - SORTIE 1 - (OLD SC73) B77 B77 [LEVEL FLIGHT] PAYBACK Or else what, Sir? MAVERICK Or else I shoot back.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. READY ROOM - (OLD SC71) C77 C77 An officer’s lounge, complete with bar. A speaker on one wall broadcasts Maverick’s radio like an afternoon football game. The trainees not flying the first sortie are listening to the exercise over a radio on the bar. (They no longer enter). [LEVEL FLIGHT] MAVERICK (ON RADIO) If I shoot either one of you down, you both lose. So cover your wingman.CONTINUED: 73 73 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 44. HANGMAN Who does this guy think he is? HALO Oh, you think you can take him, Hangman? Hangman smiles.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PAYBACK/FANBOY/ROOSTER/MAV F-18S - SORTIE 1 - (OLD SC73) D77 D77 [LEVEL FLIGHT] Pilot masks are off. Rooster cranes his neck warily in every direction. ROOSTER Fanboy, you see him? Fanboy cranes his neck to look around and looks down at the radar. FANBOY No, nothing yet. Nothing on radar. He must be somewhere behind us. PAYBACK Two versus one? He’s gotta be kidding. FANBOY (egging him on) I know, right. ROOSTER He is not kidding, Payback. PAYBACK Sir, what say we put some skin in the game? MAVERICK What do you have in mind? ROOSTER Payback, don’t do it- PAYBACK How about this, Sir? First one to get shot down does two hundred pushups.CONTINUED: C77 C77 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 45. MAVERICK That’s a lotta pushups. FANBOY They don’t call it an exercise for nothing, Sir. ROOSTER Guys. MAVERICK All right. That’s a deal. You ready to go? Fight’s on. Masks go on. Maverick looks up. REVEAL: [MAV IS SNAKING THROUGH VALLEY BELOW THEM.], looking up at their exposed bellies. MAVERICK (CONT’D) Let’s grip and rip. [MAV YANKS BACK ON THE STICK AND SPLITS THEIR FORMATION THROUGH THE MIDDLE.] ROOSTER Shit. [ROOSTER CLIMBS UPWARDS LEFT.] PAYBACK Woah. [PAYBACK JERKS FULL ROLL TO THE RIGHT, THEN DOWN RIGHT.] Fanboy’s head cracks against the canopy, mask half on, almost losing helmet. PAYBACK (CONT’D) Where is he? Where is he? FANBOY I can’t see him. [MAVERICK PIROUETTES TO THE RIGHT INSTEAD OF FLIP AND DIVES AFTER PAYBACK.] [ROOSTER BREAKS WIDE LEFT] and, for a beat, we think he’s running. Payback and Fanboy are sitting ducks with Maverick closing. [P/FANBOY DO A HARD PULL TO THE RIGHT, THEN INTO SCISSORS LEFT/RIGHT.]CONTINUED: D77 D77 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 46. FANBOY (CONT’D) Maverick’s turning on us. He’s right behind us, going for position. ALT: Maverick’s on us, he’s on our tail. ALT: Shit, he’s on us, he’s on us. PAYBACK Rooster, where the hell are you? Maverick is close to a firing position on Payback, seconds away. ROOSTER PAYBACK, BREAK RIGHT ON MY MARK. (beat) 3-2-1 BREAK RIGHT. [PAYBACK BREAKS RIGHT AS ROOSTER FLIES IN FRONT OF MAVERICK BREAKING LEFT.], replacing Payback as Maverick’s target. ROOSTER (CONT’D) (to self) That’s right. Come and get me. Rooster flies with everything he has, furiously fighting. [ROOSTER DIVES DOWN THEN PULLS UP, TRYING TO GET AROUND.] MAVERICK (TO SELF) Nice, saved your wingman. Rooster hustles, pulls a [HYBERMECH TO LEFT]. MAVERICK (CONT’D) Woah. Good move Rooster. Maverick pulls a [HYBERMECH TO LEFT]. MAVERICK (CONT’D) But you sacrificed yourself. Switching to guns. FANBOY (insert directions) PAYBACK Ok, got it.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT.READY ROOM - DAY E77 E77 The pilots are hearing all of this. Hangman loves it.CONTINUED: (2) D77 D77 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 47. CLOSE ON Phoenix.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PAYBACK/FANBOY F-18 - SORTIE 1 - (OLD SCA75) F77 F77 Our first taste of dog fighting shows how physically demanding air combat is. [THE JETS RAPIDLY WEAVE IN AND OUT.] Payback is coming around, trying to get guns on Maverick. [PAYBACK DOES A HARD RIGHT TURN]. Maverick, meanwhile is close on Rooster. Rooster is working hard, fighting for his life. FANBOY (Insert directions) PAYBACK Hang in there Rooster, hang in there, we’re coming for you.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. F-18S - INTERCUT - SORTIE 1 - (OLD SCC75) G77 G77 Rooster hears a loud shrill alarm. He angrily rips off his oxygen. MAVERICK (ON RADIO) That’s a guns kill on Rooster. You’re dead. Knock it off. ROOSTER (pissed) Copy. Knock it off. Payback and Fanboy realize they are too late. PAYBACK Shit. Copy. Knock it off. MAVERICK Head back to base, Rooster. See Hondo about your pushups. [ADD SPECIAL OF MAV BANKING RIGHT.]",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. READY ROOM - HANGAR - DAY 77 77 The class waits in silence. Phoenix stares out the window, Hangman paces. VOICE O.S.: VOICE Fritz, Harvard, Yale... You’re up.CONTINUED: E77 E77 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 48. They nod to one another, psyche themselves up. Payback and Fanboy look out of the window. They take in the lonely sight of Rooster doing pushups. FANBOY It should be us down there. Phoenix joins them. PHOENIX But it’s not. And now you know a little something about Rooster.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. TARMAC - UNDER JETS - DAY 78 78 Fritz, Harvard and Yale step outside and find Rooster sweating through pushups as Hondo paces, keeping count.. HONDO One hundred and ten... one hundred and eleven... Fritz, Harvard and Yale share a smile. HONDO (CONT’D) You best get on up there. Don’t keep the man waiting. HARVARD Hold that tarmac down ‘til we get back, son. Harvard takes a selfie. Rooster just keeps pushing. CLOSE ON Fritz, Harvard and Yale, laughing. INT/",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. MAVERICK’S F-18 / H-YALE’S F-18 - SORTIE 1A MONTAGE A79 A79 Maverick’s jet soars into frame and instantly locks target on Harvard and Yale’s jet.,FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. TARMAC - UNDER JETS - DAY 79 79 Fritz, Harvard and Yale doing push-ups, sweating. HONDO One hundred and twenty, one twenty one...CONTINUED: 77 77CHERRY 11.25.19 - OFFICIAL 49.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. READY ROOM - DAY 80 80 Rooster is sitting. Phoenix comes in at the other side of the room. PHOENIX Hey, you good? Rooster takes a long time to reply. ROOSTER Yeah. VOICE (O.S.) Phoenix, Bob, Hangman. Your turn. PHOENIX With him? Phoenix and Hangman share a look. Neither one wants to fly with the other. HANGMAN With her?",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SKIES ABOVE DESERT - SORTIE 2 - DAY 81 81 Two more majestic F-18s roar towards camera. [RIGHT ESCHELON. HANGMAN IN LEAD, P-BOB RIGHT WING.]",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HANGMAN’S F-18/,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PHOENIX/BOB’S F-18 - SORTIE 2 82 82 [LEVEL FLIGHT] HANGMAN * Say Phoenix, don’t you think your * WSO should have a call-sign? * BOB * I’m right here you know. * HANGMAN * Oh shit, I forgot. Howsabout we * tell people Bob stands for * something? Other than Robert I * mean. * PHOENIX * Don’t take the bait, Bob. Hangman’s * just projecting. * (CONTINUED)CHERRY 11.25.19 - OFFICIAL 50. He’s hates his call-sign. Ever * since Rooster gave it to him. * HANGMAN * I like to think I’ve grown into it. * Now let’s see, Bob. B.O.B... * PHOENIX * Know why Rooster calls him Hangman, * Bob? * HANGMAN * Wait, wait. I know. Baby On Board. * [MAVERICK’S JET SOARS RIGHT BETWEEN THEM], loud and shocking. HANGMAN (CONT’D) (flinches) OH SHIT.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SKIES - DAY - SORTIE 2 83 83 [THE TWO JETS ARE FORCED TO SPREAD AS AN F-18 ROCKETS PAST 16 MILES A MINUTE ON A “KNIFE EDGE”, CANOPY-TO-CANOPY]. [SLIGHT MOVE OUTWARDS, BACK INTO LEVEL FLIGHT.]",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MAVERICK'S F-18 - SORTIE 2 84 84 MAVERICK Greetings, Aviators. Let’s get to work.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MAVERICK'S F-18/,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HANGMAN'S F-18 - SORTIE 2 85 85 They listen as they start to put their masks on.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HANGMAN’S F-18 / PHOENIX/BOB'S F-18 - SORTIE 2 86 86 MAVERICK Fight’s on. They put their masks on. [MAVERICK RIPS INTO A HARD, NOSE- HIGH, RIGHT-HAND TURN.] HANGMAN Phoenix, let’s take this guy out. Break right.CONTINUED: 82 82 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 51. PHOENIX Breaking right. [PHOENIX BREAKS RIGHT AND HANGMAN CLIMBS.] HANGMAN I’m going vertical. [BOB IN HARD BANK RIGHT, IS LOOKING LEFT.] BOB Whereâ€���s he going? MAVERICK That’s a mistake. Cover your wingman, Hangman. ALT: That’s a mistake. Never leave your wingman, Hangman. HANGMAN He called you a man, Phoenix. You gonna take that? PHOENIX So long as he doesn’t call you a man. (beat) Talk to me Bob. Where’s Maverick? BOB Jesus. His nose is already coming around. [P/BOB ARE IN HARD LEFT/RIGHT TO EVADE MAVERICK.] PHOENIX What? BOB He’s coming in for position. He’s on us, he’s on us.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. READY ROOM - SORTIE 2 87 87 The class listens. We focus on Rooster. ROOSTER (WHISPERS) Watch your back, Fee. Rooster curses under his breath.CONTINUED: 86 86CHERRY 11.25.19 - OFFICIAL 52.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SKIES ABOVE DESERT - SORTIE 2 88 88 As [MAVERICK FALLS IN BEHIND PHOENIX AND BOB.] HANGMAN Keep him busy, Phoenix. I’m on my way.",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PHOENIX/BOB’S F-18 - SORTIE 2 89 89 [P/BOB DO A SPLIT “S” TO THE RIGHT.] PHOENIX He’s not gonna catch us. Hang on Bob. BOB ALT: What? ALT: Do it. I’m ready. [PHOENIX MAKES A FIERCE SPLIT-S MANEUVER AND ROLLS RIGHT. BOB HANDLES IT LIKE A PRO. SHE TRIES TO PULL UNDERNEATH MAVERICK.] BOB (CONT’D) Yeah, Phoenix, yeah. Good move, good move. MAVERICK (to self) Woah. Nice move Phoenix. I like your style.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SKIES - DAY - SORTIE 2 90 90 [MAVERICK TURNS LEFT AND DOWN TO GET BACK TO THE OFFENSIVE ON PHOENIX AND BOB.] [MAVERICK IS BACK ON P/BOB’S 6 O’CLOCK.] BOB He’s on us, he’s on us again. He’s still on us. Hangman, Hangman.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PHOENIX/BOB’S F-18 - SORTIE 2 91 91 [P/BOB BANK HARD LEFT/RIGHT TO EVADE MAVERICK.] PHOENIX Where are you Hangman? (CONTINUED)CHERRY 11.25.19 - OFFICIAL 53. [HANGMAN APPEARS BEHIND PHOENIX AND MAVERICK.] HANGMAN I’m right here. BOB Get him Hangman, get him, get him off us. Bob struggles to look back and keep a visual on Maverick. HANGMAN But dammit I can’t shoot him without shooting you. (to himself) Sorry Phoenix. (to Phoenix) Now break right. RIGHT. PHOENIX BREAKING RIGHT. [PHOENIX BREAKS RIGHT]. BOB (looking back) NO, NO, NEGATIVE. BREAK LE-",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MAVERICK’S F-18 - SORTIE 2 95 95 Which puts them right in Maverick’s gunsights. [MAV “FIRES.”] MAVERICK Wrong move, Phoenix. That’s a kill. Knock it off.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PHOENIX/BOB’S F-18 - SORTIE 2 96 96 [LEVEL FLIGHT] Phoenix punches her canopy. PHOENIX Copy, knock it off. Thanks Hangman. BOB Sorry, Phoenix. That was my fault. PHOENIX No, you made the right call. Hangman sold us out. CONTINUED: 91 91 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 54. ALT: No, no, it’s on me. You made the right call. [P/BOB RTB BANK LEFT.]",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HANGMAN’S F-18/MAVERICK'S F-18 - SORTIE 2 97 97 [HANGMAN IN LOOSE ESCHELON RIGHT.] HANGMAN Sir, permission to continue. MAVERICK Now I know why they call you Hangman. Permission granted. You ready? HANGMAN I’ll give you a head start. MAVERICK Generous. Fight’s on. [MAVERICK BREAKS LEFT INTO DITCH LEFT, SWEEP LEFT, DITCH RIGHT, SWEEP RIGHT.]",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. SKIES/,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HANGMAN’S F-18/MAVERICK’S F-18 - SORTIE 2 100 100 Mav does everything he can to shake Hangman, but nothing is working. At first it’s exciting, a challenge. But it isn’t long before Maverick is feeling the heat. [INTO THE RIGHT SCISSORS.] MAVERICK (TO SELF) You’re good. I can’t shake you. ALT: Damn this kid’s good. Can’t shake him. ALT: I can’t shake you, damm you’re good, I’ll give you that. The physical punishment of evasive maneuvering mounts, taking it’s toll as the pursuit stretches on. Maverick is giving it all he’s got. Hangman, on the other hand: HANGMAN (TO SELF) Got it bad, got it bad, got it bad... I’m hot for teacher... MAVERICK (TO SELF) You’re good. But you gave up your wingman. CONTINUED: 96 96 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 55. And just when we think Maverick has reached his breaking point, [MAVERICK GOES SUPERSONIC AND CLIMBS. HANGMAN PURSUES. MAVERICK FLIES DIRECTLY INTO THE SUN.] Maverick looks over his shoulder so he can fly into the sun while keeping an eye on Hangman. MAVERICK (TO SELF) (CONT’D) And you lost your set of eyes. The strain is intense, as is the light. Hangman closes his eyes, flying blind after Maverick, holding his nerve. HANGMAN Phoenix, I can’t see him. How close am I? Phoenix and Bob are masks-off, on the way back to base. [LEVEL FLIGHT] PHOENIX (ON RADIO) I’m dead, dickhead. [LEVEL FLIGHT] BOB (ON RADIO) See you in the afterlife, Bagman. Hangman holds his nerve as long as he can, until: HANGMAN God DAMMIT. [HANGMAN BREAKS RIGHT, LEVELS OUT], opens his eyes, looking around for Maverick. He hears the tone. REVEAL: Maverick is behind him. Hangman punches his canopy, defeated. [MAV PULLS UP ALONGSIDE, SWEATING, WINDED.] MAVERICK That’s a kill. HANGMAN Copy kill. [HANGMAN BANKS AWAY HOME]. As Maverick watches him go, he pulls off his oxygen mask and shakes off the tension. That was a close one. Too close.CONTINUED: 100 100CHERRY 11.25.19 - OFFICIAL 56.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. TARMAC - DAY 101 101 As Phoenix, Bob and Hangman give their two hundred. Hondo listens on radio. MAVERICK (OVER RADIO) You’re smoked there, Omaha. Head on home. Next sortie. Come and get it.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SKIES - SERIES OF SHOTS - SORTIE 3 - DOGFIGHTING MONTAGE 102 102 Two more JETS SOAR, going nose-low to tangle with Maverick... as he puts a jet right in his pipper. MAVERICK That’s guns on you Fritz. Another F-18 is targeted. MAVERICK (CONT’D) Lights out, Coyote. Another. Harvard again. MAVERICK (CONT’D) That’s a kill. Another. Halo again. HALO Copy kill. Another. REMAINING PILOT Copy kill.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. READY ROOM 103 103 Too far away to see who is doing the pushups. It doesn’t matter. One by one they collapse, exhausted. MAVERICK (ON RADIO) All right. You’ve all shown me some real talent. You’ve also proven the very best often have the most to learn. Two of you have my eye for team leader.CHERRY 11.25.19 - OFFICIAL 57.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. READY ROOM 104 104 The class is shattered. Demoralized. Halo, Fritz and Harvard stagger in, wasted. Hondo follows. VOICE (O.S.) Hangman. Rooster. Your presence is requested. They look at one another. Rooster is surprised, but neither man is happy about the pairing. Off their confused looks:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. SKIES ABOVE DESERT - LATER - SORTIE 4 - DAY 105 105 Final sortie. Rooster and Hangman head-to-head with Maverick.,FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. F18S - INTERCUT - SORTIE 4 A106 A106 [TWO F-18’s IN LINE ABREAST FORMATION. ROOSTER ON THE LEFT, HANGMAN ON THE RIGHT.] Both men are tense, eyes peeled. There’s a shark in the water. And they’re lunch. Rooster is looking down. HANGMAN Nothing on radar. Again. ROOSTER He’ll be coming low to high. Hangman is looking back. HANGMAN I’m guessing from behind. ROOSTER Or both. That was some shit you pulled on Phoenix. HANGMAN I just hastened the inevitable. Besides, I paid for it, didn’t I? ROOSTER That’s not the po",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",int. Where the hell is he? MAVERICK (ON RADIO) Right here. Rooster and Hangman instinctively look back and down. (CONTINUED)CHERRY 11.25.19 - OFFICIAL 58. ROOSTER’S POV. He looks down to his right. Nothing. He looks down to his left and is shocked to see the tip of Maverick’s wing.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SKIES - DAY - SORTIE 4 B106 B106 REVEAL: [MAVERICK IS INSIDE THEIR FORMATION, JUST UNDERNEATH THEM. IN THE NEXT INSTANT, HE ROLLS AND SPLITS THEM FROM BELOW. hANGMAN ROLLS AWAY RIGHT. MAVERICK ROLLS OVER THE TOP OF ROOSTER, INVERTED, LOOKING DOWN AT HIM FROM ABOVE.] MAVERICK You boys need to focus. (at Rooster) You ready? ROOSTER Fight’s on. [ROOSTER TURNS THE TABLES AND INVERTS. MAVERICK DOES THE SAME]. Their planes begin falling towards Earth, each trying to out-spiral one another [IN A LEFT SPIRAL].",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MAVERICK'S F-18/ROOSTER’S F-18 - SORTIE 4 106 106 The Gs are intense, the world spinning, a test of endurance. ROOSTER Not this time, Captain. MAVERICK Show me what you got. ALT: Let’s see what you’ve got. But Rooster has no shot. And neither does Maverick. As they continue to fall.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HANGMAN'S F-18 - SORTIE 4 A107 A107 He chases them, unable to make a shot at the two tangling airplanes. [FROM 5000 FT IN LEFT TURN, LOOKING LEFT & DOWN.] HANGMAN ALT: The agreed upon hard deck is five thousand feet. The actual deck is Mama Earth and you are rapidly approaching it. ALT: Hard deck is five thousand feet, Rooster. CONTINUED: A106 A106 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 59. You’re running out of room. ALT: The actual deck is the deck.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. READY ROOM - SORTIE 4 107 107 The class is on their feet, staring at the radio in shock as:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROOSTER AND MAV’S F18S INTERCUT - SORTIE 4 A108 A108 The verbal altimeter is calling out the altitude as they plummet. MAVERICK What are you gonna do Rooster? What’s your move? ROOSTER What does it matter? You’re gonna wash me out anyhow. ALT: You gonna wash me out? MAVERICK Washing out is entirely up to you. ROOSTER That wasn’t always the case, though, was it, Sir? MAVERICK What’s past is past, Rooster. Focus on the enemy up here. ROOSTER You are the enemy. They strain as they plummet and spiral. MAVERICK Well, the enemy’s about to run you into the ground. MAVERICK’S POV - the Earth is coming up fast.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. READY ROOM - SORTIE 4 B108 B108 Close on Phoenix, shocked at how personal this fight is.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HANGMAN’S F-18 - SORTIE 4 108 108 As he watches the planes plummet in a DNA-helix of a spiral.CONTINUED: A107 A107 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 60. HANGMAN (TO SELF) These guys are crazy. (beat) ALT: Guys, guys, pull out. ALT: Guys, guys, watch the deck. ALT: You guys just blew through the hard deck. ALT: Don’t mean to interrupt but ROOSTER. YOU’RE COMING UP ON THE HARD DECK.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SKIES - DAY - SORTIE 4 109 109 [THE SPIRAL CONTINUES], the ground coming up fast.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. READY ROOM - SORTIE 4 110 110 Everyone hears the altimeter dropping.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROOSTER'S F-18 - SORTIE 4 111 111 Both men look at their altimeters dropping rapidly. MAVERICK Copy. Continue. Bail out anytime, Rooster. ROOSTER I can go as low as you, sir. And that’s saying something. The world below them is spinning wildly, coming up fast. Finally [ROOSTER AND MAVERICK BOTH HAVE TO PULL OUT, COMING DANGEROUSLY CLOSE TO THE GROUND], maximum Gs.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SKIES - SORTIE 4 112 112 [MAVERICK BANKS HARD, ROOSTER FALLING IN BEHIND HIM, BACKED BY HANGMAN]. Mav nods approvingly, sotto: MAVERICK Continue. We’re still on. C’mon Bradley, nose down. Just a little lower and you have me.CONTINUED: 108 108CHERRY 11.25.19 - OFFICIAL 61.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HANGMAN'S F-18 - SORTIE 4 A113 A113 HANGMAN Rooster, you got him. You got him. DROP DOWN AND TAKE THE SHOT. TAKE IT. TAKE IT.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROOSTER’S F-18 - DAY - SORTIE 4 113 113 [ROOSTER BANKING HARD, DANGEROUSLY CLOSE TO THE GROUND]. How much lower can he safely go: ROOSTER WE’RE TOO LOW. WE’RE TOO LOW.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MAVERICK'S F-18/,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SKIES - SORTIE 4 114 114 MAVERICK (TO SELF) Sorry, Rooster. [MAVERICK LEVELS OUT, STRIKES WITH A COBRA MANEUVER, FORCING ROOSTER AND HANGMAN TO SPLIT AND OVERSHOOT HIM.] Now Mav’s instantly in chase position for a shot of his own.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. ROOSTER'S F-18 - SORTIE 4 115 115 Rooster hears the tone. MAVERICK That’s a kill.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROOSTER’S F-18 - SORTIE 4 116 116 Rooster seethes, outwitted, but concedes the fight... ROOSTER Copy kill.",FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. READY ROOM - SORTIE 4 117 117 Everyone exhales, shares a collective look. This is next level shit, even for them.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. TARMAC - ELSEWHERE - DUSK 118 118 Close on Rooster, sweating and furious as he does push-ups on the tarmac, punishing himself. (CONTINUED)CHERRY 11.25.19 - OFFICIAL 62. HONDO Alright. That’s enough man. Rooster, that’s enough. Hondo pats Rooster on the shoulder. HONDO (CONT’D) Tomorrow’s another day. Rooster sits up, exhausted. Feet appear next to him. He looks up to see Phoenix above him. PHOENIX What is going on with you? You trying to get kicked out? Breaking the hard deck. Insubordination. That wasn’t you up there. Talk to me. What’s up? ROOSTER Don’t worry about it. PHOENIX I’m going on this mission. But if you get kicked out, you could leave us flying with Hangman. So what the hell was that- ROOSTER HE PULLED MY PAPERS. PHOENIX What? Who? ROOSTER Maverick. He pulled my application to the Naval academy. He set me back four years. Phoenix processes. PHOENIX Why would he do that? Rooster does not answer.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. READY ROOM 119 119 Hangman is staring at something on the wall. HANGMAN Yo, Coyote.CONTINUED: 118 118 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 63. Coyote walks over and follows Hangman’s eyes to a photo from the CLASS OF ‘86. Young Maverick, with Goose beside him. COYOTE The man, the legend. There he is... But Hangman is looking at something else. He points to Goose. HANGMAN No, next to him. He look familiar to you? COYOTE (looking closer) What have we here? Hangman reads the names under the photo: Pete “Maverick” Mitchell and his RIO “Goose” Bradshaw. HANGMAN Bradshaw... CYCLONE (PRELAP V.O.) The hard deck is a parameter set for the safety of my pilots, not to mention their aircraft, aircraft, need I remind you, paid for by the American taxpayer.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CYCLONE’S OFFICE - MOMENTS LATER - MORNING 120 120 Maverick stands, holding a folder in one hand. Warlock and Cyclone sit. The mood is grim. CYCLONE Five thousand feet is not just a rule. It is a law. As immutable as gravity. MAVERICK The hard deck will be much lower for the mission, sir- CYCLONE It does not change without my approval and certainly not in the middle of an exercise. And that cobra maneuver of yours could have killed all three of you. I never want to see that shit again.CONTINUED: 119 119 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 64. WARLOCK What exactly do you suppose you were teaching today, Captain? MAVERICK That as good as they are, they still have something to learn. CYCLONE You’re talking about the best fighter pilots on the planet, Captain. MAVERICK That’s what they’ve been told for their entire careers - while they’ve been dropping bombs from high altitude with little to no dogfighting. The parameters of this mission call for something they’ve never encountered- CYCLONE You have less than three weeks. You will teach them how to fly as a team and how to strike the target. MAVERICK And how to come home. Ugly pause. MAVERICK (CONT’D) And how... to come home, sir. CYCLONE Every mission has its risks. These pilots accept that. MAVERICK I don’t... sir. Cyclone shakes this off, collects the papers on front of him. CYCLONE Every morning from this day forward, you will brief us on your instructional plans, in writing. Nothing will change without my expressed approval. MAVERICK Including the hard deck, sir?CONTINUED: 120 120 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 65. CYCLONE Especially the hard deck, Captain. MAVERICK Sir. Maverick steps forward and places his folder on the desk. CYCLONE What is this? MAVERICK It’s a request to lower the hard deck, sir. To practice the low- level bombing run. Per the mission parameters.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CORRIDOR OUTSIDE CYCLONE’S OFFICE - DAY 121 121 Maverick and Warlock exit, walking in silence for a moment. WARLOCK You could learn a thing or two about timing, Captain. They walk past Phoenix and Bob. Maverick glances back, something crossing his mind before he pushes it away.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HARD DECK - DAY 124 124 Maverick rides his Ninja, passing the Hard Deck. He pulls a U- turn and drives back to the bar.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HARD DECK - BAR AREA - DAY 125 125 Maverick strides in, stops short, a yellow Labrador, “T”, approaches. As he pets it. VOICE (O.S.) Hey, Mav. He looks up, seeing AMELIA (14) sitting at the empty bar, busy with her homework, out of place here. MAVERICK Amelia? AMELIA I know. I got big. Bar opens at five.CONTINUED: (2) 120 120 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 66. MAVERICK Just came to pay off a debt. (confused) Is your m- Amelia puts her pen down, shouts upstairs: AMELIA MOM. MAVERICK How’s your dad? AMELIA With his wife. In Hawaii. Penny enters from a back office. She stops, surprised to see Maverick. AMELIA (CONT’D) Mav says he owes you money. Maverick winces, holds up a wad of cash. PENNY Don’t worry about it. You’ve suffered enough. MAVERICK I insist. Penny knows he won’t budge, accepts the cash. PENNY One thing you can say about Captain Mitchell. He always keeps his affairs in order. AMELIA (realizing) Captain? Still? MAVERICK A highly decorated captain. PENNY (to Amelia) Finish up. We need to get the boat to the yard. AMELIA I can’t go.CONTINUED: 125 125 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 67. PENNY What do you mean you can’t go? AMELIA Test tomorrow. I have to study. (off her look) They only told us today. PENNY I can’t sail her alone. AMELIA Use the engine. PENNY And why are we are we taking her to the yard? AMELIA (remembering) To fix the engine. MAVERICK I can help you. PENNY Mav. MAVERICK Penny. I’m in the Navy.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PACIFIC OCEAN - DAY 126 126 A sailboat slams through whitecaps in high wind. Penny’s at the wheel, with Mav beside her, very out of his element. PENNY Little rougher than I was expecting. MAVERICK You don’t say. PENNY Pump on the backstay and de-power the sails. MAVERICK What does that mean? PENNY You’re supposed to be in the Navy.CONTINUED: (2) 125 125 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 68. MAVERICK I don’t sail boats, Penny. I land on them. PENNY We’re going to flatten the sail. Sort of like raising the flaps on an airplane. MAVERICK To reduce drag. PENNY Exactly. MAVERICK How do I do that? Penny points to a handle by the wheel. PENNY Pump that handle for me. Mav navigates, does as instructed, struggling to stay steady on the pitching deck. PENNY (CONT’D) Now pull on the outhaul. (off his look) That green line there. No, the other one. Maverick navigates uneasily towards a line running under the boom, looks back to Penny. PENNY (CONT’D) Pull it hard. Maverick does as he’s told. The boat begins to stabilize. PENNY (CONT’D) Arright, now we want to take off. What do we need? MAVERICK Lift. She nods, points to the bottom of the mast, farther away. PENNY Pull the Cunningham. (off his look, points) Sorry, the red line.CONTINUED: 126 126 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 69. Maverick pulls the Cunningham and the boat moves faster. PENNY (CONT’D) Then crank that winch there, to trim the jib. Penny points to a winch in the middle of the boat. Maverick moves it with more certainty, cranks the winch. PENNY (CONT’D) What are you adjusting now? MAVERICK Angle of attack. PENNY Right you are. The boat is sailing steady and fast, whitecaps spraying. Maverick smiles. Not so different than flying. Penny cranks a winch by the wheel. PENNY (CONT’D) Ready? MAVERICK For what? PENNY The afterburner. And off Penny’s smile... JUMP CUT as the spinnaker pole is extended. JUMP CUT as Maverick slams the spinnaker bag on the bow. JUMP CUTS as four lines are attached. JUMP CUT to Maverick who “jumps” the spinnaker line, using his entire body to haul the spinnaker up the mast. ANGLE ON Penny hauling in the other end of the line through a cleat to secure it. In this way Maverick and Penny work together, sharing a smile as: BOAT TO BOAT ANGLE: the spinnaker deploys, filling with wind with a dramatic CRACK and pulling the boat along even faster. BACK ON THE BOAT, hauling through the water now. Maverick navigates the deck toward Penny, the sea spraying around him. He takes a place beside her at the wheel.CONTINUED: (2) 126 126 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 70. PENNY (CONT’D) Take her. Maverick eyes the wheel, taking it as Penny steps aside. It takes some effort to hold her steady. After a beat: PENNY (CONT’D) Now you’re in the Navy. They share a smile and look ahead.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. STREETS - DUSK AB127 AB127 Maverick drives Penny on his bike, her arms around his waist. We cruise with them a while. She lays her head on his shoulders, feels the wind in her hair.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PENNY’S HOUSE - DUSK AC127 AC127 They pull up to Penny’s house. Penny climbs off the bike. PENNY Thanks for helping today. MAVERICK Not exactly sure I helped. Awkward silence. Neither is sure how to say goodnight. Until: PENNY Don’t give me that look. MAVERICK What look? She turns and heads for the house. MAVERICK (CONT’D) It’s the only one I got. Penny calls back over her shoulder. PENNY Goodnight. MAVERICK Night. She turns away without a second thought. As Maverick watches her go, he exhales, starts his bike.CONTINUED: (3) 126 126CHERRY 11.25.19 - OFFICIAL 71.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PENNY'S HOUSE AD127 AD127 Penny enters and closes the door behind her before leaning her back against it, letting go of her cool demeanor. She closes her eyes, listening to the sound of Mav’s bike riding away, then hangs her head and exhales, not unlike Maverick. AMELIA (O.S.) Mom, is that you? PENNY Yeah. (to herself) Yeah, it’s me, all right. She shakes her head and exits frame as: MAVERICK (PRE-LAP) Time... is your greatest enemy.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TACTICAL AUDITORIUM - DAY A127 A127 CLOSE ON: The main screen, pulling back from a rapidly ticking timer, counting backwards toward zero... Looming larger on the screen are schematics of: MAVERICK Phase one of the mission will be a low-level ingress, attacking in two- plane teams. You’ll fly along this narrow canyon to your target. Radar guided surface-to-air missiles defend the area. On screen, a schematic of a radar-guided missile array. MAVERICK (CONT’D) These SAMs are lethal, but they were designed to protect the skies above. Not the ground... Not the canyon below. ROOSTER That’s because the enemy knows no one is insane enough to navigate that low at high speed. MAVERICK And that’s exactly what I’m gonna train you to do. (CONTINUED)CHERRY 11.25.19 - OFFICIAL 72. ON HANGMAN who smiles. This is gonna be intense. Overhead animation of two planes zig-zagging through a narrow valley. MAVERICK (CONT’D) Your altitude on the day will be one hundred feet... Maximum. Reactions from the pilots. MAVERICK (CONT’D) Exceed this altitude... Radar will spot you - And you’re dead. As the planes on screen bank, one goes too high... A missile fires and destroys the high plane. MAVERICK (CONT’D) Speed on the day...860 knots. Minimum. Time to target, two and a half minutes. More reactions from the pilots. MAVERICK (CONT’D) (pointing) That’s because these Fifth generation fighters are waiting at an airbase nearby... One screen, schematics of the lethal looking next-gen aircraft. Beside this, animation shows a Tomahawk Missile launch from a destroyer in a carrier group at sea as” MAVERICK (CONT’D) Simultaneous to your ingress, a carrier-based strike will take out this airfield, but if any of these planes are airborne before that, they’ll anticipate your target and immediately move to defend it. In a head-to-head with these planes in your F18s... you’re dead. (more reactions) You want to get in, hit your target and be gone before these planes even have a chance of catching you. This makes time your greatest adversary.CONTINUED: A127 A127 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 73. The canyon, the missiles and the fifth gen planes share the screen now. MAVERICK (CONT’D) The faster you navigate this canyon, the harder it will be to stay under the radar of these enemy SAMs. The deeper you are in the canyon, the less margin for error there will be. The tighter the turns, the more intensely the force of gravity on your body multiplies. Maverick points to various turns on the canyon map. MAVERICK (CONT’D) You’ve all faced sustained Gs before. But this... This will take you and your aircraft to the breaking po",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int. Reactions from the class. Holy shit. MAVERICK (CONT’D) For today’s exercise, we’ll start easy. You’ll be flying a route on your nav-system which simulates the valley. Maximum ceiling: three hundred feet. Time to target: three minutes. Good luck.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. MOUNTAINS - “LOW-LEVEL INGRESS TRAINING” - SORTIE 1 127 127 ZOOM. POV from the nose of an F-18: ripping a BRUTAL SLALOM through canyons and valleys at incredible speed...,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PHOENIX/BOB’S/COYOTE’S F-18S - DAY 128 128 Phoenix/Bob fly behind Coyote, blasting above the rocky desert terrain. Phoenix has one eye on a GPS. A green dot represents their F- 18. A blue line represents the route she has to take. Red lines on either side represent canyon walls. To stay on the line, she has to bank hard, pulling switchbacks with tremendous Gs. In back, Bob has his own GPS, monitoring the clock, making calculations. They are both sweating.CONTINUED: (2) A127 A127 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 74. BOB Time to target is one minute thirty. We’re twenty seconds behind. Increase to 900 knots. PHOENIX We gotta move, Coyote. Sweating, Coyote guns it, banking harder to follow the proposed route. The Gs intensify and the team strains. It’s grueling.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. TRAINING CANYON - DAY 129 129 But he can’t make the turn...,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. COYOTE’S F-18 - DAY 130 130 Coyote yanks back the throttle and hits the brakes. CLOSE ON: The line on Coyote’s’s GPS. He strays too far and over the red line. An alarm blares. COYOTE God dammit.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PHOENIX/BOB’S F-18 - DAY A131 A131 Phoenix comes around the corner to see Coyote’s jet with its airbrakes extended. She yanks on the stick sending her jet into a near vertical climb, breaking the 200 foot ceiling.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TACTICAL AUDITORIUM - DAY - DEBRIEF 131 131 Maverick’s with all the trainees, replaying the TRAINING RUN like a coach breaking down postgame film... MAVERICK (to Coyote) Why are they dead? PHOENIX We broke the 300 foot ceiling. A surface-to-air missile took us out. MAVERICK (to Coyote) No. Why are they dead?CONTINUED: 128 128 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 75. COYOTE I slowed down and gave her no warning. It’s my fault. Coyote feels the eyes of the class on him. MAVERICK Was there a reason you didn’t communicate with your team? Coyote goes to speak. MAVERICK (CONT’D) One that their family will accept at the funeral. Coyote feels the heat. COYOTE None... sir. Then he turns on Phoenix. MAVERICK And why didn’t you anticipate the turn? You were briefed on the terrain. Now Phoenix is the in the hot seat. Rooster stares daggers at Maverick. Maverick points to Bob. MAVERICK (CONT’D) Tell it to his family. Off Phoenix’s look, Hangman smiles.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. TRAINING CANYONS/,FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. F-18S - SORTIE 2 - DAY 132 132 Two more F-18s (Payback/Fanboy and Hangman) TWIST along the imaginary route, dangerously close. High G turns. Sweat. PAYBACK Hangman ease up. Canyon’s getting tighter. HANGMAN Negative. Increase your speed. Payback does so. But Hangman is still pulling away. PAYBACK You’re going too fast, man.CONTINUED: 131 131 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 76. Hangman navigates a tight turn. HANGMAN No harm in being ahead of schedule. PAYBACK DAMMIT, SLOW DOWN- SHIT. Too close to the canyon wall, Payback pulls up, breaking the ceiling. FANBOY We’re too high- An alarm sounds. FANBOY (CONT’D) Radar has a lock. We’re dead.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. TACTICAL AUDITORIUM - DAY - DEBRIEF 133 133 Payback and Fanboy glare at the back of Hangman’s head. MAVERICK What happened? HANGMAN I flew as fast as I could. Kinda like my ass depended on it. MAVERICK And... ROOSTER He put his team in danger and his wingman is dead. HANGMAN They couldn’t keep up. Rooster and Hangman lock eyes. Off Rooster shaking his head:,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. TRAINING CANYONS - SORTIE 3 - DAY 134 134 BOOM: Rooster, backed by Harvard and Yale, screams along the route, cranking and banking. They’re flying with extreme skill and confidence, a polished machine. But: HARVARD We’re ten seconds behind and dropping. Increase to 920 knots.CONTINUED: 132 132CHERRY 11.25.19 - OFFICIAL 77.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROOSTER’S F-18/HARVARD-YALE F-18 135 135 ROOSTER Negative, Harvard. Hold your speed. YALE Rooster, we’re late. ROOSTER We’re alive. We’ll make up time in the straightaway. YALE We’re too far behind. We have to go now. ROOSTER Maintain current speed. We can make it, WE CAN MAKE IT-",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TACTICAL AUDITORIUM - DEBRIEF - DAY 141 141 MAVERICK What did you do wrong? Rooster just stares at him. MAVERICK (CONT’D) Why are you dead? PHOENIX Sir. Maverick looks to her. PHOENIX (CONT’D) He’s the only one who made it to the target. MAVERICK A minute late. He gave the Enemy aircraft time to shoot him down. He’s still dead. ROOSTER You don’t know that. HANGMAN You’re not. Flying. Fast enough. You were team leader up there. (CONTINUED)CHERRY 11.25.19 - OFFICIAL 78. COYOTE Man, on the day, the canyon will be tighter. FANBOY We’ll be pulling even higher G’s, and the missiles will be real. PAYBACK The ceiling will be one hundred feet, time to target, two and half minutes. HANGMAN You don’t have a second to waste. But Maverick has never taken his eyes off of Rooster. ROOSTER We made it to the target. MAVERICK And superior enemy planes intercepted you on your way out. ROOSTER Then it’s a dog fight- MAVERICK Against fifth generation fighters. ROOSTER We’d still have a chance. MAVERICK In an F18- ROOSTER It’s not the plane, it’s the pilot- MAVERICK Exactly. Maverick regrets saying it in the same instant. Ugly pause. Rooster simmers. ROOSTER There’s more than one way to fly this mission, sir. HANGMAN You don’t get it. All eyes turn to him.CONTINUED: 141 141 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 79. HANGMAN (CONT’D) On this mission, a man flies like Maverick here or a man doesn’t come back. (to Phoenix) No offense. BOB Yet somehow you always manage. HANGMAN I don’t mean to criticize. You’re conservative is all. MAVERICK Lieutenant- HANGMAN We’re going into combat, son. On a level no living pilot has ever seen. (pointing to Maverick) Not even him. It’s no time to be letting the past hold you back- MAVERICK Lieutenant-ROOSTER What’s that supposed to mean? Hangman looks around the room, waiting. Finally: HANGMAN I can’t be the only one who knows that Maverick flew with his old man? Or that Maverick was flying when your old man-MAVERICK That’s enough Lieutenant- MAVERICK (CONT’D) Rooster. But it’s too late. Rooster lunges, grabs Hangman’s collar. The class jumps in. In an instant its chaos. Hangman is not fighting back. Rooster is. Maverick, Phoenix and several other have him held tight. HANGMAN (hands up) I’m cool, I’m cool. It’s all good.ROOSTER You sonofabitch. MAVERICK You’re all dismissed.CONTINUED: (2) 141 141 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 80. He snaps, tears himself free of those still grasping him. HANGMAN (to Maverick) You know I’m right. MAVERICK I said you’re dismissed. Hangman pulls himself free and walks out.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. TACTICAL AUDITORIUM - NIGHT 143 143 Mav sits alone at the end of the day. He gets a text from Iceman. Ice wants to see him.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ADMIRAL’S HOUSE - CORONADO COAST - DUSK 144 144 Maverick RIDES up on his bike, arriving at a stately officer’s home right on the ocean. Children are playing the backyard. The sound of laughter. Mav is greeted at the door by SARAH KAZANSKY, (50). SARAH Girls, girls, why don’t you head outside? MAVERICK Sarah. SARAH Maverick. She tries to smile. Can’t. MAVERICK (realizing) It’s come back. SARAH No one knows. He’s still on active duty. MAVERICK Sarah... Her eyes well with tears and he hugs her.CONTINUED: (3) 141 141CHERRY 11.25.19 - OFFICIAL 81.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ADMIRAL’S OFFICE - MOMENTS LATER 145 145 A photo we’ve seen before - Maverick and Iceman on a carrier deck, a moment of triumph from another age. It holds a place of prominence among many happy memories. Children, grandchildren, birthdays, graduations, adventures. OUT THE WINDOW we see the same extended. Happy. Content. Maverick enters quietly. Sarah closes the door behind him. MAVERICK Admiral. REVEAL: A MAN sitting at a desk with his back to us, dressed warmly, too warm for the room, not a blonde hair out of place. His head is turned to the window, watching the children play in the yard. MAVERICK (CONT’D) How’s my wingman? He doesn’t answer. Instead, he turns to the laptop on his desk and types. As Maverick approaches: REVERSE: TOM “ICEMAN” KAZANSKY looks good for his years, if a little tired. It takes a moment for us to notice the bandage around his throat. They share a smile that quickly fades... ON SCREEN: I’m dying. You have bigger problems. MAVERICK (CONT’D) Don’t worry about me. I’ll be fine. What can I do for you. Ice types: I don’t want to talk about me. How’s work? MAVERICK (ALT) (CONT’D) That’s not important now- Ice points to the screen, his eyes adamant. Understanding, Maverick relents. MAVERICK (ALT) (CONT’D) Rooster is still mad at me for what I did. You were protecting him. You did the right thing. (CONTINUED)CHERRY 11.25.19 - OFFICIAL 82. MAVERICK (CONT’D) I thought he would eventually understand why. I hoped he’d forgive me. There’s still time. MAVERICK (CONT’D) The mission is less three weeks away. The kid isn’t ready. Then teach him. MAVERICK (CONT’D) He doesn’t want what I have to give. Ice waves a hand: bullshit. MAVERICK (CONT’D) I shouldn’t be teaching the mission I should be flying it. Don’t ask me to send someone else to die. Don’t ask me to send him. Send me. It’s time to let go. Beat. It pains Maverick to answer. MAVERICK (CONT’D) I don’t know how. Ice waits, knowing not to say anything. MAVERICK (CONT’D) I’m not a teacher. I’m a fighter pilot. A naval aviator. It’s not what I am, it’s who I am... How do I teach that? Ice waits. MAVERICK (CONT’D) Even if I could, it’s not what Rooster wants - it’s not what the Navy wants. That’s why they canned me the last time. You’re the only reason I’m still here. Ice waits. Mav takes a long shaky breath, admitting: MAVERICK (CONT’D) I get it. Rooster’s not the only one holding back. I’m afraid... CONTINUED: 145 145 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 83. If I send him on this mission he might never come home... If I don’t send him... He’ll never forgive me. Either way, I could lose him... forever. Ice waits. Mav looks at the screen. It’s time to let go. And Maverick nods, reaching the core of it, of himself: MAVERICK (CONT’D) I know... I know... Ice stands, but his hands on his friend’s shoulders, struggles to speak: ICEMAN The Navy needs Maverick. That kid needs Maverick. They just don’t want to admit it. That’s why I fought for you. That’s why you’re still here. Maverick is deeply touched. Then realizes: MAVERICK You knew Rooster was on this assignment before you chose me, didn’t you? Busted, Ice smiles. The two friends embrace. MAVERICK (CONT’D) You’re a warrior, Ice. A fighter. CLOSE ON Ice’s face. He knows otherwise. ICEMAN So who’s the best pilot... MAVERICK It’s a nice moment. Don’t ruin it. And the olds friends manage to laugh.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. TACTICAL AUDITORIUM - DAY 146 146 Cyclone walks in to find the room empty. Curious.CONTINUED: (2) 145 145CHERRY 11.25.19 - OFFICIAL 84.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. READY ROOM - DAY 147 147 Cyclone peeks in. Also empty.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. TOP GUN HANGAR - DAY 148 148 Cyclone studies loitering F-18s flanking a deserted hangar.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CORONADO BEACH - DAY 149 149 CLOSE ON: A football. Hands come down into frame, grip it, ready to snap it camera left to camera right. CLOSE ON: A football. Hands come down into frame, grip it, ready to snap it right to left. REVEAL: The pilots are divided into two teams, squaring off in a game of football with one unusual feature: There are two balls. Both quarterbacks snap at the same time. Both teams scramble. In an instant, it is chaos. Maverick is a quarterback on one team, Rooster on the other. Rooster manages to make a pass. Maverick is sacked. In fact, the opposition seems to care more about sacking the teacher than they do about scoring. Yet, in the midst of the hard-hits, we see something we haven’t seen before: camaraderie. Hondo makes an epic attempt at a touchdown despite half the class clinging to him. Hangman looks down at a prone Maverick, relishing a kill. Rooster, walks past, stops, grudgingly helps him up. It is the first remotely friendly moment they have shared. Maverick, a little sore, tenderly heads off field, waving Bob in as his replacement.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HARD DECK BAR - REAR 150 150 Maverick sits in one of two low lawn chairs, watching the chaos, mildly amused. He helps himself to a beer from a cooler as he eyes: Hangman helping Rooster off the ground. Another truce of sorts. Both balls snap and the entire class clashes. Anarchy. Mav smiles. (CONTINUED)CHERRY 11.25.19 - OFFICIAL 85. And a shadow falls over Maverick. Maverick looks up at: MAVERICK Sir. Cyclone is standing just beside Maverick, sunglasses hiding his eyes. He stares at the game, perplexed. CYCLONE What is this? MAVERICK Dog fight football. Offense and defense at the same time. CYCLONE And who’s winning? MAVERICK Oh, they stopped keeping score a long time ago. CYCLONE This detachment has training to do, Captain. Every available minute counts. MAVERICK Yes, sir. CYCLONE Then why am I looking at this clown show? MAVERICK You asked me to build a team, sir. There’s your team. Cyclone looks again. The cadets are split into two huddles, strategizing, working together. They break for the next play. CYCLONE The mission has been moved up one week. Last phase of training starts tomorrow. And he walks away, taking with him any sense of accomplishment the day has produced. Maverick looks back at the class, Rooster’s team rallying around him.CONTINUED: 150 150CHERRY 11.25.19 - OFFICIAL 86.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HARD DECK B152 B152 Maverick walks up the beach behind the pilots, keeping the news to himself. PENNY (O.S.) You’re good with them. He turns, sees Penny standing by the back door of the Hard Deck. PENNY (O.S.) (CONT’D) If I didn’t know better, I’d say you’re taking to this job. Maybe even enjoying it. MAVERICK I’ve always liked football. PENNY That’s not what I mean and you know it. (off his look) If you’re not careful you could find yourself getting used to this. Mav considers this. Nods, uncomfortable. PENNY (CONT’D) You okay? MAVERICK I’m okay, it’s just... Time, you know? There’s never enough. PENNY That’s for sure. They stare at one another for a while.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PENNY’S HOUSE - NIGHT 153 153 Maverick and Penny arrive on Maverick’s bike. Penny climbs off. A bit of a pause. Easier now. She turns toward the house. Maverick looks away, exhales. PENNY You coming or not? (CONTINUED)CHERRY 11.25.19 - OFFICIAL 87. He looks and sees her waiting by the door. He’s not sure how to respond. Penny heads inside. Maverick climbs off his bike and follows.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PENNY'S HOUSE - BEDROOM - NIGHT 154 154 Maverick and Penny lie in bed, laughing quietly. * MAVERICK * Should I go? Before Amelia gets * back. * PENNY * She’s staying at a friend’s * tonight. * MAVERICK * You two seem (even/a lot) closer * than the last time I saw you. * (off her nod) * How’d you manage? * PENNY * Well you know Amelia has a mind of * her own. * MAVERICK * Where’d she get that I wonder? * PENNY * And she wanted more freedom than I * thought she was ready for. But, I * realized I had to trust her and let * her make her own mistakes. * MAVERICK * Not an easy choice. * She sees the look on his face, understands. * PENNY * Is that what happened with Rooster? * He looks at her, realizes she sees everything. * MAVERICK * I stood in his way... I pulled his * papers at the academy, took years * off his career. * PENNY * Why? *CONTINUED: 153 153 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 88. MAVERICK * His mother never wanted him to fly. * Not after what happened to Goose. * She made me swear to her before she * died. So... * PENNY * Does Rooster know that? * MAVERICK * He’ll always resent me for what I * did. Why should he resent her too? * PENNY * Not an easy choice. * MAVERICK * I didn’t know what else to do. I * just... I was trying to be the * father he lost. I just wish I’d * handled it better. * Penny touches his cheek. He sighs. * MAVERICK (CONT’D) * The truth is, I didn’t think he was * ready... * PENNY Is he ready now? MAVERICK He’s a great pilot. He has the instincts. But he’s too careful. (sighs) He’s flying with his father’s ghost up there. I know a thing or two about that. Long pause. Penny is about to respond when: AMELIA (O.S.) Mom, I’m home. They freeze. PENNY Thought you were staying at Karen’s tonight. AMELIA (O.S.) Karen’s sick and I have homework to do.CONTINUED: 154 154 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 89. Mav and Penny share a look, quietly. MAVERICK I should go. PENNY Yeah. He leaps up, pulls on his pants and shirt. PENNY (CONT’D) (to Amelia) Did you have dinner? AMELIA (O.S.) Not yet. Wanna go out? PENNY No, no. I’ll make you something. Maverick heads to the stairs. PENNY (CONT’D) Not that way. MAVERICK What? And Penny’s nods to the open window. Beat. MAVERICK (CONT’D) You’re can’t be serious. PENNY I am serious. I have an example to set and I’m not in the habit of bringing men home on the first date. MAVERICK This is not a first date. But Penny goes back for Mav’s jacket and gives it to him. Pushing him out. He just stares. He can’t believe he’s doing this. He starts to climb out, looks back. MAVERICK (CONT’D) Fine. But this is the last time I go out your window. She smiles and they kiss.CONTINUED: (2) 154 154CHERRY 11.25.19 - OFFICIAL 90.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PENNY'S HOUSE - NIGHT 155 155 Maverick’s drops to the ground, rolls, picks himself up. He turns, brushing himself off, coming face to face with: Amelia, in the kitchen, seeing him through the window. After an awkward moment. AMELIA Just don’t break her heart again. And she turns away, leaving Maverick to process that. WARLOCK (PRELAP) Morning... The uranium enrichment plant that is your target will be operational earlier than expected. Raw uranium will be delivered to the plant in ten days time.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TACTICAL AUDITORIUM - DAY 156 156 Warlock addresses the class. Maverick is off to one side. WARLOCK To avoid contaminating the target valley with radiation, your mission has been moved up one week. (alt) Your mission has been moved up one week to avoid contaminating the target valley with radiation. Reactions from the class. This is bad. COYOTE Sir, no one here has successfully flown the low level course. WARLOCK Nevertheless, you have been ordered to move on. Captain. As the class absorbs this, Warlock nods to Maverick. MAVERICK We have one week left to focus on phase two - the most difficult stage of the mission: a pop-up strike with a steep dive requiring nothing less than two consecutive miracles. (CONTINUED)CHERRY 11.25.19 - OFFICIAL 91. AN EXPLOSION OF SOUND TAKES US TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. CALIFORNIA DESERT - “POP-UP TARGETING TRAINING” 157 157 Two F-18s blast low over ground pockmarked by scrub brush.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROOSTER’S/PHOENIX & BOB’S F18S - SORTIE 1 - DAY 158 158 [LEVEL FLIGHT] [RIGHT ESCHELON, RIGHT TO LEFT SCREEN DIRECTION] ROOSTER and PHOENIX/BOB are [FLYING AS A TEAM], heading toward a U-shaped cluster of RUSTED SHIPPING CONTAINERS. MAVERICK (V.O.) Two pairs of F-18s will fly in a welded wing formation.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HANGMAN/PAYBACK & FANBOY’S F18S - SORTIE 2 - DAY 159 159 [LEVEL FLIGHT] [RIGHT ESCHELON, RIGHT TO LEFT] In a separate sortie, Hangman and Payback/Fanboy fly at the same target: A small STEEL TARGET DRUM behind the containers. MAVERICK (V.O.) Teamwork - the precise coordination of these aircraft - is essential to both the mission’s success, and your survival.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TACTICAL AUDITORIUM - BRIEF 160 160 On the main screen, a simulation of the mission plays out in slow, deliberate motion as Maverick speaks. [LEVEL FLIGHT] [RIGHT ESCHELON, RIGHT TO LEFT] MAVERICK As you know, the plant rests between two mountains. To maintain the lowest possible altitude, you’ll invert directly into a steep dive. Your target is an impact point less than three meters wide. CONTINUED: 156 156 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 92. The aircraft in the simulation climb a mountain and roll onto their backs at the peak before diving, upside down. They roll upright and dive steeply.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. CALIFORNIA DESERT/,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. F18S - SORTIE 1&2 - INTERCUT 161 161 [LEVEL FLIGHT] [RIGHT ESCHELON, RIGHT TO LEFT] Both teams’ aircraft fly in tandem mimicking this maneuver. [CLIMB A MOUNTAIN AND ROLL ONTO THEIR BACKS AT THE PEAK BEFORE DIVING UPSIDE DOWN. THEY ROLL UPRIGHT AND DIVE STEEPLY.] Of course, they do so without mountains in their way.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TACTICAL AUDITORIUM - BRIEF 162 162 [LEVEL FLIGHT] [RIGHT ESCHELON, RIGHT TO LEFT] MAVERICK The two-seat aircraft will paint the target with a laser bullseye. The lead single seat will breach the reactor by dropping a laser- guided bomb through an exposed ventilation shaft on the surface. That’s miracle number one. In the simulation, the first team’s bomb hits and the planes pull out. MAVERICK (CONT’D) Second team delivers the killshot. The second teams’ bomb hits and the target is destroyed. MAVERICK (CONT’D) Miracle number two.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. CALIFORNIA DESERT/,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. F18S - SORTIE 1&2 - INTERCUT 163 163 The teams dive, again without mountains, toward the shipping containers that guard the target. MAVERICK (V.O.) If you can’t hold your dive, if you lose your laser lock, you’ll miss. CONTINUED: 160 160 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 93. Hangman and Payback miss the target. HANGMAN That’s a miss. Goddamnit. Do your job. MAVERICK If either teams misses... You fail. Rooster and Phoenix, in a separate sortie, miss. Dammit. ROOSTER That’s a miss. That’s a miss. Rooster flips off mask. ROOSTER (CONT’D) Sorry Bob. That’s on me.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TACTICAL AUDITORIUM - BRIEF 164 164 [EVERYONE POPS UP, ROLL LEFT, OVER THE TOP INVERTED, ROLL RIGHT TOWARDS THE TARGET.] On the screen, the animated planes arc upward an out of the deep valley as: MAVERICK (O.C.) Egress is a steep, high G climb out. And this is where you’ll be at your most vulnerable. Rooster and Phoenix/Bob pull back as hard as they can, crushed into their seats, heads pinned back. Hangman and Payback, in a separate sortie, do the same. [INTERCUT AS BOTH PLANES CLIMB], as pilots are strained to the point of breaking.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TACTICAL AUDITORIUM - BRIEF 165 165 In the simulation behind Maverick, an animated pair of aircraft fly into the valley and fail to make the climb. They fly smack into the side of a mountain. MAVERICK This... is coffin corner. The class share looks. This is bad.CONTINUED: 163 163 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 94. MAVERICK (CONT’D) (pointing) Should you manage to avoid this mountain, you’ll climb straight up, into enemy radar, losing all your airspeed. Within seconds, you’ll be fired upon by enemy SAMs. Animated planes climb into a hailstorm of SAMs. They take evasive action and dive immediately. MAVERICK (CONT’D) How fast you can dive back down into the canyon, will mean the difference between life and death. Phoenix stops Maverick mid-brief. HANGMAN A climb like that, at that speed, we’ll be pulling at least eight Gs. MAVERICK Nine. Minimum. ROOSTER The stress limit of the F18s airframe is 7.5 Gs. Rooster stares at Maverick. Neither man blinks. MAVERICK That’s the accepted limit. To survive this mission you’ll have to pull beyond that, even if it means bending your air frame. He points to the animation of lethal looking SAMs firing on climbing F-18s on the screen: MAVERICK (CONT’D) Climbing out of that canyon, you’ll be a sitting duck, with SAMs coming at you from all directions.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. CALIFORNIA DESERT/,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. F18S - SORTIE 1&2 - INTERCUT 167 167 Both teams strain desperately [PULLING OUT], dramatizing what Maverick describes [RIGHT ESCHELON, RIGHT TO LEFT]:CONTINUED: 165 165 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 95. MAVERICK (V.O.) You’ll weigh close to two thousand pounds, fighting with everything you have just to keep from blacking out, your lungs imploding like an elephant is sitting on your chest - your skull crushing your spine. (Note: Important we include PILOT POV establishing gray-out in the lead up to G-LOCK)",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TACTICAL AUDITORIUM - BRIEF A170 A170 And we’re back. The reality of this hitting home. Maverick points to the canyon map on the screen. MAVERICK Your only chance of survival will be to get what’s left of your aircraft below radar again. Then follow this canyon back to the carrier. (to Hangman) Kinda like your ass depended on it. (to class) That’s if you strike the target on time. If you don’t, you may have an even bigger problem to contend with. Maverick clicks a remote. On the screen, the enemy’s vaunted fifth generation fighter appears. MAVERICK (CONT’D) You’ll be flying in a damaged F18 against one of the most lethal fighter planes ever produced. After an ugly silence: PHOENIX Sir... is this even achievable? MAVERICK (V.O.) In the end, the answer to your question will come down to the pilot in the box. And Maverick looks to Rooster, which in turn takes us to:CONTINUED: 167 167CHERRY 11.25.19 - OFFICIAL 96.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CALIFORNIA DESERT - POP UP SORTIE 3 170 170 [LEVEL FLIGHT] [RIGHT ESCHELON, RIGHT TO LEFT] In the distance, [TWO F-18S STREAK TOWARDS] the target. In the foreground, [MAV’S BLACK F-18 RISES INTO FRAME ] on a course to intercept.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COYOTE - PHOENIX/BOB F18S INTERCUT - POP UP SORTIE 3 A171 A171 Coyote in the lead, backed by Phoenix and Bob. BOB We’re twelve seconds late on target. We gotta move, we gotta move. COYOTE (agitated) I’m going as fast as I can. MAVERICK Blue team, you are spotted. Radar beeps. BOB Bandit, Bandit. Radar contact. 20 miles left, ten o’clock. He’s coming fast. 700 knots closure. COYOTE Shit, it’s Maverick. PHOENIX Stay focused. [MAV APPROACHES FROM PILOTS’ 10 O’CLOCK. PILOTS’ EYELINE IS 10 O’CLOCK.] BOB He’s swinging around to the north. COYOTE What do you want to do? (beat) What do you want to do? (CONTINUED)CHERRY 11.25.19 - OFFICIAL 97. PHOENIX Continue. We’re close. Stay on target. Be ready on that laser, Bob. BOB On it.. Bob reaches for a button/knob, constantly working. COYOTE Popping in 3-2-1.PHOENIX Popping in 3-2-1.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. CALIFORNIA DESERT/,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. F18S - POP UP SORTIE 3 171 171 [COYOTE, P/BOB SCREAM INTO THEIR WELDED WING POP-UP MANEUVER, ARCING INTO THE SKY AND THEN ROLL OVER TO MAKE THEIR 45 DEGREE DIVE.] Maverick is approaching... COYOTE Talk to me, Bob. Where is Maverick? BOB I’m a little busy right now. PHOENIX WE GOT THIS COYOTE. Bob paints it with his laser. BOB CAPTURED. COYOTE GOT IT. BOMBS AWAY. But as he hits his payload trigger a WARNING LIGHT flashes: “MALFUNCTION.” He tries again. And again. COYOTE (CONT’D) DAMMIT. HUNG BOMB. HUNG BOMB. Coyote curses under his breath, [PULLS OUT OF THE STEEP DIVE], Phoenix and Bob close behind, straining under the intense Gs. Suddenly, an ALARM BLARES in Phoenix’s cockpit. BOB (OVER RADIO) MAVERICK’S GOT MISSILE LOCK ON US.CONTINUED: A171 A171 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 98. PHOENIX (ON RADIO) Shit, we’re dead. [PHOENIX PEELS OFF RIGHT.] Meanwhile, [COYOTE PULLS BACK ON THE STICK WITH ALL HE’S GOT.]",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. TACTICAL AUDITORUM - POP UP SORTIE 3 A196 A196 Coyote’s plane crosses the imaginary line.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MAVERICK’S F-18 - DAY - POP UP SORTIE 3 B196 B196 MAVERICK That’s a fail, return to base, Coyote.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COYOTE’S F-18 - DAY - POP UP SORTIE 3 C196 C196 But Coyote is determined. He keeps pulling, harder still. And we realize something is wrong. MAVERICK (ON RADIO) Coyote, do you copy? CLOSE ON: Coyote’s eyes. Pinned. COYOTE’S P.O.V. The world outside is subtly pixilated, the periphery going gray, tunnel vision creeping in. Coyote is blacking out. [COYOTE ROLLS LEFT IN A PASSED OUT ROLL.]",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MAVERICK’S F-18 - DAY - POP UP SORTIE 3 196 196 Maverick sees [COYOTE’S NEAR-VERTICAL JET START TO NOSE OVER.] MAVERICK COYOTE, LEVEL WINGS.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TACTICAL AUDITORIUM - DAY - POP UP SORTIE 3 197 197 The others watch [COYOTE’S PLANE START TO ROLL]... Cyclone steps closer, knowing something is wrong.CONTINUED: 171 171CHERRY 11.25.19 - OFFICIAL 99.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SKIES OVER RANGE - DAY - POP UP SORTIE 3 198 198 [COYOTE’S F-18 IS INVERTED, HEADED BACK FOR THE GROUND.]",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. PHOENIX-BOB’S F-18 - DAY - POP UP SORTIE 3 200 200 PHOENIX HE’S IN G-LOC. HE’S GOING IN.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SKIES OVER RANGE - POP UP SORTIE 3 202 202 [MAVERICK DIVES LEFT AFTER COYOTE TARGETING HIS PLANE.] [P/BOB FOLLOW FALLING IN TIGHT FORMATION WITH MAV.] MAVERICK Come on, come on... gimme tone, you sonofabitch.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COYOTE'S F-18 - POP UP SORTIE 3 203 203 Coyote is half in, half out of consciousness. A WARNING ALARM SCREAMS in his cockpit, rousing him back from the brink. COYOTE’S POV, the ground coming up fast. [COYOTE YANKS BACK ON THE STICK AND REGAINS CONTROL] , breathing heavy. COYOTE I’m okay, I’m okay. I’m good...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MAVERICK’S F-18 - DAY - POP UP SORTIE 3 A204 A204 [LEVEL FLIGHT] [RIGHT ESCHELON, RIGHT TO LEFT] Mav pulls off his oxygen mask, exhales relief. [P/BOB APPEAR BESIDE MAVERICK’S JET.] PHOENIX (sigh of relief) That was close. MAVERICK Let’s return to base.CHERRY 11.25.19 - OFFICIAL 100.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TACTICAL AUDITORIUM - DAY - POP UP SORTIE 3 B204 B204 Cyclone, with Warlock, Hondo and the class, stares as this plays out on SCREENS.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MAVERICK’S F-18 - POP UP SORTIE 3 C204 C204 Maverick hears a BANG, looks around. What the?",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PHOENIX/BOB'S F-18 - POP UP SORTIE 3 D204 D204 Phoenix is still giving it her all when BANG. [BANKS LEFT INTO SLOW LEFT ROLL.] ALARMS BLARE. Bob’s instrument cluster lights up. BOB ENGINE FAILURE, LEFT ENGINE IS OUT. Phoenix, climb. PHOENIX Climbing. Phoenix pulls back on the stick. Bob looks over his shoulder to see the LEFT engine is on fire. BOB We’re on fire, we’re on fire. PHOENIX Throttling back. Shutting off fuel. Extinguishing fire. Phoenix pulls back on throttle and activates the fire extinguisher switch. BOB We’re losing the right engine. PHOENIX It’s still spinning. I’m gonna try to restart it. Phoenix flips the APU switch and pushes the right throttle forward. PHOENIX (CONT’D) APU on.Throttle up. (CONTINUED)CHERRY 11.25.19 - OFFICIAL 101. Nothing happens. PHOENIX (CONT’D) Shit. Trying again. She tries the APU and throttle again. But suddenly, with a BANG, the right engine now CATCHES FIRE.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MAVERICK’S F-18 - DAY - POP UP SORTIE 3 E204 E204 [MAVERICK SEES PHOENIX’S JET VEERING.] BOB (ON RADIO) RIGHT IS OUT. PHOENIX Goddamnit. MAVERICK Oh my God.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TACTICAL AUDITORIUM - DAY - POP UP SORTIE 3 F204 F204 Everyone watches, helpless... Rooster stands, powerless. All he can do is watch.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. PHOENIX/BOB'S F-18 - DAY - POP UP SORTIE 3 G204 G204 [PHOENIX STRUGGLES TO REGAIN CONTROL OF THE PLANE.] BOB I’ve got every warning light lit up back here. PHOENIX We lost hydraulics. I can’t control it. [P/BOB JET STARTS TO ROLL OFF RIGHT.] MAVERICK (OVER RADIO) EJECT. EJECT.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TACTICAL AUDITORUM - POP UP SORTIE 3 H204 H204 ROOSTER PHOENIX, EJECT.CONTINUED: D204 D204CHERRY 11.25.19 - OFFICIAL 102.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. SKIES OVER RANGE - POP UP SORTIE 3 204 204 Phoenix’s grabs the handles. The canopy blows. She and Bob are ejected one after the other seconds before their jet COLLIDES with the desert floor and EXPLODES.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MAVERICK’S F-18 - POP UP SORTIE 3 205 205 Maverick watches the two chutes drift, seeing the past flash before his eyes... He pulls off his mask, shutting his eyes. [Note: Still waiting on technical here]: MAVERICK (INTO RADIO) Maverick to tower. We have a plane down. Send a helo.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. COASTAL MOUNTAINS - DAY 206 206 A Coast Guard MH-60T JAYHAWK SOARS OVER the landscape. INTERCUT QUICK GLIMPSES of the Coast Guard rescue: CREWMEN rappelling from the chopper with a RESCUE STRETCHER. Working expertly, they’re able to pluck them off the slope. CYCLONE (PRELAP) In the course of training, have you felt Captain Mitchell was forcing you beyond your natural abilities?",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. INFIRMARY - NIGHT 207 207 Phoenix and Bob are banged up, but alive, being tended to by MEDICS. Cyclone is here. PHOENIX No, sir. CYCLONE Would you say that his training left you no margin for error? PHOENIX We suffered a double engine failure at low altitude. We had no choice but to eject. CYCLONE (to Bob) Would you say that his training left you no margin for error? (CONTINUED)CHERRY 11.25.19 - OFFICIAL 103. Phoenix and Bob share a look. CYCLONE (CONT’D) Don’t look at her. Answer the question. Would you say that his training left you no margin for error? BOB I know what you want me to say. I’m not going to say it. PHOENIX We did what the mission calls for. Captain Mitchell is not responsible for what happened out there.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CORRIDOR OUTSIDE INFIRMARY 208 208 Maverick waits anxiously. Cyclone emerges from the infirmary and approaches. There is a long, uncomfortable pause as Cyclone ponders what to say. Just as he goes to say it: WARLOCK (O.S.) Admiral. Maverick and Cyclone turns their heads to see Warlock and Hondo approaching. WARLOCK (CONT’D) At the request of Hondo here, I’ve just been down to inspect Captain Mitchell’s plane. Cyclone looks to Hondo: “Well?” HONDO Bird strike, sir. CYCLONE Come again? HONDO There’s bird guts all down the starboard side of Mav- Of Captain Mitchell’s plane, sir. Phoenix was flying in tight formation with him. I’m guessing the wreckage’ll show she took a flock of birds head on. Cyclone looks at Maverick for another beat, then walks away. Warlock follows, leaving Maverick and Hondo to share a look.CONTINUED: 207 207CHERRY 11.25.19 - OFFICIAL 104.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. READY ROOM - DUSK 209 209 Pictures of Top Gun pilots past: Ice, Maverick, Goose. A lone light on. Rooster sits alone... He stares at his phone and a photo of his young self with Maverick. After a hesitant beat, he deletes it. Maverick enters, notices a photo in Rooster’s locker: GOOSE, his wife CAROL, and a tow-headed 3-year-old Rooster, arms around each other, happy. It watches over the scene: MAVERICK They’ll keep Phoenix and Bob in the hospital overnight for observation. But they’re going to be okay. ROOSTER I have never lost a wingman. In combat, off a carrier, never. MAVERICK You’ve been lucky. Fly long enough, it’ll happen. There will be others. ROOSTER Easy for you to say. No kids, no family. No one to mourn you when you burn in. MAVERICK Go home. Get some sleep. He turns to leave, stopping on: ROOSTER WHY DID YOU PULL MY PAPERS AT THE ACADEMY? WHY DID YOU STAND IN MY WAY? The words sting them both. Maverick wants to tell the truth, but can’t. After a long pause. MAVERICK ...You weren’t ready. ROOSTER Ready for what? Ready to fly like you? (CONTINUED)CHERRY 11.25.19 - OFFICIAL 105. MAVERICK No, ready to forget the book. Trust your instincts. Don’t think. Just do. You think up there, you’re dead. Believe me. Rooster smiles at the irony. ROOSTER My dad believed in you. I’m not gonna make the same mistake. Before Maverick can respond: WARLOCK (O.S.) Maverick. Maverick turns, seeing something in Warlock’s eyes. And in that moment he knows. The sound of taps takes us to:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MILITARY CEMETERY - DAY - THREE DAYS LATER 210 210 A portrait of Iceman presides over his funeral. An AMERICAN FLAG is presented to his wife. Her sons, their wives and small children are all by her side. A large group of NAVAL OFFICERS and their FAMILIES are in attendance. Officers are all in crisp dress blues. Maverick stands beside Iceman’s family. Elsewhere, Penny’s with Amelia. Cyclone receives the folded flag from the officers and presents it to Sarah. Sarah glances to Maverick who begins his eulogy. MAVERICK Ice understood what it is to be a wingman. A wingman is willing to defend your life with their own...stay with you no matter how impossible the odds... More than anything, a wingman is there to push you beyond your limits, encourage you to find the very best in yourself. Ice was a wingman to his family, his friends, to every life he touched. That is why I know he’ll never be truly gone. Maverick steps forward to the casket, puts his wings on the casket and salutes.CONTINUED: 209 209 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 106. In THE CROWD: Rooster and the trainees are in attendance too, along with many TOPGUN graduates. Rooster watches Mav step away from the casket... ...as there’s the rumbling CRESCENDO OF JETS as the Navy’s BLUE ANGELS STREAK OVERHEAD. One pulls up into a vertical climb: the “missing man” formation. Maverick and Cyclone make eye contact. CYCLONE (PRELAP) I know that you and Admiral Kazansky were close.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CYCLONE'S OFFICE A212 A212 Maverick stands before Cyclone, seated at his desk. CYCLONE I can only imagine what you must be feeling. Take some time. Whatever you need. MAVERICK I appreciate that, sir. But there’s no time. The mission is in- CYCLONE I’ll be taking over the training from here. MAVERICK Sir... CYCLONE We both know you didn’t want this job, Captain. MAVERICK Sir, there is only one way to fly this mission- CYCLONE There’s never only one way- MAVERICK They’re not ready- CYCLONE It was your job to get them ready.CONTINUED: 210 210 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 107. MAVERICK They have to believe the mission can be flown- CYCLONE All you’ve managed to teach them is that it can’t. MAVERICK Sir, I- CYCLONE You’re grounded, Captain. Permanently. That is all. Maverick lingers, searches for words. CYCLONE (CONT’D) That is all. Maverick nods and exits.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PENNY’S HOUSE - DUSK 212 212 Penny is on the porch, waiting for Maverick. PENNY I heard. I’m sorry. Maverick sighs. PENNY (CONT’D) What’re you gonna do? MAVERICK Ice is gone. PENNY Then you’re gonna have to find a way back on your own. MAVERICK Back? Penny, I’m out. It’s over. PENNY But you’re not finished. And you’ll never be finished if you let it end like this. They’re your pilots. If anything happens to them now, you’ll never forgive yourself. MAVERICK Penny, what can I do-CONTINUED: A212 A212 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 108. PENNY If you’d lost your wingman up there, you’d keep fighting. You’d never just give up. And he knows she’s right. She smiles a little, hopeful but sad... PENNY (CONT’D) You’ll find a way, Pete. I know you will. Come back when you do. She stands and walks in the house. He’s left alone with the sunset and the distant RUMBLE of jets ascending...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TACTICAL AUDITORIUM - NEXT DAY 213 213 Rooster and Trainees back in seats. Cyclone instructs. Warlock is there too. CYCLONE Time to target is now four minutes. You’ll be entering the valley level at reduced speed. Not to exceed 420 knots. Rooster’s eyes narrow. What the fuck is this? BOB Sir, won’t we be giving their planes time to intercept? CYCLONE Well, Lieutenant you have a fighting chance against enemy aircraft. What are the odds of survival in a head-on collision with a mountain? This is not lost on Rooster. CYCLONE (CONT’D) Now you will hit the target from higher altitude, level with the north wall. It’ll be a little harder to hold your laze on the target but you’ll avoid the high G climb out. Fanboy whispers to Payback.CONTINUED: 212 212 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 109. FANBOY And be sitting ducks for enemy missiles. The SCREEN behind him shows a JET’S POV approaching a mountain range. Trainees are, distracted. Cyclone turns. CYCLONE Who the hell is that?",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. TRAINING CANYONS - DAY 214 214 Maverick’s BLACK F-18 SCREAMS across the landscape, dropping lower as mountain peaks loom...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MAVERICK’S F-18 215 215 Maverick’s at the stick, GUNNING it for the mountains... MAVERICK Maverick to Range Control. Entering at Point Alpha. Confirm a green range.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TACTICAL AUDITORIUM - DAY 216 216 Reactions from the class. PHOENIX (whispers) Nice... CLOSE ON Rooster, his expression hard to read. CYCLONE DOES NOT TAKE HIS EYES OFF THE SCREEN. CYCLONE Bring all the screens up. Hondo hits a few buttons and All SCREENS COME ON with the POVs from Maverick’s F-18 as: BASE ATC (OVER RADIO) Aircraft calling range control, range is green, but I don’t see an event scheduled for you. Say your range event number. MAVERICK Make one up for me. Maverick’s pushing.CONTINUED: 213 213CHERRY 11.25.19 - OFFICIAL 110.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. TRAINING CANYONS - DAY 217 217 Afterburner ROARS as Mav slices ahead, studying the THREE ROUTES on his display, as he locks in his focus...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TACTICAL AUDITORIUM - DAY 218 218 Rooster watches Mav’s SCREEN POV lining up for a run... MAVERICK (OVER RADIO) Setting time to target at two minutes... fifteen seconds. Reactions from the room. PAYBACK That’s impossible. CLOSE ON ROOSTER, focused on the screen.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. TRAINING CANYON - DAY 219 219 Mav’s jet ROARS into the course, dipping dangerously low, SKIMMING right above the riverbed floor. MAVERICK (OVER RADIO) Final attack point, inbound.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. TACTICAL AUDITORIUM - DAY 220 220 Rooster and the rest watch his TIMER and ALTITUDE levels...,SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. TRAINING CANYONS - DAY 221 221 Mav’s F-18 HUGS the tight twists and curves, seeing the Final Canyon final narrow notch now looming ahead as he KNIFES through the final ridge gap that stymied Rooster. MAVERICK (to himself) It’s no good. Suddenly, he yanks back on the stick and climbs out of the valley.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TACTICAL AUDITORIUM 222 222 The class watches him climb out. (CONTINUED)CHERRY 11.25.19 - OFFICIAL 111. COYOTE He’s backing off. (to Hangman) Nobody can do it. Nobody. Reactions of disappointment from all but two: Rooster, leaning in, waiting... And Cyclone, who nods ever so slightly, in a way that says he will deal with Maverick permanently. CYCLONE Tell the tower to order that man to land that aircraft. When he hears no response, he turns to Hondo. CYCLONE (CONT’D) Now. Hondo snaps out of it and reaches for the phone.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MAVERICK'S F-18 223 223 BASE ATC (OVER RADIO) Maverick... You are ordered to land immedi- Maverick shuts off his radio. MAVERICK Talk to me, Goose... Maverick resets the clock, cranks the stick hard and dives, coming back around for a second pass. He repeats the same maneuver’s, except:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TACTICAL AUDITORIUM - DAY 224 224 Cyclone turns, noticing the class staring at the screens, enrapt. CYCLONE (to Hondo) Shut them off. Shut them all off- BOB He’s going again... Cyclone turns to face the screen as everyone else leans in.CONTINUED: 222 222 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 112. HANGMAN He’s less than a hundred feet off the deck. COYOTE ... And dropping. Bob checks his watch, hits the timer. CLOSE ON ROOSTER, waiting...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. RANGE 225 225 Silence. An empty sky. Barely a breeze. A black spot on the horizon growing larger by the second until THE GATES OF HELL EXPLODE and Maverick’s F-18 blows right over us at 920 knots and twenty feet off the deck.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MAVERICK’S F-18 - DAY 226 226 MAVERICK (OVER RADIO) Popping in three... two... one. He SWOOPS into his POP-UP CLIMB, pulling severe G’s as he tops out, rolls and PLUNGES INTO HIS BOMBING DIVE. MAVERICK (OVER RADIO) (CONT’D) No wingman to laze the target. Dropping blind. He struggles to put the shuddering STEEL DRUM target in his crosshairs... MAVERICK (CONT’D) Bombs away.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BOMBING RANGE - DAY 227 227 He DROPS a TRAINING ROUND as he dives, and SWOOPS INTO A CLIMB at the last possible second. As the SMOKE HITS:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. TACTICAL AUDITORIUM - DAY 228 228 FANBOY Bullseye. HOLY SHIT. BULLSEYE. BOB (re watch) Time on target: Two minutes- fifteen. To the second.CONTINUED: 224 224CHERRY 11.25.19 - OFFICIAL 113.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MAVERICK’S F-18 - DAY 229 229 Mav BATTLES the jet, pulling 10 Gs on his egress, impossibly steep. Fighting hard to clear the “virtual mountain”...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TACTICAL AUDITORIUM - DAY 230 230 MAVERICK (OVER RADIO) Target is destroyed. Maverick is RTB. The team can see the readout on their screen. 10 Gs, far beyond the accepted limits of the F18. HANGMAN 10 Gs... Damn. The trainees react. They’d cheer if Cyclone weren’t here. Cyclone stares at the screen, his expression impossible to read. Warlock eyes the trainees. Rooster sits back, looks down. He’s the only one not celebrating. He has too much to think about now. CYCLONE (PRE-LAP) You’ve put me in a difficult position, Captain.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CYCLONE’S OFFICE 233 233 Rain is pouring outside. Thunder rolls. A clock ticks. Mav sits beside Warlock in front of Cyclone’s desk. Cyclone’s stares out the widow, hands behind his back. CYCLONE On the one hand, you’ve demonstrated that the mission can be flown. Perhaps in the only way it can be survived. On the other hand, you did so by stealing a multi-million dollar military aircraft and flying it in such a manner that it may never be airworthy again. (turns) Iceman is no longer here to protect you. And I have everything I need to have you court-martialled and dishonorably discharged. (CONTINUED)CHERRY 11.25.19 - OFFICIAL 114. But then I would be disposing of the one man with a ghost of a chance of successfully completing this mission. Maverick blinks, stunned. Did he hear that correctly? CYCLONE (CONT’D) So, what do I do? Risk the lives of my pilots, not to mention the success of the mission, by sending them without you? Or risk my career by appointing you team leader? Maverick moves to speak, Warlock stops him. WARLOCK I believe the Admiral is asking a rhetorical question, Captain. MAVERICK Sir. And over Maverick’s incredulous expression: CYCLONE (O.S.) You’ll choose your team on the carrier. You ship out tonight.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HARD DECK - NIGHT 236 236 Crowded, busy, alive. SAILORS dancing. Maverick enters in uniform. Behind the bar, Penny brightens when she sees him. But her smile fades when she sees the look on his face. And the sounds of the bar give way to:",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. HARD DECK - NIGHT 237 237 The sounds of the ocean. Just Maverick and Penny now. She’s up to speed and stunned. She studies him. He just stares. His eyes say it all. She embraces him tightly and shuts her eyes. CLOSE ON: MAVERICK. His eyes are set on an uncertain future. And the pre-lap of JET ENGINES warming up gives way to:CONTINUED: 233 233CHERRY 11.25.19 - OFFICIAL 115.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. USS THEODORE ROOSEVELT - CARRIER READY ROOM - NIGHT 238 238 The roar of the ocean as the imposing USS JOHN C. THEODORE ROOSEVELT cuts through the waves. WARLOCK (PRELAP) Your target is a clear and present threat: a secret uranium enrichment site under rogue state control.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. USS THEODORE ROOSEVELT - CARRIER READY ROOM NIGHT 239 239 Maverick, Rooster and all of the pilots. Hondo is off to the side with Cyclone. All eyes are on Warlock at the head of the room. On a SCREEN behind him, a detailed map of the TARGET VALLEY highlights the flight paths of various elements. WARLOCK It’s an underground bunker tucked between these two mountains. Your route of ingress is heavily defended by surface to air missiles, backed up by fifth generation fighters. (to Mav’s team) Once your F-18 strike team crosses the border, Tomahawk Missiles from the USS LEYTE GULF will be launched in a synchronized strike on the enemy’s airfield... here. (points) The moment those Tomahawks hit, the enemy will know you’re coming. Your time to target will be two minutes and thirty seconds. Any longer than that and you will be exposed to any aircraft the Tomahawks may have missed. MAVERICK Most importantly, remember coffin corner. On the climb out of the valley, you’ll be exposed to enemy missiles. Remember, get low as fast as you can and break for home. Warlock takes a beat, looking over the faces of the pilots. Rooster cannot believe this any more than Maverick. (CONTINUED)CHERRY 11.25.19 - OFFICIAL 116. WARLOCK Captain Mitchell, select your two Foxtrots. MAVERICK Payback and Fanboy... Phoenix and Bob. Phoenix and Bob are understandably moved. WARLOCK And your wingman? Hangman straightens, ready for the job. Rooster looks down. MAVERICK Rooster. Everyone is surprised, most of all, Rooster and Hangman. WARLOCK The rest of you will standby on the carrier in reserve. CYCLONE This is what you’ve all been training for. Come home safely. Good luck to you all. Dismissed. As the pilots fall out, Maverick steps to Hangman.' MAVERICK Hangman, you're one of the most fearless pilots I’ve ever seen. HANGMAN But you need someone who’ll put the team first. I did not demonstrate that to you, sir. Maverick doesn’t need to reply. HANGMAN (CONT’D) Rooster is your man. He nods falls out. Hondo approaches Maverick as he shifts attention to Rooster. HONDO Is he ready? MAVERICK He'll have to be.CONTINUED: 239 239 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 117. Maverick’s eyes meet Rooster’s. There is nothing to say.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CARRIER ELEVATOR - DAWN A240 A240 AN F-18 silhouetted against the morning sky, rising to the main deck. A HELMET edges into frame, bearing red white and blue stripes along with the name: MAVERICK. BOOM UP TO REVEAL the man holding the helmet, his back to us, his head turned slightly. Something troubles him. Deeply. MAVERICK Talk to me, Goose... MAN’S VOICE (O.S.) Captain Mitchell. Maverick turns to see Warlock looking up as the elevator rises. WARLOCK You’re where you belong. Make us proud. Maverick smiles, nods.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FLIGHT DECK - USS THEODORE ROOSEVELT - DAWN 240 240 A ballet of controlled chaos as various FLIGHT DECK CREWS prepping all the aircraft involved in the mission. Rooster, Phoenix, Bob, Payback and Fanboy step onto the deck. It’s for real now. No more training. They trade determined looks... and head for the planes... Rooster finds Hangman in his way. After a long pause. HANGMAN Give ‘em hell. Rooster nods. Hangman walks away, leaving Rooster to contemplate the gravity of what’s happening. Rooster sees Maverick. ROOSTER Maverick. It is the first time we’ve heard him say that name. The two men meet by Mav’s F-18. ROOSTER (CONT’D) Sir, I...I just want to say--CONTINUED: (2) 239 239 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 118. FLIGHT DECK SPEAKER Start the go aircraft. Start ‘em up. MAVERICK We’ll talk when we get back. They shake hands. MAVERICK (CONT’D) Hey Bradley, you’ve got this. Rooster nods walks away, Maverick watches him go. HONDO (OS) Maverick.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MAVERICK’S F-18 - MOMENTS LATER - DAWN 243 243 Maverick snaps out of his thoughts. REVEAL: He’s strapped into his F18. Hondo is leaning into the cockpit. HONDO You with me? Maverick nods. Hondo stares. MAVERICK What? HONDO You look like you’ve seen a ghost. MAVERICK You’re a good friend, Hondo. Thank you. For everything. HONDO ‘The hell is that supposed to mean? MAVERICK Just that. Hondo stares at him. Maverick stares back. Something unspoken passes between the two men. HONDO It’s been an honor, Captain. And the two men shakes hands, as if, in case, it is the last time...CONTINUED: 240 240CHERRY 11.25.19 - OFFICIAL 119.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROOSTER’S F-18 - DAWN 244 244 MAVERICK (OVER RADIO) Dagger One, comms check.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. F-18 - PHOENIX/BOB/ROOSTER - DAWN 245 245 Phoenix and Bob are sweating, psyching themselves past the anxiety. PHOENIX Dagger Two, up and ready.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. F-18 - ROOSTER - DAWN A246 A246 Rooster shakes off the nerves. ROOSTER Dagger Three, up and ready.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. F-18 - PAYBACK/FANBOY - DAWN 246 246 Fanboy crosses himself. Payback exhales. PAYBACK Dagger Four. We read you, sir.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HANGMAN’S F-18 - DAWN A247 A247 HANGMAN Dagger spare is up and ready. Standing by.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MAVERICK’S F-18 - DAWN 247 247 Maverick is about to respond, hesitates.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. F-18'S INTERCUT A248 A248 The other pilots hang in the awkward silence. Finally: ROOSTER Sir, do you copy?CHERRY 11.25.19 - OFFICIAL 120.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MAVERICK’S F18 - DAWN B248 B248 ROOSTER Sir..? MAVERICK (OVER RADIO) I want to thank you all for trusting me to lead you.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. F-18'S INTERCUT C248 C248 Reactions from all of the pilots, moved as he continues. MAVERICK You’re the best of the best. It’s an honor to be flying with you. We land on Rooster for: MAVERICK (CONT’D) All of you. PHOENIX We’re with you, sir. All the way.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MAVERICK'S F18 DAWN D248 D248 MAVERICK Forget the sir. We’re all the same rank today. Dagger One up and ready on Catapult one. Maverick clips on his mask.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COMMAND CENTER - USS THEODORE ROOSEVELT - DAWN 248 248 Cyclone and Warlock stand with ship’s Officers and Comms- Crew. Hondo is here as well, anxious. COMMS-CREW TECH 1 Support assets airborne. Strike package ready. Standing by for launch decision. CYCLONE Send ‘em. CHERRY 11.25.19 - OFFICIAL 121.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FLIGHT DECK - DAWN 249 249 A CATAPULT OFFICER signals with a two-finger wave, as the two jets facing him throttle ENGINES to full... Maverick and Rooster, side-by-side, SALUTE the Officer, then press heads back against headrests. The FINAL CHECK CREWS around each aircraft offer a thumbs-up, one by one, causing the Catapult Officer to crouch, touching the deck to point forward. Maverick and Rooster’s Super Hornets BLITZ across the deck, RIPPING into the sky. Phoenix and Bob, Payback and Fanboy are launched a moment later.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SKIES ABOVE CLOUDS - MORNING 250 250 Four F-18s fly above dark ominous clouds... MAVERICK (OVER RADIO) Rough Rider. Dagger, Texaco complete. Comanche, standby check- in.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT./,NOTHING +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HAWKEYE - SAME - MORNING 251 251 An AIR CONTROL OFFICER watches streams of data roll in: AIR CONTROL OFFICER Comanche one-one, set. Lightning One, status.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT./,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. F-35 - SAME - MORNING 252 252 An F-35 PILOT monitors his electronic view of the valley: F-35 PILOT Lightning One, set. Bravo route is clear.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. F-18S - WITH ROOSTER/MAVERICK - MORNING 253 253 [ALL JETS ARE ABOVE A LAYER OF CLOUDS. THEY DESCEND THROUGH THE CLOUDS TO 1000 FEET.] Rooster takes a deep breath. They’re going in. (CONTINUED)CHERRY 11.25.19 - OFFICIAL 122. MAVERICK Taking it down to one hundred feet. [ALL JETS DESCEND TO 100 FEET] MAVERICK (CONT’D) Dagger is set. Proceeding to Bravo. Ready on my mark...,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. F-18’S INTERCUT - MORNING A254 A254 PHOENIX Two. ROOSTER Three. PAYBACK Four. Maverick, Rooster, Bob and Fanboy all place a finger on a timer start button set for [TIME TBD]. MAVERICK Mark. All four push the button and their clocks start counting down. PHOENIX Two mark. ROOSTER Three mark. PAYBACK Four mark. With Mav taking lead, the Strike Package flies in a delta formation toward enemy territory.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COMMAND CENTER - USS THEODORE ROOSEVELT - DAWN AM254 AM254 A TECH STARTS A TIMER ON THE PANEL. HONDO CLICKS A STOPWATCH OF HIS OWN and holds it in his clenched fist throughout the sequence, checking it periodically.CONTINUED: 253 253CHERRY 11.25.19 - OFFICIAL 123.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. OCEAN AA254 AA254 [AS THEY ROAR ACROSS THE OCEAN THE JETS SWITCH FROM DIAMOND FORMATION TO THE SNAKE POSITION],THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. F18S INTERCUT BB254 BB254 CLOSE ON all of the pilots sweating, riding the ragged edge. Rooster flips switches on his console, his breathing picks up... This is low. Too low. He’s sweating bullets, pushing himself to focus and hold it together.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SKIES ABOVE MOUNTAINS - MORNING 254 254 UP AHEAD: SNOWY MOUNTAINS, all crags and jagged pines, tighter alleys than they ever had in training. CLOSE ON: Rooster, watching that narrow canyon coming up fast. He glances at his air speed. Too fast.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. F18S - INTERCUT AA255 AA255 ROOSTER (TO SELF) You can do this. Stay cool. Stay cool. MAVERICK Target valley up ahead. Comanche, picture.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. F-18S INTERCUT A255 A255 AIR CONTROL OFFICER (OVER RADIO) Dagger, picture clean. Recommend continue. (beat) Do you copy? Picture clean. Recommend continue. Dagger acknowledge. MAVERICK Dagger attack. ANGLE ON each of the pilots taking a deep breath as they commit...CHERRY 11.25.19 - OFFICIAL 124.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SKIES AB255 AB255 [THE FOUR JETS ROAR INTO THE NARROW CANYON.] Tension gives way to terror. LOOKING DOWN FROM ATOP A MOUNTAIN on the valley below as the formation flies past. Phoenix and Bob fly freakishly close below several bridges. Bob looks up at them. BOB Uh, Phoenix? PHOENIX Don’t ask Bob. REVEAL: IN the foreground, a AUTOMATED SAM MISSILE ARRAY sitting inertly on the mountaintop, watching the skies above. CLOSE ON Bob looking up at the SAMS above.GOLD/ORANGE ROUTE BOB SAMs right over our heads. No movement. PHOENIX Looks like we’re clear on radar, Mav. MAVERICK Let’s not take it for granted.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. USS LEYTE GULF - MORNING B255 B255 Massive plumes of smoke and fire send Tomahawk Missiles skyward.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COMMAND CENTER - USS THEODORE ROOSEVELT - MORNING 255 255 Cyclone and Warlock monitor, tense: COMMS-CREW TECH 2 Birds away. WARLOCK No turning back now.CHERRY 11.25.19 - OFFICIAL 125.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. SKIES/,SENTI +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. F-18’S - MORNING - GOLD ROUTE 256 256 They shoot into an ever-compressing canyon, hauling ass over the broken landscape, snowy trees flashing just beneath... Training times ten. The valley walls are tight, the high speed and sharp turns resulting in higher Gs. TBD ROUTE ORANGE ROUTE The physical pressure on the team alone is intense, requiring every ounce of concentration, skill and endurance. Each of the pilots contends with the intensity in their own way. Training was nothing compared to this. They are all feeling it - Rooster most of all. His wing clips tree tops as he banks at 6 Gs. ROOSTER (TO SELF) Too low... too fast...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. F-18S INTERCUT A257 A257 MAVERICK You with me, Phoenix? PHOENIX Don’t wait for me. BOB (looking at clock) [Two minutes] to target. FANBOY (looking at clock) We’re falling behind, Payback. Increase speed to five hundred knots. PAYBACK’S POV of Rooster in front of him. PAYBACK Rooster, do you copy? We’re falling behind. We gotta move. Rooster in his cockpit, eyes focused, sweat beading, breathing shallow, slashing through the canyon as fast as he can go. And it isn’t fast enough. (CONTINUED)CHERRY 11.25.19 - OFFICIAL 126. ON MAVERICK, hearing: PAYBACK (ON RADIO) (CONT’D) Rooster, do you copy? MAVERICK (TO SELF) Come on, kid. Don’t think. Just do. BOB [Ninety seconds] to target. ORANGE ROUTE MAVERICK Bob, do you have visual on Rooster? Bob looks back for a visual. BOB Negative.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COMMAND CENTER - USS THEODORE ROOSEVELT - MORNING B257 B257 The satellite image of Maverick’s teams shows the formation is breaking up, with two planes lagging further and further behind. COMMS-CREW TECH 2 Dagger 3 is falling behind. / Dagger 3 is disengaging from the attack team. [NOTE: The following is optional. A simple edit can show the airfield with routine activity and:] COMMS-CREW TECH 1 [20/30/60/90] seconds to tomahawk impact. ALARM. COMMS-CREW TECH 2 We have movement. Ground crews are on alert. CLOSE ON: The satellite image of an enemy airfield we’ve seen many times - the unmistakable deltas of newer fifth gen planes amidst older F-14s and F-16s. Only this time the image is live. We see people moving on the ground. Running.CONTINUED: A257 A257 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 127. WARLOCK (to Cyclone) The enemy is scrambling (towards) their jets. CLOSE ON Hondo, quietly nervous for his friend. HONDO Come on, Rooster.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROOSTER'S F-18 C257 C257 Rooster is struggling to hold it together. BOB [One minute] to target. PAYBACK (ON RADIO) Rooster, Mav’s getting away. ROOSTER We’re okay. We’re okay ORANGE ROUTE PAYBACK We’re not okay. We’re way behind. You gotta go. CLOSE ON: Rooster’s hand on the throttle, unable to push it any harder.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ENEMY AIRFIELD - MORNING A275 A275 Watching from a short distance as SILHOUETTED AIR CREWS scramble to prep F-14 Tomcats for takeoff. Then the first Tomahawk missile impacts, decimating a hangar.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COMMAND CENTER - USS THEODORE ROOSEVELT - MORNING 275 275 Everyone on edge, all eyes on the screens where the Enemy Airfield VANISHES in a series of heat blooms. COMMS-CREW TECH 1 Impact, enemy runways destroyed.CONTINUED: B257 B257 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 128. CYCLONE (eyes on screen) All right. Hit your target and come home.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. SKIES/,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. F-18S INTERCUT - MORNING AA278 AA278 Rooster and Payback are lagging further and further behind. MAVERICK Phoenix, move up to welded wing. Stand by for pop-up strike... BOB Air-to-ground check complete. Laser code verified 1688. Master-arm to go. FANBOY Verified 1688. Master arm to go. Beneath their plane, a FLIR Targeting Pod rotates, angling its laser lens towards the target, then: An alarm flashes on FANBOY’S PANEL. FANBOY (CONT’D) Shit, deadeye. Targeting pod malfunction. MAVERICK You have exactly thirty seconds to get it working. We’re counting on you, Fanboy. As Fanboy works the problem: FANBOY Shit, shit, shit... ORANGE ROUTE",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SKIES - MORNING A278 A278 Lethal looking fifth generation fighter aircraft streak across the heavens, in the flesh and on the hunt.CONTINUED: 275 275CHERRY 11.25.19 - OFFICIAL 129.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COMMAND CENTER - USS THOEDORE ROOSEVELT - MORNING B278 B278 ALARM. On another screen, two bandits are headed for Maverick and his team. AIR CONTROL OFFICER (OVER RADIO)/COMM TECH 2 We’re picking up bandits inbound, strength 2, X miles east of bullseye. CYCLONE Where the hell did they come from? WARLOCK Long range patrol? HONDO Come on. Move it or lose it, Rooster.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MAVERICK’S F18 AA278 AA278 AIR CONTROL OFFICER (ON RADIO) Dagger, Comanche. Contact, two bandits, 30 miles north of bullseye, targeting you. MAVERICK Dammit. Time to intercept? AIR CONTROL OFFICER [One minute.] Maverick looks at his clock. MAVERICK Rooster, we’re tight on time if we want to outrun those bandits. Where are you?",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROOSTER'S F-18 AB278 AB278 Rooster is sweating, straining through the turns, hand frozen on the throttle. MAVERICK (ON RADIO) Rooster, do you copy?CHERRY 11.25.19 - OFFICIAL 130.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PAYBACK/FANBOY F-18 AC278 AC278 The targeting pod jutters, stabilizes.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. F-18S INTERCUT - MORNING B278 B278 FANBOY I GOT IT. Targeting pod is on line. PAYBACK It won’t make a difference if we don’t step on it. Rooster, bandits are inbound. Come on. PHOENIX COME ON, ROOSTER. MAVERICK (TO SELF) Now or never, Rooster... CLOSE ON ROOSTER, breathing tight, blinking sweat from his eyes. All sound falls away. Radio chatter, his engines. And finally... ROOSTER (TO SELF) Talk to me, dad. Rooster pushes the throttle. Payback watches as Rooster pulls away. He pushes his own throttle, but Rooster is still increasing his speed. Rooster has crosses over to another place, his flying on instinct, focused in a way we’ve never seen. Now Payback is struggling to keep up. PAYBACK Jesus, Rooster. Not so fast. ROOSTER Take welded wing, Payback. MAVERICK (TO SELF) That’s it kid, push it. BOB Target in ten seconds.CHERRY 11.25.19 - OFFICIAL 131.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. COMMAND CENTER - USS THEODORE ROOSEVELT C278 C278 All eyes are watching those two bogies on course to intercept. Comms-crew Tech 2 spots that Rooster has caught up. COMMS-CREW TECH 2 Dagger 3 is re-engaging. / Dagger 3 is re-engaging with the attack team.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROOSTER'S F-18 D278 D278 Rooster comes around a bend and sees Maverick and Phoenix’s planes up ahead. ROOSTER Dagger One and Two, I have visual. We’re on your six.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MAVERICK'S F-18 - ORANGE/PURPLE POP BOWL LOCATION E278 E278 MAVERICK You’re just in time. Let’s deliver the mail and go home. Phoenix, we are popping in three, two, one- Maverick and Phoenix’s F-18s roll inverted and crest a mountain, dropping into a valley.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. F-18 - PHOENIX/BOB - MORNING - PURPLE ROUTE 278 278 BOB Dagger-2, targeting... Stand by. PHOENIX You can do this, Bob. Phoenix holds their arc steady, as Bob works the FLIR... MAVERICK Come on, Bob. BOB Got it. I got it. CAPTURED.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MAVERICK'S F-18 A279 A279 TONE. (CONTINUED)CHERRY 11.25.19 - OFFICIAL 132. MAVERICK Target acquired, bombs away. Maverick releases.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. UNDER MAVERICK’S F-18 B279 B279 Two super bunker busters drops from the wings of Mavericks F- 18, fins adjusting as they acquire laser guidance.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. SKIES/,NOTHING +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MAV/PHOENIX F-18'S C279 C279 CLOSE ON: Maverick snaps the safety paddle on his stick and pulls back as far as he can. BLUE ROUTE Maverick and Phoenix both wrench jets into a body-smashing climb - excessive Gs. Only this time it’s for keeps as a mountain face is coming up fast. MAVERICK HOLD THAT TARGET, BOB. CLOSE ON PHOENIX, her face straining. Bob struggles against the Gs to keep the laser on target. CLOSE ON: Maverick’s G meter as it climbs toward, then past, 7.5 Gs... BOB’S POV - the world becomes pixilated, tunnel vision creeping in as he grays out. We’ve seen it before. He bears down, squeezing blood into his head to stay conscious.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. VALLEY BASIN - MORNING D279 D279 Maverick’s bunker buster hits home.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. PHOENIX’S F-18 - BLUE ROUTE E279 E279 Phoenix is pulling back as hard as she can as: BOB IMPACT. IMPACT.CONTINUED: A279 A279 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 133. The target is obscured by a massive plume of smoke.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COMMAND CENTER - USS THEODORE ROOSEVELT F279 F279 COMMS-CREW TECH 2 DIRECT HIT. DIRECT HIT. Far from relief in the room, the tension only increases. WARLOCK That’s miracle number one... CYCLONE And now they’re in coffin corner.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MOUNTAINSIDE AG279 AG279 CLOSE ON A radar control SAM array. Two F18’s climbing skyward in the distance beyond. The array comes automatically to life, swivels and FIRES. INT/",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MAV/PHOENIX/BOB F-18S INTERCUT - POP BOWL LOCATION G279 G279 ALARM MAVERICK SMOKE IN THE AIR. GET LOW, GET LOW. Maverick and Phoenix bank hard and fire countermeasures - flares filling the air as SAMs streak toward them.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROOSTER’S F-18 - MORNING - ORANGE ROUTE H279 H279 ROOSTER (INTO RADIO) Payback, popping in three... two... one.",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. SKIES ABOVE VALLEY - MORNING -ORANGE/PURPLE ROUTE I279 I279 Rooster and Payback crest the mountaintop just as Maverick and Phoenix did as: INT/,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MAV/PHOENIX/BOB F-18S INTERCUT J279 J279 Maverick and Phoenix fly for their lives, dodging missiles as they race for the valley below.CONTINUED: E279 E279CHERRY 11.25.19 - OFFICIAL 134.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROOSTER’S F-18 - MORNING - PURPLE ROUTE 279 279 Rooster rolls in, putting nose on target, a scorching 45’ dive...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ROOSTER’S F-18 - DIVING - MORNING PURPLE ROUTE 281 281 ROOSTER Fanboy. Where’s my laser? FANBOY Targeting... Seconds away. Rooster’s hurtling headlong, altimeter dropping 6000, 5000... ROOSTER Come on, come on. ANGLE ON: The FLIR on the belly of their plane fails. FANBOY SHIT. DEADEYE, DEADEYE. OUR LASER’S GONE. STANDBY. The target is coming up fast, Rooster blinks away the sweat in his eyes. ROOSTER We’re out of time. FANBOY I’M WORKING ON IT. STAND BY. ROOSTER NO TIME. PULL OUT. PAYBACK ROOSTER, WAIT- ROOSTER (TO HIMSELF) Great balls of fire. Rooster lets his bunkers buster fly before releasing the safety and yanking back on the stick, trying to keep from face planting into a mountain.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. FACILITY SITE - MORNING - PURPLE ROUTE 284 284 The Bunker Busters vanish into the cloud left by Maverick’s bombs. An agonizing stillness follows.CHERRY 11.25.19 - OFFICIAL 135. INT/,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MAV/PHOENIX/BOB F-18S INTERCUT AA286 AA286 Maverick and Phoenix are fighting for their lives, ALARMS BLARING, SAMs everywhere.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. TARGET VALLEY/,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROOSTER’S JET - BLUE ROUTE 286 286 Rooster BATTLES his jet, climbing, climbing, with Payback right beside him as the belly of Rooster’s jet brushes snow off of tree tops and into the blue. ROOSTER POV: He’s graying out. A FAMILIAR ALARM SOUNDS. A SAM IS COMING RIGHT FOR HIM.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. FACILITY SITE - MORNING 287 287 Just as a RIPPLING SUBTERRANEAN EXPLOSION heaves the earth and the underground facility IMPLODES on itself.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HANGMAN'S F-18 - MORNING A289 A289 Hangman sits in his waiting bird, listening to the game on the radio. COMMS-CREW TECH 2 (ON RADIO) BULLSEYE, BULLSEYE. BULLSEYE.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COMMAND CENTER - USS THEODORE ROOSEVELT - MORNING 288 288 COMMS-CREW TECH 1 Satellite imagery confirms target destroyed. Muted reactions from all in the room. WARLOCK Miracle number two. But Cyclone is listening to the radio - pilots breathing, shouting, straining, cursing. It’s hell. CYCLONE Now get out of there. HONDO squeezes his fist tightly, feeling something crack. He opens his hand to see the crystal of his stopwatch is crushed, the second hand frozen. And omen.CHERRY 11.25.19 - OFFICIAL 136.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROOSTER/PAYBACK FANBOY F18S AA290 AA290 Their turn to dodge and weave, firing counter-measures, straining, cursing, grunting, breathing heavy in their cockpits, working to outmaneuver the agile, angry missiles. Rooster GASPS for breath as his vision returns. Another alarm. ROOSTER SHIT. THEY’RE EVERYWHERE. PAYBACK GOTTA GET LOW. GOTTA GET LOW. Another alarm, another missile, as: ROOSTER I’M OUT OF FLARES. He looks back and to his right, sees the missile coming. He’s a goner, until: ANOTHER F18 fills his sight picture. ROOSTER (CONT’D) MAVERICK, NO-",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MAVERICK’S F-18 (OLD SC B289) - POP BOWL LOCATION A290 A290 Maverick releases flares, but he’s too late. And he knows it. The missile SLAMS into Maverick’s engine. A FIREBALL SHREDS the splintering rear of the jet.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. ROOSTER'S F-18 - MORNING -RED ROUTE B295 B295 ROOSTER MAVERICK.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SKIES OVER TARGET VALLEY - MORNING - RED ROUTE C295 C295 Phoenix and Payback SOAR HIGHER, seeing Mav’s FLAMING PLANE veer off course below. PHOENIX (OVER RADIO) Dagger 1’s hit.CHERRY 11.25.19 - OFFICIAL 137.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COMMAND CENTER - USS THEODORE ROOSEVELT - RED ROUTE D295 D295 PHOENIX I repeat, Dagger 1 is hit. He’s going down. The room reacts with shock. CLOSE ON Hondo, reflecting on his last moment with Mav.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. SKIES AF295 AF295 The remaining jets dive into the valley and below the SAMs and their radar. The SAM arrays go still.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. F18S INTERCUT BF295 BF295 ROOSTER (OVER RADIO) Dagger 1, status. Status. Anyone see him? I didn’t see a chute. PAYBACK He’s gone, Rooster. ROOSTER WE HAVE TO CIRCLE BACK.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COMMAND CENTER - USS THEODORE ROOSEVELT F295 F295 CYCLONE Get ‘em back to the carrier. Now. COMMS-CREW TECH 2 All Daggers flow to ECP. You have Bandits headed for you. ROOSTER (OVER RADIO) What about Maverick? CYCLONE (to room) Tell him there’s nothing he can do for Maverick. Not in a (goddamn) F- 18. WARLOCK (to Comm Tech) Launch search and rescue- (CONTINUED)CHERRY 11.25.19 - OFFICIAL 138. CYCLONE Negative. Not with those bandits in the air. We’re not losing anyone else. HONDO But Maverick- CYCLONE He knew the risk. (to Comms) Get ‘em home now. COMMS-CREW TECH 1 Dagger, you are not to engage. Repeat, do not engage.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. F-18S - INTERCUT G295 G295 COMMS-CREW TECH 2 (ON RADIO) Dagger Two. Return to carrier. Acknowledge. PAYBACK Rooster, those bandits are closing. We can-not go back. ROOSTER COMANCHE, PICTURE. COMMAND Dagger, Comanche, bandits 30 east. Hot on you. Flow west to evade. PHOENIX Rooster... He’s gone. And off of Rooster’s eyes we CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FROZEN LAKE - MORNING 295 295 A SCORCHED PARACHUTE drapes the ragged ice... as ANGLE REVEALS Maverick lies sprawled, still clipped in, alive. At the distant RUMBLING of the facility implosion, he stirs, coughs, tastes blood in his mouth. He looks down, sees his radio is shattered. He hears the sound of distant helicopter, growing louder, realizes he’s out in the open. He has to move. He scrambled to detach his chute.CONTINUED: F295 F295CHERRY 11.25.19 - OFFICIAL 139.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SKIES - MORNING A296 A296 A MENACING HIND HELICOPTER, a venerable cold-war relic that will never die, bristling with guns and rockets.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FROZEN LAKE - MORNING B296 B296 Maverick is running with nowhere to go - the barren trees providing little cover. He’s a sitting duck. The Hind comes into view and her .50 cal rotary cannon opens fire, CHEWING INTO the ice and trees and snow with a HELLSTORM OF LEAD. The angle is bad and the hind has to come around, buying Maverick precious seconds. He reaches a GNARLED FALLEN TREE at lake’s edge. He tries to wedge himself behind it, if only to hide. Nothing out here will stop that cannon. Over Maverick, the Hind wheels slowly around, searching for him. It’s only a matter of time.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. HIND POV - MORNING C296 C296 CREW POV of the ground below. No sign of Maverick. But they’ll find him soon enough.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. EDGE OF FROZEN LAKE - MORNING 297 297 Maverick stays pressed behind the tree as the Hind approaches, flies overhead.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. HIND POV - MORNING A298 A298 CREW POV over the barrel of the cannon. There’s Maverick. Exposed. Done for. A HELMETED CREWMAN - his face hidden from us - swivels the gun patiently. HIS HAND CHARGES THE GUN.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FROZEN LAKE - MORNING B298 B298 Maverick isn’t dying on his back. He leaps up, runs, as a stream of hot red tracers shred the log and follow him like a laser pointer, gaining on him until: BOOM. The Hind explodes in mid air. Maverick stops in his tracks. What the- (CONTINUED)CHERRY 11.25.19 - OFFICIAL 140. An F-18 streaks past. MAVERICK No...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ROOSTER’S F-18 298 298 Rooster banks, looking down. He can see Mav’s chute, but not Mav. Then an ALARM BLARES. ROOSTER Oh shit.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MOUNTAINTOP - MORNING A299 A299 A radar guided missile launcher, it’s silhouette familiar to us by now, swivels around and lets fly with a SAM, traveling at MACH 5.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SKIES OVER MOUNTAINS - MORNING B299 B299 Rooster throws flares, tries to evade, but he too is doomed. IMPACT.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. COMMAND CENTER - USS THEODORE ROOSEVELT C299 C299 COMMS-CREW TECH 1 Dagger two is hit. Cyclone pounds a fist on the panel.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PHOENIX'S F-18 D299 D299 Phoenix waits to hear her friend’s voice in vain. COMMS-CREW TECH 2 Dagger two, come in. Dagger Two, do you copy?",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HANGMAN'S F-18 - MORNING E299 E299 The shock on his face as he hears: COMMS-CREW TECH 2 Dagger Two, come in... Hangman hits his comm.CONTINUED: B298 B298 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 141. HANGMAN Dagger spare request permission to launch and fly air cover. A painfully long wait. COMMS-CREW TECH 2 Negative, spare... Hangman hangs his head.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FROZEN LAKE - MORNING 299 299 Scrambling out of the rubble, Maverick sees Rooster’s F-18 ON FIRE and trailing heavy smoke, as Rooster EJECTS. His jet vanishes behind the ridge before slamming into the ground, sending up a plume of BLACK SMOKE. Maverick immediately starts running, tracking the path of Rooster’s parachute...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FORESTED BASE OF RIDGE - MORNING 302 302 Gripped with panic, Maverick sprints through the trees, seeing Rooster’s chute disappear among them...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FOREST CLEARING - MORNING 303 303 He emerges in a patch of clearing where Rooster’s on his knees, burying his parachute, still recovering from a brutal landing. Both men are pretty banged up, exhausted, but relieved to see one another. MAVERICK You all right? ROOSTER I’ll manage. Then Maverick shoves him. ROOSTER (CONT’D) What the hell? MAVERICK What are you doing here? ROOSTER What am I doing here?CONTINUED: E299 E299 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 142. MAVERICK You think I took that SAM so you could end up down here with me? You should be back on the carrier by now. ROOSTER I saved your life. MAVERICK I saved your life. That was the whole po",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int. WHAT THE HELL WERE YOU EVEN THINKING? ROOSTER YOU TOLD ME NOT TO THINK. Whatever Maverick’s next words were, they hang in his throat. The lesson he’s been teaching has at long last landed. MAVERICK Hey... It’s good to see you. ROOSTER It’s good to see you, too... So what’s the plan? MAVERICK What does your training tell you? ROOSTER Really? We’re in class now? Maverick waits. Rooster sighs. ROOSTER (CONT’D) I ping my ESAT, stay hidden till dark, then make for the extraction po",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int. MAVERICK Where’s the extraction point? ROOSTER (gestures) That way. Seven, eight hours on foot. (thinks) Even if our ride is waiting, we’ll freeze to death before we get there. That’s if the enemy doesn’t find us first... We’re not going to the extraction po",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int.CONTINUED: 303 303 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 143. MAVERICK No, we are not going to the extraction po",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",int. ROOSTER Then where are we going?,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FOREST RIDGE - HOSTILE COUNTRY - LATER - MORNING 304 304 A distant THUP-THUP of ENEMY HELICOPTERS... SCOPE POV: Chaos and the fog of war. The airstrip’s runways are cratered, hangars collapsed. ENEMY BASE TROOPS are scattered trying to put out fires... Mav sweeps the area with his scope, then looks at Rooster. ROOSTER You’re not serious. But Maverick’s look says he is.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ENEMY AIRSTRIP - MINUTES LATER - MORNING 305 305 Mav slinks along a thicket of trees by a perimeter fence. Near them, a FUEL DEPOT burns out of control, spewing heavy black smoke over the area, covering it in a THICK HAZE. Mav uses his scope to take another look... He hands him the scope, nods him in the right direction... SCOPE POV: An open-ended CEMENT AIRCRAFT BUNKER, where an F- 14 TOMCAT sits. Clearly prepped for flight, loaded with missiles, and with support equipment still hooked up. ROOSTER You’ve gotta be shittin’ me. Mav shrugs. ROOSTER (CONT’D) An F14? MAVERICK I shot down three migs in one of those. ROOSTER When was that? World War I? We don’t even know if that bag’a ass can fly.CONTINUED: (2) 303 303 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 144. MAVERICK Let’s find out. Mav heads off, leaving Rooster to contemplate: ROOSTER (to himself) You came back for him, dumbass. And he follows.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. AIRCRAFT BUNKER - MOMENTS LATER - MORNING 306 306 Chaos all around in the aftermath of the missile strike. Maverick and Rooster walk briskly toward the plane, praying no one will notice.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. AIRCRAFT BUNKER - MOMENTS LATER - MORNING A307 A307 The jet has a START-CART the size of a dumpster, attached via a large power cable and huge forced-air induction hose. Maverick inspects the start cart. Hopes. He pushes the button and it growls to life. Thank God.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. AIRCRAFT BUNKER - MOMENTS LATER - MORNING 307 307 Geared up with harnesses and masks, Mav waves Rooster to the Start-Cart. MAVERICK Ok, let me see. Okay. (shows signal) When I give you the signal for air, here, flip this switch ‘til the needle gets to 120. When I start the engine, you’re gonna shut this off, you’re gonna pull all the pins. You’re gonna disconnect everything. Maverick goes for the plane. Rooster lingers. ROOSTER Mav, wait...There’s something I * need to tell you. * MAVERICK * Tell me later. *CONTINUED: 305 305 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 145. ROOSTER * There may not be a later. * Mav waits anxiously. * ROOSTER (CONT’D) * You were right. * MAVERICK * About what? * ROOSTER * About the academy. You were right * to pull my papers. I wasn’t ready. * MAVERICK (ALT) * Well you’re ready now. * ROOSTER * Thank you for saving my life. * ROOSTER (ALT) (CONT’D) * Either way, thank you for saving my * life. * MAVERICK * I haven’t saved it yet. * (points to the cart) * Remember what I told you. * And he rushes for the plane. * MAVERICK (CONT’D) Once I’m up, stow the ladder. ROOSTER Yeah. Maverick climbs the ladder, hops in the driver’s seat, closes the forward step and reorients himself to the cockpit as Rooster closes the ladder. MAVERICK Okay. Wow. It’s been a minute, huh Mav? Rooster pulls the CHOCK BLOCKS from the wheels and then runs to the start cart. MAVERICK (CONT’D) Okay, okay.... Fuel. Battery. Maverick gives Rooster the air signal. Rooster flips switch.CONTINUED: 307 307 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 146. ROOSTER (watches dial) C’mon, c’mon. It gets to 120 and Rooster gives the thumbs up. Maverick starts the engine. It sputters, fails to start. ROOSTER (CONT’D) That’s not good. MAVERICK Come on. ROOSTER Come on. Come on. Come on. MAVERICK Come on sweetheart. Come on. Enemy truck drives by the hangar. ROOSTER Mav, let’s go. Come on. Mav hits the start button again. The engine whines slowly to life. MAVERICK This could actually work. Rooster rushes to unhook the start cart from the plane. MAVERICK (CONT’D) Let’s go, let’s go. Rooster scrambles up the onto the F14 and into the cockpit. Rooster looks at the cockpit instruments. ROOSTER My God, this thing is so old. Maverick pushes forward on the throttle. MAVERICK Canopy. Rooster buckles up. ROOSTER Clear. The jets exits the hangar. The canopy closes. CONTINUED: (2) 307 307CHERRY 11.25.19 - OFFICIAL 147.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ENEMY AIRSTRIP - MORNING 308 308 Maverick looks at cockpit instruments. Maverick applies the brakes. ROOSTER We’re stopping. Why are we stopping, Mav? MAVERICK Just give me a second. Give me a second. Rooster spots an enemy tank coming towards them. ROOSTER Uh Mav. There’s a guy on a tank. Big gun. Staring at us. MAVERICK Yep. The tank passes them and Rooster looks down as he salutes. Maverick switches to engage the WINGS. The wings expand. ROOSTER Both runways are cratered, Mav. ALT: Are both runways crated, Mav? ALT: It looks like both runways are cratered, Mav. MAVERICK Yeah. ROOSTER Mav, this is a taxiway. A very short taxiway. MAVERICK Uh huh. Yeah. ROOSTER How we gonna get this bag’a ass in the air? MAVERICK Just hang on. Maverick pushes on the throttle. The afterburners go on full. MAVERICK (CONT’D) Cause this bag‘a ass is about to go ballistic. (CONTINUED)CHERRY 11.25.19 - OFFICIAL 148. The jet begins to accelerate down the runway. ROOSTER Holy shit. MAVERICK (under breath) C’mon, c’mon. Mav squeezes every ounce of lift from the plane The F-14 soars into the air.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT./,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. F-14 - MORNING 309 309 CLOSE ON: Rooster’s ESAT on his harness. Rooster thinks a beat and activates it.,SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COMMAND CENTER - USS THEODORE ROOSEVELT - MORNING 310 310 A new alarm sounds. COMMS-CREW TECH 1 Sir. We’re receiving a signal from Rooster’s ESAT... But there seems to be a malfunction... WARLOCK Have you lost him? COMMS-CREW TECH 1 No, sir. Signal is strong, but... CYCLONE But what? COMMS-CREW TECH 1 But... He’s supersonic. Everyone trades confounded looks, confused. Cyclone and Warlock move to look at the screen. Sure enough, a dot representing Rooster is hauling ass toward the sea. WARLOCK He’s airborne. CYCLONE In what?CONTINUED: 308 308 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 149. COMMS-CREW TECH 2 Sir, overwatch reports an F-14 Tomcat is airborne and on course for our position. Warlock and Cyclone share a look. WARLOCK It can’t be- The both look at the dot on the screen. Hondo stifles a knowing smile. CYCLONE Maverick... HONDO He’s still alive. Warlock almost smiles, until: COMMS-CREW TECH 2 Sir, overwatch is reporting two fifth gen fighters on course to intercept that F 14. Warlock and Cyclone share a new look this one of grim certainty. CYCLONE God help them.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. F-14 - MORNING 311 311 Rooster surveys the back seat in frustration, no idea what’s what or what to do. There’s a big circular RIO DISPLAY in front of him, but it’s dark. MAVERICK * Rooster. Get us in touch with the * boat. * Rooster toggles the radio. * ROOSTER * I’m working on it. Everything’s * dead back here. What do I do? Talk * me through this. * MAVERICK * First, the radio. Throw the UHF two * circuit breaker. *CONTINUED: 310 310 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 150. Rooster looks. * ROOSTER * There’s three hundred breakers back * here, anything more specific? * MAVERICK * I dunno, that was your dad’s * department. * ROOSTER * Alright, I’ll figure it out. * Rooster starts toggling breakers, then sees: * ROOSTER (CONT’D) * MAV, FIVE O’CLOCK LOW, TALLY TWO. * (alt) * MAV, TALLY TWO, FIVE O’CLOCK LOW. * Maverick looks and, to his horror, sees TWO FIFTH GEN FIGHTER * approaching. * ROOSTER (CONT’D) * What do we do? * MAVERICK * What do you mean what do we do? * Those are fifth gen fighters. We’re * in a fifty year old aircraft. * The planes close into an escort formation. * ROOSTER * Well here they come. * MAVERICK * Just be cool. If they knew who we * were we’d be dead already. Masks * on. * They scramble to put on their masks. The lead enemy plane * pulls along side. * MAVERICK (CONT’D) * Remember, we’re on the same team. * Just wave and smile. Wave and * smile. * Rooster and Mav wave. Maverick signals, points to his ear and * gives a thumbs down. “Radio out.” * The enemy pilot signals. *CONTINUED: 311 311 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 151. ROOSTER * What’s that mean? * MAVERICK * I have no idea. * The pilot signals something else. * ROOSTER * What’s that? * MAVERICK * Nope. I don’t know what that one is * either. * Rooster watches the second plane drop back. * ROOSTER * His wingman is moving into a * weapon’s envelope. * MAVERICK * If anything happens, grab those * rings above your head. You see * them? That’s the ejection handle. * ROOSTER * Bull. Shit. The chutes in this * thing were probably packed in the * late eighties. * MAVERICK * You have a po",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",int. * (alt) * Good po,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int. * ROOSTER * How fast is this thing? * MAVERICK * Very fast. * ROOSTER * We’re ten minutes from the carrier. * Can we outrun these guys? * MAVERICK * We can’t outrun missiles and guns. * (alt) * We can’t outrun missiles and * bullets. * ROOSTER * Then it’s a dogfight. *CONTINUED: (2) 311 311 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 152. MAVERICK * In an F-14. Against fifth gen * fighters. * ROOSTER * It’s not the plane, it’s the pilot. * And that stops Mav cold. The pilot in the other plane signals * again. * MAVERICK * Rooster... * ROOSTER * You’d take ‘em on if I wasn’t here. * (alt) * Go after ‘em. * MAVERICK * But you are here. * ROOSTER * You’re Pete Maverick Mitchell, god * dammit. You shot down three MIGs in * one’s these. You can do this. Now * take us home. * Maverick grips the stick and throttle, unsure of what to do. * The enemy pilot begins to distance himself. * ROOSTER (CONT’D) * Come on, Mav. Don’t think. Just do. * MAVERICK (ALT) * Tell me the second you see smoke in * the air. * MAVERICK (ALT) (CONT’D) * Whatever you do, don’t touch the * flares. *",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT./,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. F-14/FIFTH GEN DOGFIGHT - CONTINUOUS - MORNING 312 312 STAGE 1 – ABOVE MOUNTAINS (GREEN WITH SNOW) SET #1: VR202 (SKY) - CHINA MOA Maverick pulls a hard right while opening fire at the Fifth Gen in a pre-emptive attack, ripping open the left engine and sending it into a descent.CONTINUED: (3) 311 311 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 153. ROOSTER Nice, nice, nice. The second Fifth Gen is surprised. Mav continues to move. The Fifth Gen recovers and launches a heat-seeking missile. ROOSTER (CONT’D) SMOKE IN THE AIR. SMOKE IN THE AIR, MAV. Maverick dives down towards the smoking Fifth Gen and breaks left directly in front of it. The missile heading for them diverts to the higher temp Fifth Gen destroying it in a colossal explosion as the F-14 narrowly misses the blast. ROOSTER (CONT’D) Nice, Mav, nice. SPLASH ONE. SPLASH ONE. The Fifth Gen pilot shakes his head, angry. END STAGE 1 – ABOVE MOUNTAINS (GREEN WITH SNOW)",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COMMAND CENTER - USS THEODORE ROOSEVELT - MORNING AA313 AA313 COMMS-CREW TECH 1 Sir, overwatch reports the F-14 has engaged. One bandit is down. Reactions from the room - a few men even cheer. But not Cyclone, Warlock or Hondo.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. SKIES/,NOTHING +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. F-14 BB313 BB313 STAGE 2 – ABOVE MOUNTAINS (GREEN WITH SNOW) SET #1: VR202 (SKY) - CHINA MOA The Fifth Gen drops into frame, fires another missile. The F- 14 is in a dive. ROOSTER He’s on us, he’s on us. Here comes another one. SMOKE IN THE AIR. SMOKE IN THE AIR. MAVERICK HIT THE FLARES. HIT THE FLARES.CONTINUED: 312 312 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 154. Maverick pulls the emergency wing deploy lever, immediately deploying the F-14’s wing spread sending the F-14 into a neck- breaking vertical climb. Rooster shoots off the flares and the missile detonates just below the F-14 as they pull upwards. Maverick uses their energy to roll inverted, back into burner, pulling down and around on the Fifth Gen putting it in their target. Mav fires the sidewinder. Missile lock. A moment of celebration, they’re going to get a splash two. ROOSTER We got him. We got him. We got him. (alt) You got him. You got him. You got him. END STAGE 2 – ABOVE MOUNTAINS (GREEN WITH SNOW)",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. SKIES CC313 CC313 STAGE 3 – ABOVE MOUNTAINS (GREEN WITH SNOW) SET #1: VR202 (SKY) - CHINA MOA The Fifth Gen pulls a maneuver that we’ve never seen before: It uses its thrust vectors to fly vertical and then in a close-range LOOP AROUND THE MISSILE.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. F-14/,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SKIES INTERCUT DD313 DD313 Whip pan to Rooster and Maverick who have never seen such a move. ROOSTER HOLY SHIT. (alt) WHAT THE HELL WAS THAT? (alt) DID YOU SEE THAT? (alt) Oh my god. We’re gonna die. We’re gonna die. (alt) HOLY SHIT. WE’RE DEAD. (alt) Oh, we’re in trouble Mav. We’re in trouble. (alt)CONTINUED: BB313 BB313 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 155. Oh shit, do some of that pilot shit. They fly by the Fifth Gen so it’s behind them again. END STAGE 3 – ABOVE MOUNTAINS (GREEN WITH SNOW) STAGE 4 – GREEN CANYON SET #2: VR202 (CANYON) - MIDDLE FORK FEATHER RIVER Maverick pushes for the advantage again. ROOSTER (CONT’D) Yeah, do some of that pilot shit, Mav. Maverick flies upwards then splits the throttle pushing the F- 14 into a pirouette at full power. The F-14 comes down behind the Fifth Gen and Maverick fires a missile. ROOSTER (CONT’D) Yeah, get him, get him. Missile lock. Again, it looks like they’ve got him. The Fifth Gen releases flares in a firework display of defense that takes out the missile. ROOSTER (CONT’D) Oh shit, shit. This isn’t good. (alt) This guy is good. END STAGE 4 – GREEN CANYON STAGE 5 – GREEN CANYON SET: MIDDLE FORK FEATHER RIVER Maverick pursues the Fifth Gen as it dives down into a canyon. ROOSTER (CONT’D) We’re out of missiles, Mav. Go to guns. (alt) Out of missiles, going to guns. MAVERICK Going to guns.CONTINUED: DD313 DD313CHERRY 11.25.19 - OFFICIAL 156.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CANYON EE313 EE313 In a close-range weaving dogfight chase Maverick fires GUNS at the Fifth Gen. ROOSTER Come on, you got him. (alt) You got him Mav. (alt) Watch the wall, watch the wall. (alt) Side of the mountain, side of the mountain. (alt) Wall-wall-wall. MAVERICK I see it. I see it. (alt) I know, I got it, I got it. The Fifth Gen evades, pulling severe G’s around the bends, working like crazy. Mav’s rounds keep missing as the Fifth Gen continues to slice through the canyon. Mav hustles to keep up and get the Fifth jet in his target. Mav and Rooster struggle against the G-forces, no G-suits to aid them, huffing breaths to ward off a blackout. Mav’s rounds are almost at zero. He knows he’s down to his last attack. The Fifth Gen continues to weave in and out of their target, in and out. Mav focuses in and fires his last bullets. He HITS the Fifth Gen with all of them. It descends and explodes as it crashes into the ground.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COMMAND CENTER - USS THEODORE ROOSEVELT - MORNING A313 A313 Everyone reacts to the radio call that comes through: MAVERICK (OVER RADIO) Rough Rider, this is uh... Ghostrider. We have repossessed an enemy Tomcat. Splash two bandits. We are inbound, tracking south. Hold your fire. END STAGE 5 – GREEN CANYON (CONTINUED)CHERRY 11.25.19 - OFFICIAL 157. Cyclone and Warlock share a look, stunned. Hondo smiles. HONDO That crazy motherfu-",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. SKIES - MORNING B313 B313 STAGE 6 – GREEN CANYON TO OCEAN SET #2: VR202 (CANYON) - TBD The F-14 roars into frame transitioning from mountains to the ocean below. END STAGE 6 – GREEN CANYON TO OCEAN,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. F-14 - CONTINUOUS - MORNING 313 313 STAGE 7 - OCEAN SET #3: PISMO BEACH (OPTION 1) OR SAN CLEMENTE (OPTION 2) MAVERICK * We can’t outrun this guy. We have * to eject. * ROOSTER * MAV- * MAVERICK * We need altitude. Pull that * ejection handle the second I tell * you- * ROOSTER * MAV, WAIT- * MAVERICK * THERE’S NO OTHER WAY. * Mav pulls back on the stick. As they climb: * MAVERICK (CONT’D) * EJECT, EJECT, EJECT. * Rooster grabs the handle. Nothing happens. * MAVERICK (CONT’D) * ROOSTER, EJECT. *CONTINUED: A313 A313 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 158. ROOSTER * IT’S NOT WORKING. * And Maverick realizes they’re doomed. * END STAGE 7 - OCEAN STAGE 8 - OCEAN SET #3: PISMO BEACH (OPTION 1) OR SAN CLEMENTE (OPTION 2) The Fifth Gen flies right past them canopy to canopy, spinning upwards and diving back down on them. Maverick weaves in hard cuts back n’ forth to evade as the Fifth Gen fires bullets in a streak across the ocean. Gunfire finally hits the F-14 as it flies low across the water. Mav keeps pulling hard right. ROOSTER (CONT’D) We got no more flares, Mav. What you got? (alt) Mav, we can’t shake him, we can’t shake him anymore. Maverick does the only thing he can do and pulls up hard to escape the Fifth Gen, but the Fifth Gen follows. Another MISSILE LOCK. The sound of doom. ROOSTER (CONT’D) He’s got a missile lock, he’s got a missile lock, Mav. (alt) What have we got, Mav? MAVERICK We got nothing. (alt) I’m sorry, Rooster. (alt) I’m sorry Goose. The Fifth Gen’s missile appears from its belly. And suddenly the Fifth Gen jet EXPLODES along with its missile. An F-18 streaks out from the shrapnel and smoke. END STAGE 8 - OCEANCONTINUED: 313 313CHERRY 11.25.19 - OFFICIAL 159.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HANGMAN’S F-18 - MORNING 314 314 Hangman smiles. HANGMAN Good afternoon, ladies and gentlemen, this is your savior speaking. Please fasten your seatbelts, return your tray tables to their upright and locked position and prepare for landing.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. F-14 - MORNING 315 315 STAGE 9 - OCEAN SET #3: PISMO BEACH (OPTION 1) OR SAN CLEMENTE (OPTION 2) As he pulls along side. ROOSTER Hey, Hangman... you look good. HANGMAN I am good, Rooster. I’m very good. Maverick and Rooster watch as Hangman’s F-18 CIRCLES back, doing a hotshot twirl of the wings, a victory roll. END STAGE 9 - OCEAN",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COMMAND CENTER - USS THEODORE ROOSEVELT - MORNING 316 316 All eyes are on the horizon. Two planes inbound. As Cyclone and Warlock are leaving the room: CYCLONE Get Hangman down first. Maverick may burn the deck. CLOSE ON: Hondo, realizing. Without a word, he runs from the command center.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DECK - USS THEODORE ROOSEVELT - MORNING 317 317 Hondo emerges on the deck where the crew is awaiting Hangman’s arrival. Emergency crews are standing by. (CONTINUED)CHERRY 11.25.19 - OFFICIAL 160. HONDO The minute Hangman touches down, pull the trip wires and have the barricade stanchions ready. The crew just stare at him. HONDO (CONT’D) HE DOESN’T HAVE A GODDAMN TAILHOOK. The crew realizes and scrambles.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BRIDGE - USS THEODORE ROOSEVELT - MORNING 318 318 Cyclone, Warlock and OFFICERS stand in the BRIDGE, BINOCS UP, watching as Hangman’s F-18 comes in for a landing. CLOSE ON: His tail hook snagging the arrest cable, his plane jerking to a stop. The Deck Crew rush in to clear the way for Maverick. A ballet of precise emergency response. Hundreds of SAILORS work to remove Trap-Wires and raise Barricade Stanchions, lift up a 15-foot-high NYLON BARRICADE, stretching a massive net across the width of the landing deck. The F-14 circles.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BRIDGE/F-14 - MORNING A320 A320 And in this moment of supreme tension, Maverick gets a little glimmer in his eye. One we’ve seen before. MAVERICK Rough Rider, Ghostrider here. We are requesting a tower fly-by. Cyclone and Warlock share a look. Is this a joke?",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. F-14 B320 B320 ROOSTER What? Now? MAVERICK Could be the last one. ROOSTER You can’t be serious.CONTINUED: 317 317 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 161. MAVERICK You keep saying that, but it doesn’t change much. (into radio) Rough Rider, I say again-",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BRIDGE - MORNING C320 C320 Cyclone has the radio now. CYCLONE Ghostrider, this is Cyclone. Put that bird on the deck now. MAVERICK (ON RADIO) -odswor- -strider- -adio",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. F-14 D320 D320 Maverick is smiling, speaking in broken jibbering. MAVERICK -aking up. Do -oo -ead?",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BRIDGE - USS THEODORE ROOSEVELT - MORNING 320 320 CYCLONE Does he even want to land? WARLOCK He asked permission. That’s progress. Cyclone sighs, nods begrudgingly to the Comm Tech who, despite everything, has to grin a little as: LSO Ghostrider, pattern is clear, you are cleared for flyby.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. F-14 A321 A321 MAVERICK Huh. That’s a first. Rooster knocks his helmet repeatedly on the canopy. ROOSTER Why did I bother saving your ass?CONTINUED: B320 B320CHERRY 11.25.19 - OFFICIAL 162.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BRIDGE - USS THEODORE ROOSEVELT - MORNING B321 B321 Maverick blazes by the tower at high speed, rocking the tower. Cyclone shakes his head.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT./,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. F-14 - NEARING USS THEODORE R - MORNING C321 C321 Mav’s working the stick and feathering the throttle. He lowers the landing gear. A new light comes on. MAVERICK Shit. ROOSTER What? What more shit could there possibly be? MAVERICK No nose gear. Rooster looks at the carrier, then out at the sea. ROOSTER What say we just eject? MAVERICK There’s a good chance the chutes we have on were packed in the late eighties, but sure. Go for it. ROOSTER I think I’ll stay with the plane. MAVERICK Just as bad, really. ROOSTER You can do this. MAVERICK I appreciate your confidence.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DECK - USS THEODORE ROOSEVELT - MOMENTS LATER - MORNING 321 321 LSO One mile. Call the ball. MAVERICK Ghostrider. Ball. No hook. No nose gear. (CONTINUED)CHERRY 11.25.19 - OFFICIAL 163. And an engine fails. ROOSTER Please tell me that wasn’t an engine. MAVERICK Correction... ball, no hook, no nose gear... single engine. ROOSTER Of course it was an engine. LSO A little power.... Come left... Easy with it... The deck of the Roosevelt now approaching rapidly... as it slips beneath the NOSE of the jet. LSO (CONT’D) CUT, CUT, CUT. The engine cuts out and everything goes SILENT.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DECK - USS THEODORE ROOSEVELT - MORNING 322 322 As the battered Tomcat SMASHES DOWN, sliding across the deck on its nose, SHOWERING SPARKS, SPEWING SMOKE, until it SLAMS INTO THE NYLON NET, ripping it forwards before snapping to a violent halt. Finally. Safe home.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DECK - MOMENTS LATER - MORNING 323 323 EMERGENCY CREWS rush the jet as Mav and Rooster climb out. Maverick and Rooster check on each other. MAVERICK You ok? ROOSTER Yeah. Phoenix, Bob, Payback, Fanboy and Hondo all come rushing. Maverick and Hondo reunite. MAVERICK You think you can fix it? HONDO Easy.CONTINUED: 321 321 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 164. Then other SAILORS arrive, mobbing them. Maverick gazes up to Vultures Row, spying Cyclone and Warlock. Cyclone gives him a simple, grateful nod. Rooster turns to see Hangman arriving. His face mock-falls: HANGMAN Well shit... you’re alive. They shakes hands. That’s enough. ROOSTER Chalked yourself another kill. Hangman smiles. HANGMAN That makes two. Phoenix steps in. PHOENIX Maverick has five. Makes him an ace. And Hangman’s smile fades. Just a bit. Rooster turns, looking for Maverick in the crowd. Finds him, pushes toward him. ROOSTER Captain Mitchell... Captain Mitchell, SIR. Maverick turns, come face to face with Mav. ROOSTER (CONT’D) Sir, I- And Maverick grabs him before he can say another word, pulls him close. Rooster is not sure what to do for a moment. Then he hugs him back. MAVERICK Thanks for saving my life. ROOSTER It’s what my dad would’ve done. And as the two men embrace, shutting out the rest of the world we PULL BACK TO:CONTINUED: 323 323CHERRY 11.25.19 - OFFICIAL 165.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DECK - USS THEODORE ROOSEVELT - MORNING 324 324 Filled with jubilant SAILORS, the whole ship celebrates the mission’s return. Maverick joins Rooster and Hangman, sharing laughter and embraces. All of them, allies at last.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. HARD DECK - LATE AFTERNOON A327 A327 To establish.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HARD DECK - LATE AFTERNOON B327 B327 The place is quiet. Almost deserted. Maverick enters, expecting to find Penny, surprised to find A BARTENDER, JIMMY. Off Maverick’s expression: TIME CUT: Maverick at the bar now. BARTENDER JIMMY Hey Mav. MAVERICK Is Penny here? BARTENDER JIMMY Took Amelia sailing. MAVERICK Gone? Where? BARTENDER JIMMY Wherever they felt like, she said. MAVERICK Did she say when she’d be back. BARTENDER JIMMY I’m guessing whenever she feels like. Maverick nods. He looks around the bar, heads for the door. With nowhere else to go, he goes:CHERRY 11.25.19 - OFFICIAL 166.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MAVERICK’S HANGAR - DAY - DAYS LATER 327 327 Where Maverick holds a photo of the moment on the Roosevelt with Rooster and the others, adding it to his wall of memories, medals, accomplishments - a life well-lived, if somewhat incomplete. Among the pictures is one of Goose and Maverick in the bloom of their youth - their whole lives ahead of them. Maverick steps back, takes in the space - the P-51, the airstream, the bikes... The sound of a car OS. He turns in time to see it coming to a stop. The door opens and out climbs Rooster. From the passenger door emerges Phoenix. Emerging from the back is Amelia and, finally Penny. She takes in the sight of the hangar - along with everyone else - clearly a place they have never seen before. CLOSE ON: Mav and Penny as they meet by the P-51. PENNY I heard you were looking for me. Maverick nods. A confession. MAVERICK Good trip? PENNY Great. You? MAVERICK I could tell you, but... PENNY Forget I asked. They both smile. After a beat. MAVERICK I missed you. PENNY I know. They kiss. ALTS (CONTINUED)CHERRY 11.25.19 - OFFICIAL 167. MAVERICK (re hangar) Whatta’ya think? PENNY It’s... very you. (ALT) It’s just like I pictured. (ALT) I’m still taking it in. (ALT) You know..? It works. END ALTS TIME CUT as Phoenix holds two model planes, demonstrating air- to-air combat to a very interested Amelia. As Maverick walks Penny around the other lady in his life - the P-51. As Rooster looks over Maverick’s workspace, the pictures of Maverick and Ice, of Maverick and Goose, of Rooster as a boy... Topped off by Maverick and Rooster on the carrier. Rooster turns, looks at the make-shift family taking shape in this makeshift home... And he smiles. As the sound of a roaring engine takes us to:",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. P-51 - DAY 328 328 Penny snugly in the back seat, Maverick at the controls. MAVERICK How’re you doing back there? PENNY I’m amazed something this old can still fly. MAVERICK C’mon, don’t say old. It’s vintage. One more time, if anything goes wrong and it probably won’t. But if it does, I’ll just open the canopy- PENNY Uh huh.CONTINUED: 327 327 (CONTINUED)CHERRY 11.25.19 - OFFICIAL 168. MAVERICK When that’s gone, you just undo your seatbelt- PENNY Right... MAVERICK I’ll roll her over and dump you out. PENNY You know this isn’t working on me. MAVERICK Just remember to pull that handle on your parachute. PENNY Pete- MAVERICK Penny- PENNY Will you ever grow up? MAVERICK Some day... And that glimmer comes to his eye. MAVERICK (CONT’D) But not today. And he yanks the stick hard.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. P-51 329 329 And the plane banks away from us with Penny screaming, laughing. But mostly screaming. MAVERICK JIBE-HO. BLACKCONTINUED: 328 328CHERRY 11.25.19 - OFFICIAL 169.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PARK - DAY For a few seconds we watch A MAN (2 0s) and a WOMAN (20s) on a park bench. Their names are T OM and SUMMER. Nei ther one says a word. CLOSE ON her H AND, covering his. Notice the wed ding ring. No words are spoken. Tom looks at her the way ever y woman wants to be looked at. A DISTINGUISHED VOICE begins to speak to us. NARRATOR This is a story of boy meets girl. CUT TO: (1) INT CONFERENCE ROOM - DAY The boy is TOM HANSEN. He sits at a very long r ectangular conference table. The walls are lin ed with fram ed blow-up sized greeting ca rds. Tom, dark hair and blue e yes, wears a t- shirt under his s ports coat and Adidas tennis shoes to balance out the c orporate dress code. He looks pretty bored. NARRATOR The boy, Tom H ansen of Margate, New Jersey, grew up b elieving tha t he’d never truly be ha ppy until the day he met his. .. “soulmate.” CUT TO: INT LIVING ROOM - 1989 PRE-TEEN TOM sits alone on his bed engrossed in a movie. His walls are covered in posters of obscure bands. From the TV, we hear: “Elaine! Elaine!”3. NARRATOR This belief stemmed from early exposure to sad B ritish pop music and a total mi sreading of the movie, “The Graduate.” CUT TO: INT OFFICE CUBICL E - PRESENT DAY The girl is SUMMER FINN. S he files folders a nd answers phones in a plain white office. She has cropped blonde hair almost like a boy’s b ut her face is feminine and pretty enough to get away with it. NARRATOR The girl, S ummer Finn of Shinnecock, Michigan, did not share this belief. CUT TO: INT BATHROOM - 1994 Teenage Summer st ares at herself in th e mirror. Her hair extends down to her lower back. NARRATOR Since the disinte gration of her parents’ marriage, she’d only loved two things. The f irst was her long blonde hair. She picks up scissor s from the counter and b egins to slice. NARRATOR The second was how easily she could cut it off... And feel nothing. CUT TO: SPLITSCREEN. INT BOARDROOM/ INT CUBICLE - SAME On the right side of the screen, Tom continues to listen to some boring prese ntation. On the le ft, Summer a nswers a call, takes a message, and walks out of h er cubicle d own a long narrow hallway. 4. NARRATOR Tom meets Summer on January 8th in a San Francisco o ffice buildi ng. In an instant, he wi ll know she’s the one he’s been looking for. CU Summer opening the door to the b oardroom, about to come face to face with Tom for the first time. NARRATOR This is a story of boy meets girl. But before they do, CUT TO: BLACK. NARRATOR You should know up front, this is not a love story. (240) EXT STREETS OF SAN FRAN - NIGHT A 12 year old GIRL r ides her bicycl e down the block. She arrives at an apartment complex, jumps off the bik e and races up the front stairs. She r ings the doorbell. INT TOM’S PLACE - LATER PAUL and MCKEN ZIE open the door. These are Tom’s best friends since birth. P aul is a doctor and wears hospital scrubs. McKenzie works in the cubicle next to Tom. PAUL I didn’t know who else to call. The Girl removes her bike helmet. GIRL You did the right thing. Where is he? Tom is in the kit chen breaking things and ba sically going insane. About to smash a plate on the flo or, he’s interrupted by:5. GIRL Thomas. Tom freezes. TOM Rachel? What are you doing here? GIRL (RACHEL) I’m here to help you. TOM Help me how? RACHEL First, put dow n the plate. Tom slow ly obliges. RACHEL Now come here and sit down. Tom sits next to the young girl. Paul and Mc kenzie sit on either side of them. RACHEL The key is not to panic. TOM I think I’m go nna be sick. RACHEL Drink this. She hands him a g lass of water. Tom drinks it down. MCKENZIE What is that? RACHEL Vodka. TOM (grimacing at the taste) More. He gulps another down. TOM Does Mom know you ’re here? Itâ���™s gotta be past 10. 6. RACHEL Don’t worry about it. Start from the beginning. Tell us what happened... Tom takes a deep breath. EXT PARK - DAY Tom and Summer eat sandwiches in the park. TOM (V.O.) We spent the w hole day together. EXT OUTDOOR MARKET - DAY Tom and Summer walk through the stalls. TOM (V.O.) We went shopping. EXT COFFEE HOUSE - DAY Tom and Summer seated outside drinking coffe e. He reads the newspaper, she reads a novel. TOM (V.O.) We had coffee. EXT MOVIE T HEATER - DAY Tom and Summer walk out of a movie theatre. TOM (V.O.) We saw a film. INT RECORD STORE - LATERTom and Summer shop for music. Tom excitedly sh ows Summer a Ringo Starr solo album. TOM (V.O.) We bought music.7. INT TOM’S PLACE TOM I thought it w as a great day. RACHEL And then what happened? INT DINER - NIGHT Tom and Summer in a booth ordering dinner. TOM (to WAITRESS) Um...you know wha t...let’s go crazy, I’ll have BOTH. (to Summer) God, I love eatin g pancakes at night. It’s like the great est thing ever. How grea t is this? SUMMER I think we should stop seeing each other. INT TOM’S PLAC E - AS BEFORE RACHEL Just like that? TOM Just like that. PAUL Did she say why? INT DINER - AS BEFORE SUMMER This thing. This whatever it is. You and me. Do yo u think this is normal? TOM I don’t know. Who cares about normal?! I’m h appy. Aren’t you happy?8. SUMMER You’re happy? TOM You’re not? SUMMER All we do is argue! TOM That is such a lie! INT TOM’S PLAC E - AS BEFORE RACHEL Maybe she w as just in a bad mood. PAUL A hormonal thing. RACHEL P.M.S.? TOM (to Rachel) What do you kn ow about PMS? RACHEL More than you. TOM Oh my god. MCKENZIE Please continue. INT DINER - AS BEFORE SUMMER This can’t be a t otal surprise. I mean, we’ve been like Sid and Nancy for months. TOM Summer, Sid st abbed Nancy seven times with a kitc hen knife. We’ve had some disagree ments but I hardly think I’m Sid Vicious. SUMMER No... I’m Sid.9. TOM (beat) So I’m Nancy?! The Waitress c omes out with t he food. Tom an d Summer stop their discussi on until the meal is ser ved and t he Waitress leaves. Summer st arts to eat. SUMMER Let’s just eat and we’ll talk about it after. I ’m starving. Without another w ord she goes back to her panca kes. Tom watches her eat like this is the worst travesty in the history of mankind. SUMMER (mouth full) Mmm, you’re so ri ght. These are great! Tom looks at his foo d in disgust. He may never eat again. SUMMER (innocent) What? Tom stands up to go. SUMMER Tom, don’t. Come bac k. You’re still my best fr--- THE SCENE FREE ZES AND WE ZOOM IN ON TOM’S STUNNED FACE. INT TOM’S PLAC E - AS BEFORE Silence for a few beats. PAUL Jesus. MCKENZIE That’s harsh. TOM I don’t know what I’m gonna do. RACHEL You’re gonna be fine.10. TOM (beat) I’m gonna throw up. MCKENZIE Or that. RACHEL Here. Tom drinks more vodka. MCKENZIE Come on Hansen. You’ll be ok. You’re the best g uy I know. You’ll find someone. PAUL You know what the y say...there’s plenty other fish in the sea. TOM No. PAUL Sure they do. They say that. TOM Well they’re wron g. It’s not true. I’ve fished in that sea. I’ve jumped in and swam in that sea! I’m fucking Aquaman! (to Rachel) Sorry. What I mean is... there are no other fish. This was my fish. Paul and McKenzie share a very concerned look. CUT TO: (86) EXT SIDEWALK - DAY Tom walks alon gside his friend PAUL. Out of nowhere, he says: TOM I’m in love with Summer.11. PAUL (beat) For real? CUT TO: CU - SUMMER’S SMILE TOM (V.O.) I love her smile. CU - SUMMER’S HAIR TOM (V.O.) I love her hair. CU - SUMMER’S KNEES TOM (V.O.) I love her knees. CU - SUMMER’S EYES TOM (V.O.) I love how one ey e is higher up on her face than the other eye. CU - SUMMER’S NECK TOM (V.O.) I love the scar on her neck from this operation sh e had as a kid. CU - SUMMER’S BRE ASTS (UNDER A B LACK T-SHIRT) TOM (V.O.) I love how she looks in my Clash T- shirt. CU - SUMMER ASLEEP TOM (V.O.) I love how she looks when she’s sleeping. CU - SUMMER’S LAUGH TOM (V.O.) I love the sound of her laugh. OVER BLACK, play the middle 8 of “Ever y Little Thing She Does is Magic” by The Police.12. TOM (V.O.) I love how I hear this song every time I think of her. CU - TOM, STARING D IRECTLY AT THE CAMERA. TOM (V.O.) I love how she makes me feel. Like anything’s possible. Like, I don’t know...like li fe is worth it. CUT TO: EXT SIDEWALK - SAME Paul and Tom. TOM For real, Paul. I’m madly in love with that girl. Paul is silent for a beat. PAUL Oh shit. (1) INT CONFERENCE ROOM - DAY Tom as we saw him earlier. Bored. In t he boardroom. Mckenzie is in mid-p resentation. MCKENZIE Now I know this may be a little risque...but if New Hampshire Greetings want s the jump on those conservative, right- wing neo-Nazis at Hallmark, maybe playing it safe is the wrong a pproach. The nuclear family is dead an d we need a new holiday to rec ognize that. Mckenzie holds up a home-made ph otoshopped fami ly portrait of Martina Navratilova, Ellen DeGenere s, and the k id from “Jerry Maguire”.13. MCKENZIE May 21st. Other Mother’s Day. The co-workers nod and digest this idea. VANCE is the head of the department. VANCE Hmmm. That’s an intriguing idea McKenzie. Along with Grossman’s “Magellan Day” I’ d say we’ve got some potential he re. What do you think Hanse n? Could you write up some prototype s for these? Tom is about to answ er when... the door opens. SUMMER Excuse me, Mr. Va nce? There’s a call for you on line 3. And in walks this girl. Summer. We’ ve met her by now but Tom hasn’t. This is t he first time. His ey es go wide and from that moment on, he can’t take them off her. VANCE (to the table) Everyone this is Summer, my new assistant. Summer just moved here from... SUMMER Michigan. VANCE Right. Michiga n. Well, Summer, everyone. Everyon e, Summer. Excuse me, I have to take this. SUMMER Nice to meet you all. Summer gives a li ttle wave before following Vance out. She doesn’t notice T om whose face l ooks like he ’s just seen God. 14. (3, 4, 5)",SENTI +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. OFFICE - DAY Tom trying to wor k. And failing. He turns to McKenzie. TOM What do we know a bout this new girl? MCKENZIE Who? TOM The new girl. Summer . In Vance’s office. MCKENZIE Dude. I hear she’ s a bitch from hell! TOM (disappointed) Really? MCKENZIE Patel tried to ta lk to her in the copy room. She wa s totally not having it. TOM Maybe she was jus t in a hurry. MCKENZIE And maybe she’s s ome uppit y, better than everyone, superskank. TOM Damn. MCKENZIE I know. She’s pretty hot. TOM That makes me so mad! Why is it pretty girls alwa ys think they can treat people like crap and ge t away with it?15. MCKENZIE Dunno. TOM Like, just cause she has high cheekbones and soft skin... MCKENZIE ...and really good teeth. TOM And maybe the wor ld’s most perfect breasts...Just cause of that stuff, she can walk a round like she’s center of t he universe? MCKENZIE (as explanation) Women. TOM Ugh. You know what? Screw her! We haven’t even met and I can’t stand her already.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ELEVATOR - LATER Tom is listening to headphones. Summer enters t he elevator and Tom actively puts on a show to ignore her. Summer hears the music. SUMMER The Smiths. Tom, pretending not to hear or c are, gives her an unenthusias tic wave. SUMMER I love The Smiths. Tom, still pretendin g, takes off hi s headphones. TOM Sorry? SUMMER I said. I love The Smiths. You have good taste in music. A beat as Tom proces ses this information.16. TOM (amazed) You like the Smiths? SUMMER (singing) “To die by your s ide is such a heavenly way to die.” Love it. The elevator doors open and s he gets off. TOM (accidentally out loud) Oh my god. (8) INT OFFICE LOBBY - DAY The office sings “Happy Birthday” to a FEMALE CO-WORKER. When they get to the part about her name, Tom is the only one who knows it, everyone e lse just there for the cake. Song over, everyone digs in. Tom finds h imself standing next to Summer. TOM Hi. SUMMER Hello. TOM So, uh, Summer... SUMMER Tom. TOM Yeah! How’s it going so far? SUMMER The city or the firm? TOM Both... Either. SUMMER I’m happy. Still getting situated. How long have you worked here?17. TOM Oh, you know, 4, 5... years. SUMMER Really? Jesus. Did you always want to write gr eeting cards? TOM Are you nuts? I d on’t even want to do it now . SUMMER What is it you want to do? TOM I studied to be an architect actually. SUMMER That’s so cool! What happened? TOM Eh, you know. Same old story. Moved to the city to work for a company. Company went unde r. Needed a job. My friend w orked here. Got me this. SUMMER And are you any good? TOM (points to a framed card) Well I wrote that one. SUMMER (reading) “Today You’re a Man. Mazel Tov on your Bar Mitzvah.” TOM It’s a big seller. SUMMER I meant, are y ou any good as an architect? TOM Oh... No. I doubt it. SUMMER Well, I’d say you ’re a perfectly ...adequate... greeting card writer.18. TOM Why thank you. That’s what they called me in college. “Perfectly adequate” Hansen. SUMMER They used to call me “Anal Girl.” Tom does a spit-take and almost chokes. SUMMER (explaining) I was very neat and organized. There’s an awkwar d silence. SUMMER Anyway, I shou ld get back. TOM Ok, well, I’ll see you around. She walks back to her cubicle at the other e nd of the hall. Tom watches her walk away, co mpletely enamored. He sits down at his desk and sets out to work. But before he does, his eyes fa ll on a sketch he drew of a house. It’s dated 2001 and it’s the only arc hitecture sketch on his wall. (11) INT TOM’S PLACE - DAY Tom is playing Pl aystation wi th Rachel. TOM And it turns o ut she’s read every Graham Gree ne novel ever published. Her desk is li ned with Magritte posters and Ed ward Hopper. RACHEL Your favorites. TOM We’re so compatib le it’s insane! Seriously! It doesn’ t make sense! She’s not like I thought at all. She’s... amazing. 19. RACHEL Oh boy. TOM What? RACHEL You know...just c ause some cute girl likes the sa me bizarro music you do doesn’t make her “the one.” TOM (beat) Of course it does. SARAH (O.S.) Dinner! SARAH, 50s, Tom a nd Rachel’s mother, s tands in the doorway. SARAH Pause and come eat. They do. Tom e nters the living room area and sits down next to his stepdad MA RTIN, 60s, a quiet, professori al Southern gentleman type. TOM Hey Martin. ANGLE ON RA CHEL and Sarah. RACHEL He met a girl. SARAH (excited) Yeah? RACHEL (grim) Yeah. Sarah grows serious too. SARAH Oh shit. CUT TO:20. STOCK FOOTAGE. The Wright Brothe rs, Galileo, He aven’s Gate, Neil Armstrong. NARRATOR When one strongly believes in something, it tak es overwhelming contradictory evi dence to change their minds. END ON:LITTLE TOM, age 6, mesmerized by a vinyl album cover of Olivia Newton-Joh n in “Xanadu.” NARRATOR Tom had always been a devout believer in the idea of “true love.” (beat) The evidence did not support him. CUT TO: (-8914) INT CLASSROOM - DAYLittle Tom stares at a LITTLE GIRL, 6, who has the same hairstyle and dre ss as Newton-John on that cover. Tom draws a picture. It’s a boy and a girl with a giant hea rt over them. He stands up and walks over to the gir l, putting t he picture on her desk. N ot a word is sp oken. Satisfied, he returns to his seat and waits to see what happens. NARRATOR Exhibit A: Lis a Rayner. The Little Girl stands up and walks the p icture over to ANOTHER BOY. Tom is mortified. The O THER BOY eats the drawing. (-5313)21. EXT FOOTBALL FIELD - NIGHT A BLONDE CHEERLEA DER leads the crowd in a cheer. PAN ACROSS to find TEENAGE TOM, 15, fini shing making out with a homely HIGH SCHOOL GIRL. He says goodby e and walks off, looking back longingly. NARRATOR Exhibit B: Wendy Wilson. Once Tom is out of frame, a SECO ND BOY approaches Wendy. Then they start mak ing out. (-2825) INT AIRPLANE - DAY COLLEGE TOM sits next to his gir lfriend REBECCA MYLES. His smile gleams. TOM I’m so glad we decided to go away together Bec. I k now we’ve only been dating a few months but it’s been...awesome. NARRATOR Exhibit C: Reb ecca Myles. TOM And now, you a nd me, 8 days in Mexico... best sp ring break ever! Across the aisle Rebecca makes e ye contact with three COLLEGE DUDES. REBECCA I think we should se e other people. (-734)22. EXT CAR - NIGHT Younger Tom sits in the passenge r seat. Rave n-haired AMANDA drives. NARRATOR And, finally.. . Exhibit D: Amanda Heller. AMANDA It’s just... it’s complicated. TOM What’s comp licated? Last week you said you lo ved me! AMANDA I know it’s su dden but... TOM No, this can’t be. Everything was going so great. I don’t understand. AMANDA (beat) Here. TOM What’s this? She puts a dis c into the cd player. AMANDA Because you’re, l ike, the biggest music nerd I’ve e ver met, I think this should reall y help explain where I’m coming from. A pop song begins to play on the stereo. They listen for a few beats. Tom is confused. AMANDA You remember how much I loved this song when you first played it for me? TOM Sure. It’s all yo u wanted to listen to for weeks. 23. AMANDA Right. And I still like it, don’t get me wrong. It’s just... When I hear it now, I do n’t feel the same...rush. TOM (still confused) Ok... AMANDA I press the skip button. Still Tom doesn’t understand. TOM What does this have to do with--? AMANDA I’d rather listen to something else. And with that, it slowly sinks in for him. TOM But Amanda... thi s is a great fucking song! (22) INT LOCAL DIVE BAR - HAPPY HOUR Tom removes his h eadphones and sits defeated with McKenzie and Paul in a booth. TOM It’s off. PAUL What? TOM Me and Summer. MCKENZIE Was it ever on?24. TOM No. But it could hav e been. In a world where good things happen to me. PAUL Yeah well, that’s not really where we live. TOM No. MCKENZIE So what happened? TOM You ready for this? INT ELEVATOR - THE DAY BEFORE Tom is alone. The door opens. In walks Summer. TOM (V.O.) So there we are. All alone. Nine more floors to ri de. Plenty of time. I figure ...this is my chance. If not n ow when, right? They ride in silence for a few beats. TOM Summer... SUMMER Yeah? TOM (beat) So how was your weekend? SUMMER It was good. INT LOCAL DIVE BAR - AS BEFORE The friends wa it for more. TOM You believe that shit?25. MCKENZIE What shit? PAUL I think I miss ed something. TOM “It was good .” She didn ’t say “It was good.” She sa id “It was good .” Emphasis on the good . She basically said “I spent the weekend having sex with this guy I met at the gym.” Fucking who re. Screw her. It’s over. Everyone’s silent. MCKENZIE What the hell is wrong with you?! PAUL Dude, you got problems. TOM She’s not i nterested in me. There’s nothing I can do. MCKENZIE Based on...”it was good ?” TOM And some other things. PAUL Like what, she sa id “hey” instead of “hi” cause that totally means she’s a lesbian. TOM I gave her all so rts of chances. INT OFFICE - DAY Tom types at his desk. Summer ap proaches the cubicle Tom shares with McKenzie. SUMMER I’m going to t he supply room. Anyone need anything? MCKENZIE No thanks.26. TOM I think you kn ow what I need. There’s a beat. TOM Toner. SUMMER Oh ok, sure, no prob. INT OFFICE - LATE IN THE DAY The office is emp tying out. Only a few people r emain but Tom and Summer are tw o of them. T om takes this oppo rtunity to put a CD in his computer and play the song really l oud. It’s “I Want to Know What Love Is” by Forei gner. No reaction from Summer. Tom turns it up. Still noth ing. Tom tur ns it down, defeated. INT SUMMER’S DESK Tom is there. TOM Do you want to go out with me? A beat. Summer says nothing. TOM And the Priest says, “But we’re already out!” They both laugh. SUMMER That is hilarious! TOM I know! And when she w alks away, he smacks his head a few times with his palm. INT LOCAL DIVE BAR - AS BEFORE TOM Not once did she take the bait. Not once. Screw it. I ’m done with her. It’s over.27. Tom’s friends all look at him li ke he’s crazy. (27 & 28) INT OFFICE - TOM’ S CUBICLE - DAY Tom sits at his d esk with headph ones on tryi ng to work. But with Summer down at the end of the hal l, he’s havi ng a hard time concentrating. McKenzie shares a cubicle with Tom. MCKENZIE This Friday. 10 b ucks all you can karaoke at The Well. TOM No way McKenzi e. Absolutely not. MCKENZIE Come on! (singing) “Take me down to the paradise city where the grass is green and they got big titties!” TOM They won’t let you back in there after last time. MCKENZIE I wasn’t that bad. TOM Not at all. You just threw up on the stage, tri ed to fight the bartender, and th en threatened to burn the place do wn before passing out on the sidewa lk. Quiet night for you. MCKENZIE (reverential) You saved my life that day. TOM We are not goi ng back there.28. MCKENZIE This is a work thing, Tommy. It won’t be like that. The whole office is going. TOM I really can’t. E ven if I wanted to. There’s a lot of st uff I gotta take care of. MCKENZIE You’re not listen ing to me. TOM What? MCKENZIE The whole office is going. Tom looks over to where Summer sits. And rea lization dawns on him... INT KARAOKE BAR - NIGHT Summer is in a ba ck booth with s ome co-workers when Tom walks in to the crowded place. McKenzie has the micro phone and he’s singing “Every Ro se Has Its Thor n” by Poison. H e’s real into it and, well, it’s kinda sad. To m waves to M cKenzie and walks over to the booth. TOM Hi. SUMMER Hey! They said yo u weren’t coming. TOM You asked if I was coming? (beat) I mean...my plans got cancelled... Tom is at a loss. There’s yet another awkward silent beat between them. Thankf ully, it’s inte rrupted by... MCKENZIE (already drunk) Goddamn that song is brilliant! What’s up Hansen? Summer sees the next song come up on the screen.29. SUMMER Ooh that’s me. She downs a sh ot and jumps up on stage. SUMMER (into mic) Ok. I’m the new g irl so no making fun of me. Her co-workers whistle and cheer her on. She takes a deep breath as the ope ning bars of “Born to Run” begin to play and Summer starts to sing. Tom sees Sum mer as the actress in whatever nonsensical karaoke video accompanies the song (it’s something to do with an old convertibl e, the sunse t, and a midget in a tuxedo.) LATER. Tom sits in t he booth with M cKenzie (doing a shot) as Summer chats with co-workers at ano ther table. Tom can’t help but stare at Summ er. She notices an d waves. He smiles, hopeful that s he’ll come over. She doesn’t. He hides his disappointment.LATER. Tom walks back to his tab le with drinks. Summer is there in mi d-conversation wit h McKenzie. TOM You were great up there, by the way. SUMMER Well you can’t go wrong with The Boss. TOM (sitting down) I hear that. MCKENZIE Hey, did you know Tom here’s from Jersey? SUMMER Yeah? TOM Lived there til I was 12. SUMMER I named my cat af ter Springsteen. TOM No kidding? Wh at’s his name?30. SUMMER Bruce. TOM (beat) That makes sense. She laughs. She’s really cute when she laughs. MCKENZIE So you got a boyfriend? SUMMER Me? No. Tom shoots daggers at McKenzie f or that comment . McKenzie mouths “what?” Su mmer sees nothing. MCKENZIE Why not? SUMMER Don’t really want one. MCKENZIE Come on. I don’t believe that. SUMMER You don’t beli eve a woman could enjoy being free and independent? MCKENZIE (beat) Are you a lesbian? SUMMER No, I’m not a les bian. I’m just not comfortable being somebody’s “girlfriend.” I don’t want to be anybody’s anything , you know? MCKENZIE I have no idea what you’re talking about. SUMMER It sounds s elfish, I know, but... I just like being on my own. Relationships are messy and feelings are alwa ys getting hurt. Who needs all that? We’re young. We’re in one of the most beautiful cities in the world. 31. (MORE) I say, let’s h ave as much fun as we can afford and le ave the serious shit for later. TOM But...what if you meet someone and fall in love? SUMMER (laughs) Love? You s eriously believe in that stuff? TOM Of course I do. SUMMER Interesting. A real romantic. MCKENZIE Oh you have no idea. This one... embarrassing. There was this one girl, (to Tom) I gotta tell t his story -- Tom elbows McKenz ie hard in the ribs to shut him up. TOM Summer, hold o n... you don’t believe in love? SUMMER I don’t even know what that word means. I know I’ve never felt it, whatever it is in all those songs. And I know that today most marriages end in divorce. Like my parents. TOM Well mine t oo but -- SUMMER Oh yeah, And I read in Newsweek, there were these scientists who found that by stimul ating a part of the brain with electrodes you can make a person fall in “love” with a rock. Is that the love you’re talking about? TOM Well...32. SUMMER (cont'd) SUMMER Why, what’s your take on it? CUT TO: AN ANIMATION SEQU ENCE, real quick. AN EXPLOSION OF MANY DIFFERENT COLORS, COMPLETE WITH A CHOIR AND A CHURCH ORGAN ALL BUILDING TO A HUGE CRESCENDO. BACK TO: INT BAR On Tom: TOM I think it’s...ki nd of a huge thing. SUMMER (beat) Ok. Looks like we ’re gonna have to agree to disagree on that one. McKenzie senses some discontent. MCKENZIE So, uh, who’s singing next? SUMMER (re: singing) I’d say it’s y our turn loverboy. TOM Nooo. I don’t sin g in public. SUMMER Sure you do. I se e you lip -synching to your headph ones every morning on your way in. TOM I don’t... MCKENZIE You really do. SUMMER It’s ok. I like i t. Takes a lot of self-confidence to look ridiculous. 33. MCKENZIE (can’t he lp himself) Self-confidence! Ha! Tom elbows him in the ribs again. TOM Anyway, I’m not n ear drunk enough to sing in front of all these people. SUMMER Ok then. Le t’s drink. TOM It would ta ke at least ten shots to get me to sing. SUMMER Bartender! TEN MINUTES LATER . Tom is up there sin ging The Clash’s “Magnificent S even.” You wouldn’t think so but Tom is a ROCK STAR up there! He ’s dancing like Jagger, he’s got everyone in the bar singing along to the audience-participa tion parts. It’s a sight to b ehold. Summer is a ll smiles watching. LATER. Tom and Summer back at the t able. Summer is humming something. TOM That’s not it. SUMMER What is that then? TOM I have no idea. They’re both havi ng a good time. SUMMER I used to watch it every week. TOM Me too. Why can’t we think of the stupid A-Te am theme song. SUMMER Pathetic. TOM This is gonna bother me for weeks.34. SUMMER Totally. They share another l augh and then it gets quiet. In that good way. ANGLE ON McKenzie, w asted, singing the shit out of “Proud to Be an American.” He really means it. At any min ute he might start to cry. MCKENZIE “And I’d proud ly stand UP!” (aggressive drunk) I said stand! BACK ON TOM and SUMMER. TOM Oh here we go. EXT KARAOKE BAR - LATERTom helps a nearly c omatose McKenzie exit the place. Summer is with them. MCKENZIE (to Summer) This guy. (dramatically) He’s the best. TOM Ok, let’s get you in a cab. MCKENZIE No. I’m gonna walk. I live right down that street. Or that one. SUMMER (laughing) Is he gonna be ok? TOM He’ll be fine. A cab arrives. To m and Summer he lp McKenzie inside. MCKENZIE Hey. TOM What’s up?35. MCKENZIE Not you. You. (beat, to Summer) He likes you. TOM (quickly) Ok, goodnig ht McKenzie! MCKENZIE I mean... like s you, likes you. For real. Tell her Tom. Tom shuts the doo r on McKenzie as fast as he ca n. Now it’s just Tom and S ummer. Tom talks a mi le a minute to try and erase McKenzie’s last exchange from her mind. TOM Sorry you had to see that. Happens every time we com e here. It’s unbelievable. Someth ing about that guy and singing f or people. I don’t know. But at l east he didn’t -- SUMMER Is that true? TOM What? SUMMER You know what. Do you...like me? TOM Yeah. I like you. Of course I do. SUMMER As a friend. TOM Right. As a friend. SUMMER Just as a friend? The wheels are spinning in Tom’s head. Wh at’s the right answer here? TOM Yes. I mean... I haven’t really thought about. .. Yes. Why?36. SUMMER Nothing. I jus t... You’re interesting. I’d like us to be friends. Is that ok? Tom was clearly hoping for her to s ay something else. He hides his disappointment the best he can. TOM Oh yeah totally. Friends. You and me. That’s. .. perfect. SUMMER Cool. TOM Cool. Silence. SUMMER Well, I’m that wa y. Good night Tom. TOM G’night Summer. Tom watches her w alk away for a beat before he turns to go the other way. TOM (under his breath) Friends. Awesome. That’s just great. Well done Hansen, y ou idiot. Tom walks a fe w more steps. And then, seem ingly out of no where, without his even noticing, SUMMER HAS WRAPPED HER ARMS AROUND HI M AND PULLED HIM INTO A KISS! It’s unbelievable. There’s a few seconds where Tom isn’t sure if he’s dreaming or not. But then he r ealizes, sudden ly, out of the blue, his best case scenario really is actually happening. (29) FADE UP: “YOU MAK E MY DREAMS COM E TRUE” by H all and Oates.37. EXT STREET - MORNING It’s the great est morning of all time! Tom walks down the street. Or, more accurately, Tom struts down the street. He’ s pointing at p eople as he passes, winking, doing a little shuffle. He is the man. He checks out his reflection in a window. A YOUNG PAUL NEWMAN stares back. People wave as he passes, they clap , they give him thumbs up. A parade forms be hind him. The POSTMAN, a POLIC E OFFICER, the HOT DOG VENDOR, RONALD MCDONALD and MAYOR MCCHEESE, everybody loves Tom toda y. HALL and OAT ES themselves walk with Tom singing the song. Cars stop at c rosswalks to le t Tom go by. Th e DRIVERS also pump their fists in celebration of Tom’s achievement last night. He walks on, the man. We not ice the side walk lights up every time he tou ches the paveme nt like in “ Billie Jean”. CARTOON BIRDS fly onto Tom’s should er. He smile s and winks at them. INT OFFICE - SAME Tom passes Summer’s office whistlin g Hall and O ates. She sees him and immediate ly lights up. SUMMER Hey! TOM Hey! Vance pokes out of his corner office. VANCE. Summer, I need -- Oh he llo Hansen. TOM Hey Mr. Vance. SUMMER Yes, Mr. Vance? And they’re all business. As Tom turns to go, however, Summer gives him a little coy smile that would be e nough to make anyone’s day c omplete. Tom gives her the intern ational signal for ‘I’ll call you later’ in return. Vance s ees none of it. Tom walks to h is cubicle, still on top of the world.38. INT TOM’S PLAC E - THAT NIGHT Tom answers the d oor. It’s Paul (in hospital scrubs). PAUL You son of a bitch. He walks inside without waiting for an invite. PAUL Last night, karaoke night? TOM (anxious) Shhh. PAUL The same girl you ’d been whining and crying and bi tching about for weeks now? TOM I have not been... PAUL The same gi rl you said was way out of your league and you’d have no chance with no ma tter what. That girl? TOM Paul, seriously... PAUL Did you bang her? TOM No! PAUL Blow job? TOM No! PAUL Hand job? TOM No, Paul, no jobs. I’m still unemployed. We just kissed.39. PAUL Come on, level wi th me. As your best friend, who tolerated a whole month of ta lk talk talk about this girl, nothing but Summer this, Summer that, Summ er Summer Summer, I mean you wer e practically stalking her... TOM Shhh! Suddenly, the sound of a toil et flushing is hea rd. From the bathroom emerges Summer, dressed to go out. PAUL Oh crap. SUMMER Hi, I’m Summer.. PAUL Summer, wow what an unusual name. I’m sure I’d remember that if I had heard it befor e. Tom, how come you’ve never m entioned you knew such a lovely little lady? (off Tom’s nasty look) Or perhaps you ha ve and I’ve just forgot. (to Summer) I mean, with all the women in Tom’s life it’s hard to keep track... (not helping) Ok, well, I was j ust... I’m Paul. SUMMER Hi Paul. PAUL (not sure wh at else to say) I’m a doctor. SUMMER Nice to meet you. PAUL Anyway, I’m leaving now. Pretend I was never here. Tom, talk to you later?... Hey, If any jobs open up...40. Tom quickly shuts the door on Paul. TOM If you heard... SUMMER Heard what? TOM Excellent. You re ady to go. SUMMER I’m stalkin g, STARVING! Tom realizes she’s heard it all. TOM (playfully) He exaggerates! (198) INT CHINESE RE STAURANT - NIGHT Tom and Summer eating, not reall y talking much. At another table, Tom sees a VE RY UNATTRACTIVE COUPLE feeding each other food. TOM Check them out. Summer sees. She has no reaction. TOM (sarcastic) That is hot. Summer keep s eating. TOM I am very turn ed on right now. SUMMER Sometimes you can be so judgmental. TOM Huh?41. SUMMER I mean, who are you ? They’re happy. Just mind your own business. Summer goes back to eating. Tom can’t believe s he snapped. (31) INT RESTAUR ANT - NIGHT An equally UNATTR ACTIVE COUPLE go at it in a booth. PAN ACROSS to find Tom and Summer early in their relationship, in a booth across the room, watching in hysterics. TOM 9, 9.5? SUMMER Too soon to sa y. It’s all in the dismount. TOM If we’re lucky, t here won’t be a dismount. Summer, her ch eeks flushed already from l aughing, loses it again. They are h aving a grea t night. SUMMER I can’t believe t hem. I have like zero patience for PDA. TOM I hear ya. If I w ant to watch people make out, I have big windows and binoculars at home. SUMMER Yeah? TOM (beat) No. That would be wrong. They laugh some more. She is in hysterics. SUMMER This is fun. You’re fun.42. TOM Thanks. SUMMER I mean, I just want to say, up front, I’m not lo oking for anything serious. Tom is a little surprised. SUMMER Are you cool with that? TOM (unconvincing) Sure. SUMMER It freaks some gu ys out when I say that. TOM (still confused) Not me. SUMMER Let’s just have fun. Let’s just...hang out, no pressure, no labels, no obligations. (beat) Ok? Tom is visibly disappointed by t his but he tries to hide it. TOM Sure. SUMMER (beat) Wanna hold my hand under the table? A beat. TOM Yeah. INT TOM’S BEDROOM - LATER THAT NIGHT Summer and Tom come bounding in, lip-locked and al l over each other. They fa ll on his bed a nd begin undressing each other. Suddenly, T om stops. 43. TOM I’ll be...back in a sec. He walks into the hallway, out of her sight. He looks into the hallway mirror. TOM Settle. Don’t get too excited. She’s just a girl . There’s lots of them. Who look like that. And like what you like. They’re everywhere. Calm yourself. He takes a few deep breaths. TOM Are you calm? (beat) Ok. Then it ’s time to go back in. We watch from behind as he re-en ters his bed room. Where Summer wait s. Under the covers. Naked. SUMMER Hi. TOM Oh sweet Jesus! Tom can’t help but do a little celebration dance. CUT TO: LATER. Sex has been had. Summer is asleep. Tom lie s next to her. He still can’t help but be ecstatic. He is pumping his fists in the a ir and silently sh outing “W oo Hoo!!!!” (388) CU - TOM. LOOK ING THE WORSE FOR WEAR. UNSHAV EN, LONG HAIR, CRUMPLED CLOTHING. IN SHORT, HE’S A MESS. TOM (into CAMERA) I fucking h ate Summer. CU - SUMMER’S SMI LE (as before) TOM (V.O.) I hate her cro oked teeth.44. CU - SUMMER’S HAI R (as before) TOM (V.O.) I hate her 1950s haircut. CU - SUMMER’S KNE ES (as before) TOM (V.O.) I hate her kno bby knees. CU - SUMMER’S EYE S (as before) TOM (V.O.) I hate her lopsid ed, asymmetrical, cock-eyed head. CU - SUMMER’S NEC K (as before) TOM (V.O.) I hate that ce ntipede-shaped scar. CU - SUMMER’S BRE ASTS (as before) TOM (V.O.) I hate her...s tupid...big boobs. CU - SUMMER AS LEEP (as before) TOM (V.O.) I hate the way she sleeps. CU - SUMMER’S LAUGH TOM (V.O.) I hate the way she laughs. OVER BLACK, play the middle 8 of “Ever y Little Thing She Does is Magic.” TOM (V.O.) I HATE THIS FUCKING SONG! CU - TOM. REVERSE ANGLE on A T ROLLEY FULL OF PEOPLE, terrified of this raving lunatic. BUS DRIVER Son, you’re gonna have to exit the vehicle. CUT TO:45. INT OFFICE - DAY Tom passes Sum mer’s desk. A n ew SECRETARY si ts there. He notices, in the trash, a reprint of an avant garde surrealist painting of two dogs humping. He stops and retrieves it from the bin like i t’s some family heirloom. He gives the secretary a dirty look for tossing it. (35)",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SF MUSEUM OF MODERN ART - DAY CU: the sam e painting. ANGLE ON Summe r and Tom looki ng at it curiously. TOM It’s very... complex. SUMMER Complex. Yes. CU: a second painting which is nothing but red. ANGLE ON Summer and Tom looking at it with the same expressions. SUMMER In a way, it s peaks so much by saying... so little. TOM I feel the same way. CU: a third painting which could on ly be, well, poop. ANGLE ON Summer and Tom, still p erplexed but trying. They say nothi ng, until: TOM You wanna go to the movies? SUMMER (relieved) God yes!46.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. MOVIE THE ATER - LATER The marquee reads “Part Vampire. Pa rt Giant. ‘VAGIANT!’”,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MOVIE THE ATER - CONT. The theater is pa cked. Everyone is laughing and sc reaming and throwing popcorn. Tom and Summer are having a great time. (51) EXT TRANSAMERICA BUILDING - DAY Summer and Tom stand on San Francisco’s most interesting street corner, where the ultr a-modern Transamer ica Building stands next to the a ncient Colum bus Tower. TOM A lot of people h ave problems with this, but to me, it makes both structures so much more beautiful side by side l ike that. EXT PALACE OF FIN E ARTS - DAY Summer and Tom in front of the famed Roman-style structure. TOM The guy who ma de this, Maybeck, he is a God. EXT YERNA BUEN A GARDEN - DAY Summer and Tom sit on the ste ps which offers a stunning view of the city’s arc hitectural marvels. TOM It just makes you feel... peaceful. They really do seem at peace. EXT SONY ME TREON - DAY Tom and Summer in front of the gargantuan mi rrored building. 47. TOM No. See now, this is torture. SUMMER Why? TOM Over there, that’ s St. Patrick’s church. The be auty of S t. Patrick’s is its humility. With this giant mirror thing defl ecting all the attention away , it’s too humble. No one even knows it’s there. SUMMER How would y ou change it? TOM There’s a million things. First, there’s no need f or this much glass. You could easily... SUMMER Show me. TOM What? SUMMER Don’t talk about it. Do it. Summer gives h im a pen from h er purse and th e underside of her arm. Tom thin ks about this. Then he starts to draw a sketch on her skin. We catch her wa tching his face as he draws. She’s attracted to his enthusiasm. TOM See this beam, it steps on the landscape. But if we moved it... just so... (55) EXT OFFICE BUI LDING - DAY Tom and Summer, w ho have ridden tog ether to work, stand outside the building.48. SUMMER You wanna -- TOM No you go first. SUMMER It doesn’t mat ter to me. TOM Whatever you want. A CO-WORKER passes. CO-WORKER Hey Summer. Tom. BOTH (like nothin g’s up) Hey./ Hi. Summer joins t he co-worker an d walks in. SUMMER (to Co-Worker) So how’s it going? She turns back to look at Tom on the way. She sticks out her tongue to be cute. Co-Worker doesn’t see. Tom is crazy about her. INT OFFICE - LATER Tom at his cubicle with the o ne architecture sketch. The phone rings and he picks it up. TOM Hello? SUMMER (V.O.) I remember! INT COPY ROOM - DAY Summer is on her cell phone in the office copy room. She begins to sing the theme song to “The A-Team.” TOM (V.O.) That’s it!49. McKenzie enters and sees her sin ging into th e phone. Turns without a word and leaves. INT TOM’S C UBICLE - SAME Tom listening to her sing. McKenzie comes over. MCKENZIE Your girl is losing it. Tom is too wrapped up in the phone call to acknowledge him. The smile on his face is the biggest we’ve seen yet. (68)",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SHOWER - LATER We just see the c urtain, but we can see their silhouettes behind it. Summer and Tom are trying to have sex in the shower. They’re trying to stable themselves, grip something so as not to fall, e lbows are flyin g, it’s a mess. SUMMER This is not at all as easy as it looks. TOM Ow! The curtain ri ps and the bar comes crashing dow n. They fall on top of each other laughing. (77) INT VIRGIN MEGASTORE - NIGHTTom and Summer wander through the aisles. TOM There’s no way. SUMMER Why not? 50. TOM “Octopus’s Garden?” You may as well just say “Piggies?” SUMMER I told you. I love Ringo. TOM You’re insane. SUMMER Why? TOM Cause nobody loves Ringo. SUMMER That’s what I love about him. (beat) Ooh. Summer drags T om into the cur tained-off “Por n” section. She picks up a box. SUMMER (flirtatious) This got gr eat reviews.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SUMMER’S APA RTMENT - LATER Tom and Summer get comfortable. Both are excite d and looking forward to this. The movie start s, the credits roll. Tom and Summer start to make out a bit, both keep ing an eye on the TV. CUT TO:",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SUMMER’S APA RTMENT - 20 MIN UTES LATER Tom and Summer, watching the mov ie. Intently. They’ve even got popcorn. SUMMER Is that. .. possible? (79)51. INT SPORTS BAR - NIGHT Tom, Mckenzie and Paul are ha ving a drink. PAUL So what’s going on with you and Summer? TOM I don’t know. PAUL Is she your girlfriend? TOM I wouldn’t say that. MCKENZIE What would you say? TOM Like, are we “ going steady?” Come on, guys. W e’re adults. PAUL It’s not an unrea sonable question. Watch. McKenzie, do you have a girlfriend? MCKENZIE No I do not. In fact girls are repulsed by me. Paul, how about you? PAUL Why yes, in fact I do. Her name is Robyn. See Tom , it’s easy. TOM It is when you’ve been with the same girl since high school. PAUL You’ve been “s eeing” this girl, what, two months now? TOM Something l ike that. PAUL And you haven’ t discussed it?52. TOM No! She’s not. .. We’re not like that. PAUL Like what? MCKENZIE Normal. TOM We’ve just been.. . hanging out. PAUL Hanging out?! TOM Yeah. Guys, look, Summer and I...we know how we feel. We do n’t need to label it. “Boyfriend, girlfriend.” That stuff is very.. . juvenile. Beat. MCKENZIE You’re so gay. PAUL Well let me ask y ou this then. Do you want her to be your girlfriend? Tom takes a second to think about this. TOM I don’t know.. . Maybe. MCKENZIE I heard her Hansen. She’s not the girlfriend type. You ’re gonna need to discuss it. TOM No. We’re adults. It’ll be fine. MCKENZIE Have you made her a CD yet? TOM (beat) Maybe. MCKENZIE Oh dude.53. PAUL You really need to have that talk. (80) EXT FIELD - DAY Rachel is playing field hockey on the 7th grade team. Tom is watching from beh ind the players ’ bench. A whis tle blows and Rachel comes back and sits down. RACHEL You were saying? TOM My thinking is... why rock the boat? Things a re going well. If we start putting labels on it, that’s like the kiss of dea th. Like saying to a girl “I love you.” RACHEL I know what you mean. That’s what happened with me and Sean. TOM Who the hel l’s Sean? RACHEL My boyfriend before Mark. TOM Who the f--! Never mind. Help me. I need solid fem ale advice. RACHEL I’m 12. TOM Yeah but, you know me. This is the kinda stuff that always gets me in trouble.54. RACHEL Hmm. So, basic ally you do want to ask the questi on, ‘are we boyfriend/girl friend?’ You ’re just afraid you’ ll get an answer you don’t want and th at will shatter your illusions of how good everything’s been these past few months. Is that about right? TOM (beat) Something l ike that. RACHEL Thomas, tell me this . Is it worse to get the wrong answer now... or find out in a mon th she has a date coming up with Lars from Norway? TOM Who’s Lars? RACHEL He’s a profession al surfer with Brad Pitt’s face and Jesus’s abs. TOM That son of a bitch. RACHEL You see what I mean? The whistle blows again and Rach el gets up to go back on the field. RACHEL Later dude. TOM Coach, no, wait! I need her. (shouting to Rachel) Rachel, what do y ou think I should do? RACHEL (calling back) Just don’t be a pussy. On Tom, we: CUT TO:55. INT TOM’S CAR - THAT NIGHT Tom and Summer dr iving on the Golden Gate. Tom is very conflicted and we can see it in his face. Th ey’re silent a few beats, before: SUMMER Hi. TOM Hi. SUMMER Are you ok? TOM Yeah. SUMMER You sure? He’s not. He c lenches his teeth. And begins... TOM Summer, I’ve g otta ask you something. SUMMER Ok. He takes a dee p breath. He’s about to go on when: SUMMER Wait! Summer finds on t he radio a part icular song. (”Waiting in Vain” by Bob Marley, if yo u must know.) SUMMER Whoa. Oh my god. We can’t talk during this so ng. It’s too beautiful. And it is. Tom’s han d is on the gear shift. She puts hers there and locks it with his. Tom listens and Tom watches Summer listening. There’s someth ing about th is moment, the way she sings alo ng, the way her ey es close during certain notes, the way her smile rise s and falls like she could cry at any minute fro m being overwhe lmingly happy or just simply overwhelmed. Tom is powerless to stop his feelings for this girl. 56. Marley sings: B.M. “In life I know there’s lots of grief/ but you r love is my relief.” We know, as well as he does: he will a sk nothing tonight. (172) INT PARTY - NIGHT Tom and Summer are in a LARGE CIRCLE OF PEOPLE at a party. TIME CUTS reveal that Summer is tal king with, l aughing with, drinking with, and possibly f lirting with ma ny of them. Tom notices, smiles, pretends it doesn’ t mean anyth ing, but he’s clearly jealous, not in a sexual way but of the attention they’re getting f rom her. It’s b een a while. He misses that attention. CUT TO: (272-286)",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BOOKSTORE - DAYTom, starting to get that unshaven, un kempt look, wanders through the self- help section. He leaf s through some of the titles. He grabs jus t about ever y one of them.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. APARTMENT - LATER Tom has more than fifty self-hel p books on a shelf by his bed. He reads from o ne called “Six Steps to Getting Over Him.” TOM (V.O.) “So he broke y our heart. You’ve been sad and depr essed for weeks. Perhaps you’ve turned to drinking or even drugs. And nothing’s helped. Now what? Shoul d you binge on rocky ro ad and watch soaps all day?” SECONDS LATER. To m sits in his bed eating ice cream. He continues to read.57. TOM (V.O.) “No you sho uld not.” He slowly puts the ice cream down. TOM (V.O.) “Through extensiv e research, we have found the six most effective ways to get over tha t lost love and make room in your heart for a new man to fill. Thos e steps are:”",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. STREET - DAY Tom jogs. TOM (V.O.) “One. Exercise. T he body’s release of endorphins wil l assuage the brain and provide a genuine sense of accomplishment and success.” Cars pass him at top speed. Bicycle s breeze by him . A child on a big wheel soars past. He may as well be jogging in place.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. YOGA CENTER - NIGHT Tom is taking a yoga class. TOM (V.O.) “Two. Physical and Mental relaxation. Chann el all of your energies to the c ore of your being for a new understanding of the self and others.” This shit is really fucking hard when you’re as inflexible as Tom. Everyone else in the class seems at peace. Tom can’t even get the b reathing right.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOMELESS SHE LTER - DAY Tom feels good ab out himself as he giv es out food to the homeless. TOM (V.O.) “Three. Charity. Rea ch out! You are not alone in your pain.”58. Next in line is a HO MELESS COUPLE holding hands . Tom spirits immediately fall. Even these two somehow found each other. INT SHOE STORE - DAY Tom stands in the center of a fashionable ladies shoe store. TOM (V.O.) “Four. Shoe Shopp ing! Ladies...you know you want to. Indulge!” ANGLE ON TOM, just sorta stan ding there. Confus ed. He doesn’t really want new shoes.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FOREST - DAY Tom backpacks alo ne in the forest. TOM (V.O.) “Five. Travel. Ta ke some time to see another environment. Get perspective. It’s a beautiful world. It will be for you again someday.” This is it, he’s fin ally found some peace. Tom looks up to the tops of the trees where t he sunlight is pee king in and takes a dee p breath. FREEZE ON TOM. INFORMATION BUBBL ES pop up on the s creen to point out that Tom is standing in POISON OAK. T here’s a RUSTY BEAR TRAP a step ahead of him. A giant POISONO US SNAKE creeping up behind him. A TICK on his leg. And in the distance a HUNTER has Tom sized up in his rifle sight. UNFREEZE.Tom starts to itch...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. APARTMENT - LATER Tom is painting t he walls of his now n early bare apartment. TOM (V.O.) “Six. Redecorate. Start anew.” He’s focused on his task and in fact seems pret ty good at it.59. TOM (V.O.) “By taking these few steps, you will have discove red your inner strength and s hould be ready to move on. I bet you can hardly remember his f ace at all.” We pull back to R EVEAL Tom has pain ted a giant mural of Summer on his wal l. He looks at the se lf-help book and dropkicks it. (145) INT CROWDED BAR - NIGHT Summer and Tom stand by the bar. TOM I just don’t get women’s fashion nowadays. Ever ybody with the tattoos, the giant hoop earrings, those annoying ha ts. Explain this to me. SUMMER People think it looks good. TOM Do you? SUMMER On some. TOM I like how you dress. SUMMER Yeah? What if I started wearing berets and got a huge butterfly tattoo on my leg? TOM (beat) Please don’t. A tall, well-built, GOO D-LOOKING DOUCH EBAG GUY has suddenly appeared ne xt to them.60. DOUCHE (to Summer) Hey. Tom and Summer stop talking. SUMMER Hey. DOUCHE How’s it going? SUMMER Ok. Tom puts his h ands in his poc kets and watches this exchange go down. Not sure what else to do. At thi s point he’s more amused than concerned. DOUCHE You live ar ound here? SUMMER Yeah not too far. DOUCHE I’ve never seen y ou here before. SUMMER You’re not too perceptive. DOUCHE Ha. That’s funny. Tom smiles to himsel f. This guy’s a to ol. Nothing to worry about. DOUCHE So, uh, let me buy you a drink. SUMMER No thank you. As she answers Summer gives a quick gl ance over to Tom. The Guy notices. Up to this point he had n ot connected the two of them together. DOUCHE Are you with this guy? Tom realizes he has to sort of s ay something now.61. TOM (beat) Hi. I’m Tom. DOUCHE Whatever. (to Summer) Come on, one drin k. What are you drinking? SUMMER Sorry, no thank you. Tom is pleased. DOUCHE You’re serious? This guy? And now he’ s pissed. TOM Hey buddy -- SUMMER (to the Douche) Don’t be rude. I’m flattered, I’m just not in terested. No w why don’t you go back over there and le ave us alone, ok? DOUCHE It’s a free country. Summer and Tom make eye contact again, as if to say “now what?” After a beat: DOUCHE So you and him , huh? I can’t believe that. Is thi s guy really your boyfriend? And that question hangs in th e air. Tom, pan icked, decides to cut the silence. All the pent up uncertainty and confusion, coupled with the challenge to hi s manhood in front of the woman he loves , all manifests in one single, solid, almost automatic RIGHT CROSS TO THE GOOD LOOKING DO UCHEBAG’S FACE. Which connects sp ot on and sends th e Douche reeling. Both Douche and Tom wince at the pain (Douche’s chin, Tom’s fist). 62. There’s a beat of calm where Tom is actually sorta surprised. And then the Douc he spins around and starts PUM MELLING TOM. CUT TO: EXT BAR - A FE W MINUTES LATER Having been thrown o ut, Summer and Tom exit the place. Tom is a bloody mess, granted, but feels pretty great about it. TOM Did you see th at punch? I don’t know where it came from. I haven’t punched someone since Josh Greenberg in fift h grade. Guess I’m gonna have to throw out this shirt. Summer starts wal king ahead and Tom notices for the first time she’s furious. TOM Hey. What is it? SUMMER I can’t believe you. TOM What? SUMMER You were so co mpletely unc ool in there. TOM You’re mad at me ? I just got my ass kicked for you. SUMMER Oh that was for m e? You were, what, protecting me? Ne xt time Tommy, don’t. I fight my own battles. TOM Come on, that guy was an asshole! SUMMER You didn’t have to hit him. Why didn’t you just l et me handle it? TOM I don’t know. He was --63. SUMMER See. This is why I don’t want a serious rel ationship. TOM Whoa. What was that? SUMMER Nothing. Look, I like you Tom. I like this. What we’v e been doing. But maybe i t’s gone too... TOM What...? SUMMER I told you all al ong what I don’t want and it’s... Tom waits for mor e. It doesn’t come. SUMMER I’m tired. Can we talk about this tomorrow? It’s silent. He does n’t know what to do or say or think. Neither of them say a word as they go their separate ways. TOM (calling to her) I just got my ass kicked! Only the CROWD outside the bar hear this. TOM (to Onlookers) I got one good shot in. (146 & 147)",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. OFFICE - LATER Tom is in the pho tocopy room with a ba ndage on his nose. Summer walks in, not realizing he would be t here. She stops short. TOM (genuine) Hi.64. SUMMER (cold) Hi. TOM What’s up? SUMMER Nothing. TOM Ok. Nothing else is said. TOM Wait, are you sti ll mad at me? SUMMER (rolling her eyes) Tom... TOM Holy shit you are. I can’t believe you! SUMMER (re: copies) Are you alm ost done? TOM Yeah. I’m all done. He starts to walk out. TOM You know what. .. Sometimes you really don’t m ake any sense. Tom walks out. He looks back but she isn’t looking. When she looks back at him , he’s gone. LATER. Tom about to leave the of fice. Passes Su mmer’s desk. She’s on the phon e. He wants to stop and say something but she’s busy. He wa lks on. She never knew he was there. LATER. Summer, pa cked up to go, walks ove r to Tom’s cubicle but he’s already gone. SPLITSCREEN - INT . BOTH APARTMEN TS - THAT NIGHT Left: Tom toss es and turns in his sleep. 65. Right: Summer lies awake, staring at the ceiling. Left: Tom picks up t he phone. Is about to dial whe n he stops himself and hangs up. Right: Summer loo ks at her phone, willing it to ring. It doesn’t. INT TOM’S BEDR OOM - HOURS LATER Tom is awakened by a buzzer. He hits the “sleep ” button but the buzzing isn’t coming from his a larm. It’s h is door. He gets up, conce rned, and goes to answer it. It’s Summer. SUMMER Say you’re sorry. TOM Huh? SUMMER Say you’re sorry for acting like a jerk. TOM I am. I’m sorry for acting like a jerk. SUMMER Ok. Me too. TOM Summer... we don’t have to label what we’re doing. I just... I need - SUMMER I know - TOM Consistency. I ne ed to know you won’t wake up tomorrow and feel a different way. SUMMER I can’t promise y ou that. Nobody can. Anyone who d oes is a liar. A beat. SUMMER I can only tell you how I feel right now... or I can show you.66. She comes in and kis ses him. He thinks about it for a second. Is this enough to assuage his doubts? Damn it, she wins again. He shuts t he door in our faces. INT TOM’S BEDROOM - THE NEXT MORNING Tom and Summer in the wee hours. TOM Have you ever had a real “boyfriend?” SUMMER What? TOM A boyfriend. “ Going steady.” Whatever. You kno w what I mean. SUMMER Well... yeah. TOM More than one? SUMMER A few. TOM Tell me about them. SUMMER Oh no way. TOM Why? SUMMER Cause there’s not hing to tell. TOM Come on, I’m interested. SUMMER You wanna have the relationship history con versation? TOM Yes. SUMMER You sure about that?67. TOM No. Yeah. I don’t know. Why not? I can take it. SUMMER Ok. Well, in high school, there was Markus. INSERT: Still photog raph of MARKUS. Or at least how he appears in Tom’s mind. Arm cocked, about to throw the winning touchdown pass. TOM Quarterback slash homecoming king? SUMMER He was a rower . Very hot. TOM What happened to Markus? SUMMER He works for t he Republica n party. Very successful. Jus t not for me. TOM Ok. And then? SUMMER Well, for a short time in college, there was Kurt. INSERT: Still photograp h of KURT. As Tom envisi ons him. Playing the guita r on stage in Motley Crue. SUMMER That didn’t reall y go anywhere. (beat) And... my semester in Rome. Daniele Belardelli. AKA “The Puma.” INSERT: Still photograp h of THE PUMA. A swarthy Italian posing in front of a Vespa mo ped in tight Gucci pants, his boner clearly try ing to escape. TOM The Puma? SUMMER Yeah, cause, you know... Tom has no idea. And he doesn’t want to know. 68. TOM And that’s it? SUMMER The ones that lasted. TOM What happened? Why didn’t they work out? SUMMER Nothing happened rea lly. It’s what always happens. Life. On TOM. Silent for a few beat s. Did he want to hear that? CUT TO: (290s)",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. STREET - DAY Tom, unshaven, un -showered, walks by himself. He turns a corner and sees S ummer walking t owards him. As she gets closer he sees it’s not her after all and breathes a sigh of relief.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. APARTMENT - LATER Tom, almost with a f ull beard, is rede corating his apartment again. We see him rearranging the f urniture in the room. LATER. He hangs s ome new pictures. LATER. He uses a pencil on the wall to mark for a bookshelf. Then he uses a ruler to make sure his marks are even. He draws a faint line on the wall to mark wh ere he needs to nail something. 103. (240) INT COFFEE HOUSE - LATER That day again. As w e’ve seen be fore, Tom reads a newspaper. Summer reads a novel. TOM It’s playing at 5. SUMMER You want to go? TOM I don’t know. You wa nna maybe go back to your p lace or --- SUMMER I want to see it. Let’s go. TOM Ok cool. SUMMER Unless you don ’t want to. TOM No, I will. That’s fine. SUMMER Ok. A few more silent beats. Something’ s in the air. INT MOVIE - LATERTom and Summer wa tching the film. Tears begin to well in Summer’s eyes. They soon turn to audible sobs. Tom turns to look at her, to offe r some sort of comfort, believ ing it to be a response to the movie. She doe sn’t look back. (409) INT TOM’S B EDROOM - DAY Tom drawing a str aight line on his wall. Redeco rating. 104. And then he stops. He looks at the l ine he’s drawn. He extends it a little bit. He draws another. He begins to furi ously draw on the wall. From out of nowhe re, inspiration has hit. An im age starts to form. A pretty im pressive looking futuristic skyscraper, almost shaped lik e a tear drop. (240) EXT MOVIE T HEATRE - LATER Same day from the past. They wal k out, at fi rst everything’s alright. It’s exa ctly as we saw on pag e 7. But soon after that she begins to cry again. Serio us, real sobbing. TOM Hey. He goes to hug her. He hugs her. It’s unclear if she hugs back. TOM Hey Sum, it’s just a movie. SUMMER I know. I’m sorry Tom. TOM Is everything alr ight with you? She smiles, tr ies to pull her self together. SUMMER Yeah. I’m just... I’m sorry. I’m being ridiculous. TOM It’s ok. This happen s to me every time I watch “Hoo siers.” Let’s go for a walk, ok. L et’s get som e air. Or go to Sister Ray’s. SUMMER Ok. They walk.105. INT RECORD STORE - NIGHT Tom and a much more in control Summer walk down the aisles. He grabs one. TOM It pains me that we live in a world where no one’s ever heard of Spearm",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int. SUMMER I’ve never heard of them. TOM And it’s painful. Oh look. He grabs a Rin go Starr album and shows it to her, just as we’ve seen on Pag e 7. She smiles and t hey continue on down the aisles. In CU, Tom goes to hold Summer’s hand. But s omething happens. It could be a tot al coincidence, but just as his hand approaches hers ( in SLO-MO), she mo ves it away and keeps it at her side. Tom puts his hands in his pockets, unsure if there’s something to read in that. (411) EXT HARBOR - DAYTom sketches intensely. The l andscape, the skyline, the works. He’s in the zone. (240) EXT RECORD STORE - LATERAgain, that fa teful day conti nues. Tom and Summer outside. SUMMER So. TOM So... Now what?106. SUMMER Now...I think I’m gonna call it a day. TOM Yeah? You wanna maybe...get some dinner or something? SUMMER I’ve got pasta at home. TOM Are you hungry? SUMMER I’m pretty hun gry, but -- TOM Ooh! SUMMER What? TOM I’ve got a great idea! SUMMER What? TOM Let’s get breakfast. SUMMER Now? TOM Pancakes? Summer’s resis tance is futile. And the rest as they say is history. FADE UP: “Number Two ” by the Pernice Brothers. Which plays over: (417-464) 1. INT TOM’S BATHROOM - DAY Tom shaves. Ma kes himself loo k presentable.107. LATER. Tom, now clean shaven and looking li ke he did when we first met him, sk etches on his bed with one han d while holding a phone w ith the other. 2. EXT CITY SIDEWALK - DAY Tom sits on a str eet corner drawing new a dditions to the city’s skyline. 2. INT L IBRARY - DAY Tom sits with his feet up on a table, headphones on his ears, reading one of many Taschen book s on innovat ive building design. 3. INT OFFI CE LOBBY - DAY Tom drops off his portfolio with the s ecurity guard in the lobby of a high-rise. 4. EXT SOCC ER FIELD - DAY Tom and his mom a nd step-dad cheer on his sister playing soccer. It’s a ni ce temporary distr action for him. 6. INT TOM’S BEDROOM - DAY Tom getting bad news on the p hone. He has a lis t written on his wall (which is now composed of a d ynamic cityscape of futuristic looking s tructures). He crosse s “Abrams and Abrams” off the list. We notice sev eral others are also crossed off.5. EXT GOLDEN GATE BRIDGE - DAY Tom has his car on the side of t he road and is out measuring the distance betw een the beams of the bridge. 8. EXT PARK - DAYTom jogs. A little faster thi s time. 9. INT TOM’S BEDROOM - NIGHT Tom getting more bad news from the answering machine, crossing off yet another firm fr om the list. Fe w remain. He sits on the bed with his shou lders slumped. For a beat, lost in thought. 108. Then, as if to sh ut those thoughts out, w hatever they were, he turns on the TV and joylessly wa tches the no thingness. 9. SPLITSCR EEN - DAY On the LEFT, Tom, alone, on a bus. Loo king out the window. Thinking. On the RIGHT, Summer. In her weddin g dress. The veil is lifted. And sh e’s a bride. END MUSIC. (478) EXT OFFICE BUILDING - A NOTHER DAY Tom, in a suit, e xits a building af ter anoth er dismal interview. We can see he is frustrated but not det erred. In the distance, his favorite spot in the city, wh ere he took Summer ages ago.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PARK - DAY Tom walks over and sits do wn on a bench. He stares off, lost in thought. And then, from out of nowhere, ther e’s her voice. SUMMER (V.O.) Hey. Summer sits li ke an apparition on a ne ighboring be nch. She may have just sat down, she m ay have been th ere for hours. Tom isn’t sure if she’s real. He doesn’t quite kno w what to do. SUMMER (re: suit) Where you coming from? TOM What? Oh. Nowhere . How long have you been si tting there? SUMMER Awhile. Tom finds it hard to look at her.109. SUMMER I come here a lot . I always loved this place, ever since you brought me here. The mention of their past makes the atmosphe re frosty. TOM So... I should probably say congratulations. SUMMER Probably. But only if you mean it. TOM I don’t know if I do honestly. SUMMER I understand. TOM Yeah well...anyway.. .I hope you’re happy. SUMMER You really do? TOM (beat) God no. They both laugh a li ttle. The tension beg ins to dissipate. SUMMER How are you, Tom? TOM I’m good. Ish. SUMMER That’s good. TOM Yeah I quit the office. SUMMER Really? That’s great! What are you doing now? TOM Mostly...sleep ing. Breakin g things. Awkward silence.110. TOM So who’s the guy? SUMMER Who, my guy? TOM Yeah... Wait. Don ’t tell me. I don’t want to know. SUMMER Tom... TOM No really, I don’t. SUMMER Ok. More awkward sile nce. This one goes on a bea t longer. And then: TOM It’s amazing to m e. You’re married. SUMMER I know. TOM You’re not onl y someone’s girlfriend, your someone’s wife! SUMMER Pretty crazy, huh? TOM (sighs) I’ll never unders tand that. SUMMER Tom -- TOM What’s different now? How could things chan ge so quickly? SUMMER I don’t know. It just happened. TOM What happened? ! That’s wha t I don’t get. 111. SUMMER I... Tom... TOM What, tell me... SUMMER I woke up one day and I knew. Tom says nothing. SUMMER I knew I could promi se him I’d feel the same way ever y morning. In a way that I... I n ever could with you. And there’s no t much else to say after that. Tom gets up to leave. TOM You know wh at sucks? Reali zing that everything you believe in is complete bullshit. SUMMER What is? TOM Destiny, so ulmates, true love. All that stuff. It’s not hing more than silly childhood fairy tale nonsense, isn’ t it? God! SUMMER Tom, don’t go. TOM I should have listened to you, Summer. You were right all along. Summer takes a beat to let th is hang there. SUMMER I was right? And then, out of nowhere, she be gins to hysteri cally laugh. TOM What? This is funny?112. Tries to stop but it only makes it worse. Now’s she’s completely cracking up. TOM What are you laughing at? And she can’t sto p. She’s totally lost control. TOM (trying himself not to laugh) You’re a crazy person! SUMMER Tom! You’re the crazy person! TOM What are you t alking about?! SUMMER One day I’m reading a book at the corner deli and t his guy sits down and starts asking about it. Now he’s my husband! TOM This is funny to you? SUMMER What would have happ ened if I went to the movies ins tead? If I went somewhere else for lunch? If I showed up to eat ten minut es later? Tom, it was me ant to be, just like you said. And as it was happening, I knew it. I c ould feel it , sure as the sun. And I kept thinking to myself “Holy shit . Tom was right.” You were right ab out all of it. (beat) It just wasn’t me you were right about. Tom is speechless. S ummer takes his hand. We ma y notice her wedding ring. We may also notice th at this is t he same exact shot as the first scene of the screenplay. We h old it for a few seconds more. And then, t he hands separate. SUMMER Anyway, I shou ld probably be getting back. It was good to see you. I’m glad you’re well.113. Summer gets up an d starts walkin g away from him. After a second: TOM Summer! She stops and turns back. He takes in her face, mo st likely for the last time ever. TOM I really do hope you’re happy. SUMMER I know. (beat) See you later. And she walks awa y. The CAMERA T RACKS AWAY with her, leaving Tom alone in the par k, getting smal ler and fart her away every second. FADE OUT: A FEW SECONDS OF BLACK, BEFORE... FADE IN: (500) INT OFFICE WAITIN G AREA - DAY Tom, in a suit, with a hefty batch of architect ure sketches at his side, waits in the foyer of Allen, Pr ince, and Gethers Architecture. From the room we can tel l this fi rm is big time. Tom waits.We notice, before he does, a VERY C UTE GIRL sitting in a another chair, also waiting. She smiles. He smi les back. GIRL Are you here to interview? TOM Sorry?114. GIRL Are you interview ing? For the position? TOM Oh. Yeah. Why, are you? GIRL Yup. TOM Ah. My competition. GIRL It would appear. TOM Gee, this is a little awkward. GIRL Yes it is. TOM Well, I hope y ou don’t get it. GIRL I hope you don’t get it. They both laugh. There’s a silence for a few be ats. And it’s during this ti me that something weird comes over Tom and we can visibly see it in h is face. He likes the look of this girl. This girl is cute. He’d like to talk m ore with her. And, honestly, he ’s a little surpri sed by it. TOM So, uh... GIRL Hmm? TOM Are you fro m...California? GIRL Grew up not too far from here. Atherton, near Stanford. TOM I know Atherton. Nice area. GIRL Have I seen you before?115. TOM I, uh, don’t know . I don't think so. GIRL Do you go to S t. Patrick’s? Not to pray or anything but to stand outside? TOM I do! I love that church. It’s like my favorite struc ture in the city. GIRL If only it was n’t near that horrible mirrored thing... TOM Yes! Exactly. I t otally agree! GIRL Yeah. (beat) I think I’ve seen you there. TOM You have? Really? Hmm. I didn’t see you. GIRL It happens. You probably weren’t looking. A MAN comes out. MAN Tom Hansen? TOM Yes. MAN Come on back. TOM Thank you. He starts to go. But halfway through the doorwa y, he pauses and looks back at the girl.116. NARRATOR If Tom had learne d anything... it was that you can’ t ascribe great cosmic significan ce to a simple earthly event. Co incidence. That’s all anything ever is. Nothing more than coincidence. ANIMATION. 1 seco nd clip of the colored sequenc e. Real fast. Hardly noticeable. But it’s there. NARRATOR It took a long time but Tom had finally learned. There are no miracles. There’s no such thing as fate. Nothing is meant to be. He knew. He was s ure of it now. (beat) Tom was... Tom turns b ack around. NARRATOR ...pretty sure. TOM (to Girl) Excuse me. GIRL Hello stranger. TOM When this is over ... uh... would you like to maybe ...grab a cup of coffee or something? GIRL Oh. I’m sorta supposed to meet someone. TOM (deflated) Oh. Got it. .. No problem. He turns back aro und and shakes that off, tries to refocus on the task at ha nd. A job intervie w. And then he hears. GIRL Ok. Tom turns b ack around.117. TOM What’s that? GIRL Why not? TOM Yeah? GIRL Yeah. TOM Great! So... I’ll wait for you here, or you wait for me or...something. She laughs. She’s cute when s he laughs. GIRL We’ll figure it out. TOM Ok! (extends hand to shake) My name’s Tom. GIRL Nice to meet you... She puts out h er hand to meet his. They shake. GIRL I’m Autumn. And on his face... SMASH CUT TO: (1) THE END. (CREDITS ROLL TO “GO ASK YOUR DA D” by THE TYDE.)118.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. A DESERT-LIKE-LANDSCAPE. DAY Like Kubrick’s 2001, but with little girls, not apes. And with baby dolls, not sticks and stuff. HELEN MIRREN (V.O.) Since the beginning of time, since the first little girl ever existed, there have been dolls. These little girls rock their baby dolls, they burp them, they cuddle them: They pretend to be Moms. HELEN MIRREN (V.O.) But the dolls were always and forever baby dolls. The girls who played with them could only ever play at being MOTHERS. Which can be fun, at least for a while anyway... Ask your mother. (pause) This continued, until... One of the girls looks UP. Something has appeared in their midst. Something NEW. It’s a GIANT BARBIE DOLL - BARBIE MARGOT, the 1950s Barbie, with her black and white swimsuit and lipstick. The girls react with awe. They’re stirred up and excited by this Barbie Margot not unlike the apes in that Kubrick masterpiece. They try to touch her, and one little girl starts smashing her baby doll against the ground until it breaks into pieces. She lets out a child’s howl! One by one the little girls follow suit: whooping, screaming, throwing their baby dolls away in fits of joyful anger. A final little girl throws her baby doll up in the air, and it is spinning, spinning - with a match cut to: BARBIE",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. WHITE SPACE Barbie stands in a empty space of the soon-to-be formed Barbie Land - it’s a void, a limbo - but clearly in a film studio. The World of Barbie is a Technicolor Soundstage. (MORE)2.HELEN MIRREN (V.O.) Yes Barbie changed everything! Then she changed it all again! We go through all the changes to Barbie Margot, as she moves through the decades. HELEN MIRREN (V.O.) All of these women are Barbie, and Barbie is all of these women. She might have started out as just a lady in a bathing suit, but she became so much more. We see a row of Barbies. As we move back we see that “Barbie” is a EVERY different kind of woman -- every profession, every ethnicity, every body shape, every different ability and every gift. As we pan by each one, we hear: HELEN MIRREN (V.O.) She has her own money, her own house, her own car, her own career. Because Barbie can be anything, women can be anything. We see a Map with Barbie Land on it and a long red arrow is drawn across a split screen to the Real World. HELEN MIRREN (V.O.) (triumphantly) And this has been reflected back onto the little girls of today in the Real World. Girls playing with the different dolls. The girls all mirror what their Barbie is. So the doctor is the doctor, the ballerina is the ballerina, etc. HELEN MIRREN (V.O.) Girls can grow into women who can achieve everything and anything they set their mind to. Finally, we see a vast sea of Barbies. All in different outfits, different hairstyles, adding new friends, speaking different languages. And now Barbie’s world gets continually multi-faceted and wide-ranging and diverse and interesting. HELEN MIRREN (V.O.) (triumphantly) Thanks to Barbie all problems of feminism and equal rights have been solved! (MORE)2. HELEN MIRREN (V.O.) (CONT'D)3.(with a knowing smirk) ... at least that’s what the Barbies think. We float above the Barbies into the clouds, then we descend to earth, to see, just below the clouds and above land, the heart-shaped BARBIE LAND. HELEN MIRREN (V.O.) After all they’re living in Barbie Land. Who am I to burst their bubble? And here is one of those Barbies now, living her best day every day.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BARBIE DREAMHOUSE. BEDROOM. DAY Barbie Margot wakes up in her pink Dreamhouse. Everything is perfect. Of course. This whole sequence is like a movie- musical of the best life ever. There are no walls just like the toy so Barbie Margot can wave across to another Barbie waking up in her Dreamhouse next door. In every OTHER Dreamhouse, all the Barbies are having their perfect morning. It’s a Barbie Ballet.",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BARBIE DREAMHOUSE. BATHROOM. DAY Barbie Margot steps out of her heels, revealing her permanently arched feet. Barbie Margot stands under the shower head, but nothing comes out, she turns her head this way and that, as if there is water but there is nothing. Her hair looks amazing anyway. She opens an AMAZING closet and then magically steps out with a new, perfect outfit!",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. BARBIE DREAMHOUSE. SLIDE. DAY Barbie takes her slide down to the pool. Because she can!,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BARBIE DREAMHOUSE. KITCHEN. DAY She eats a nothing breakfast, drinks a big glass of nothing.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BARBIE DREAMHOUSE. DAY Barbie Margot stands at the top floor of her house, waves to her friends and then improbably sails through the air and lands in the driver’s seat of her car. HELEN MIRREN (V.O.) (CONT'D)3. (MORE)4.HELEN MIRREN (V.O.) When you’re playing with Barbies nobody bothers to walk them down the stairs and out the door etc... you just pick them up and put them where you want them to go -- You use your imagination! Behind her, Barbie Alexandra ALSO sails through the air and lands in HER dream car. Barbie Margot drives and waves at Skipper in the doorway of her treehouse. Midge appears in Skipper’s yard, aggressively waving at Barbie Margot. HELEN MIRREN (V.O.) (butting in) Midge was Barbie’s pregnant friend. Oh let’s not show Midge actually... she was discontinued by Mattel because a pregnant doll is just too weird. Anyway... Barbie has another BIG day ahead of her.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BARBIE LAND. DAY Barbie Margot waves happily, sometimes with both hands, to other Barbies as her car silently drives itself through a bustling town. It’s like Richard Scarry’s Busy Town for Barbie. It’s a wonder of color and shape. The houses are all see-through, like the toys, it’s a Noah’s Ark of doll-tastic magic. It’s also completely run by women. They hold every kind of job. Barbie Margot waves to a Barbie mail carrier, and an all Barbie construction crew. There is the occasional Ken, but mostly it’s Barbie. Barbie Margot drives past the Barbie White House which is, of course, pink.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BARBIE OVAL OFFICE. LIGHT PINK HOUSE. DAY Barbie Issa Rae, president (maybe in a ball gown?!) signs a bill into law, surrounded by Barbie Congresswomen. Barbie Margot stands with the press, proud. BARBIE ISSA Everybody - turn to the Barbie next to you, tell her how much you love her. Compliment her! (MORE)4. BARBIE ISSA (CONT’D)5.Reporter Barbie, you can ask me any question you want. BARBIE RITU How come you’re so amazing? BARBIE ISSA (giggling) No comment! No seriously, no comment. Barbie Issa looks to the Barbies around her: BARBIE ISSA I love you guys! Hugs, sweetness, support. It is REALLY great here.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. NOBEL PRIZE THEATRE. DAY. A big ceremony, very official, proper. A Barbie Dignitary (in another flouncy ballgown) presides: BARBIE DIGNITARY The Nobel Prize in Journalism goes to “BARBIE!” It’s Reporter Barbie! Woohoo! Barbie Margot leaps to her feet, deeply proud. BARBIE RITU I worked very hard, so... I deserve it! BARBIE DIGNITARY The Nobel Prize in Literature goes to “BARBIE!” It’s Barbie Alexandra Shipp! Barbie Margot claps and hoots from the audience. She’s so proud of her friends. BARBIE ANNOUNCER (bestowing the prize) You’re the voice of a generation. BARBIE ALEXANDRA (no false modesty!) I know.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SUPREME COURT. DAY Barbie Sharon argues a case passionately in front of the Supreme Court, all Barbies. BARBIE ISSA (CONT’D)5. 6.BARBIE SHARON Only Barbies are Barbies, and we would argue that corporations have no “free speech” rights to begin with, so any claim on their part to be exercising a right is just their attempt to turn our democracy into a plutocracy! The Gallery erupts into rapturous applause. Some Kens are there for support. BARBIE SHARON This makes me emotional! And I’m expressing it. I have no difficulty holding both logic and feeling at the same time. It does not diminish my powers, it expands them. The Chief Justice Barbie hits her gavel, but she can’t help but smile. Barbie Margot is there, always cheering on, always the supporter.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BARBIE LAND. DAY. Barbie Margot drives past the BAX airport and an airplane passes overhead, we move up, and the female pilot waves down - BARBIE PILOT Hi Barbie! - the airplane wipes and we keep moving up to find:",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SPACE. DAY Astronaut Barbie floats around in space. High fives with another Astronaut Barbie. Wave down to Barbie Margot, too! BARBIE ASTRONAUTS (in unison) Hi Barbie!",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT./,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. BARBIE CAR. Barbie Margot waves up at the astronauts. BARBIE MARGOT Yay space! Finally she passes and salutes Barbie Mt. Rushmore. Remember this!6. 7.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BARBIE LAND. BEACH. DAY Barbie Margot drives up & hits the beach. This is semi-epic, almost somber in it’s initial grandeur. Ken Ryan Gosling holds a surf board and stands atop of a dune. He’s waiting for his Barbie, Barbie Margot. HELEN MIRREN (V.O.) Barbie has a great day every day. But Ken only has a great day if Barbie looks at him. KEN RYAN GOSLING (courageous) Hi Barbie! Barbie Margot turns and smiles. BARBIE MARGOT Hi Ken! All the Barbies we just saw are now at the beach - they are all everything. Barbie Margot says Hi to Barbies and Ken - or, rather, the Multiplicity of Kens! KEN SIMU (to Ken Ryan Gosling) Hi Ken. Ken Ryan Gosling groans, waving his hand in dismissal. BARBIE HARI Hi Ken! KEN NCUTI Hi Barbie! BARBIE EMMA Hi Ken! KEN KINGSLEY Hi Barbie! BARBIE ALEXANDRA Hi Ken! BARBIE SHARON Hi Ken! KEN SCOTT Hi Barbie! 7. 8.KEN KINGSLEY Hi Ken! I got us both ice creams! KEN RYAN GOSLING Cool. BARBIE ANA Hi Ken! Everyone says “Hi Barbie” and “Hi Ken” over and over to each other. Way out in the sea, a few Mermaid Barbies emerge: BARBIE MERMAID Hi Barbies! ALL BARBIES AND KENS Hi Barbie! (she disappears beneath the waves) Bye Barbie! ALLAN Hi Barbie! BARBIE MARGOT Hi Allan! And there’s Allan in his striped shirt. Everything stops. HELLEN MIRREN (V.O.) There are no multiples of Allan. He’s just Allan. ALLAN I’m still confused about that? On shore, Ken Ryan Gosling comes sprinting down the sand. KEN RYAN GOSLING HI BARBIE! BARBIE MARGOT Hi Ken! KEN RYAN GOSLING Hey Barbie! Check me out! Ken Ryan Gosling, who seems to only exist when Barbie is paying attention to him, runs into the surf, like INTO it, and flies backward, head over heels, into the air with his surfboard and...lands HARD.8. 9.ALLAN (Hecuba at Troy) KEN! NO! Barbie Margot and her other Barbie friends jump up and swiftly coordinate a rescue mission, while the other Kens stand around helplessly. Ken Kingsley protects his ice creams. BARBIE MARGOT (concerned) Ken? KEN RYAN GOSLING Oh Hi Barbie... How much of that did you see? BARBIE MARGOT We saw the whole thing! BARBIE ANA Let’s get you up on your feet. Barbie Margot and Barbie Ana lift Ken up. KEN RYAN GOSLING Wow you are so strong! Meanwhile, Ken Simu laughs derisively: KEN SIMU Looks like this beach was a little too much beach for you, Ken. KEN RYAN GOSLING If I wasn’t severely injured I’d beach you off right now, Ken. KEN SIMU Oh, I’ll beach-off with you any day, Ken! KEN RYAN GOSLING You’re on, Ken! Let’s beach-off! KEN KINGSLEY (on Ken Ryan’s side) Anyone who wants to beach him off has to beach me off first. KEN SIMU I will beach both of you off at the same time!9. 10.KEN RYAN GOSLING (getting upset) You don’t even know how to beach your SELF off how are you going to beach all of us off?? KEN SIMU Why are you getting emotional?! BARBIE MARGOT Come on, Kens, nobody is going to beach anyone off! Ken Simu backs off as Ken Ryan collapses into Barbie Margot. An ambulance pulls up, and FOLDS OUT INTO A HOSPITAL ROOM. Ken Ryan is put on a stretcher and hurried across the beach. KEN RYAN GOSLING Barbie, stay with me!",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. /,SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. AMBULANCE / HOSPITAL. MOMENTS LATER. Barbie Alexandra now in her “Doctor” outfit, tends to a small scratch, while Barbie Hari, also in her “Doctor” outfit, looks at the results of some x-rays. Barbie Margot stands by. BARBIE HARI Not even broken, you’ll be just fine. KEN RYAN GOSLING Shredding waves is much more dangerous than people know. BARBIE MARGOT You’re very brave, Ken. KEN RYAN GOSLING Thanks, Barbie. Because you know actually my job isn’t surfer. BARBIE MARGOT I know. KEN RYAN GOSLING It’s not even lifeguard, which is a common misconception. BARBIE ALEXANDRA Very common.KEN RYAN GOSLING Because my job is actually just, you know, Beach.10. 11.BARBIE HARI And what a good job you do at Beach. BARBIE ALEXANDRA You should heal up in no time. Actually by the time I finished that sentence, you healed. KEN RYAN GOSLING Fantastic! He leaps off the table and does an “action man” pose. Then: KEN RYAN GOSLING Hey, Barbie - Can I come over later? Barbie Margot and Barbie Alexandra share a look. BARBIE MARGOT Yeah, OK. I don’t have anything big planned, just a giant blow-out party with all the Barbies, with planned choreography and a bespoke song. But you can stop by, sure. KEN RYAN GOSLING (with obvious admiration) Cool.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. /,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BARBIE MARGOT’S DREAMHOUSE & STREET. NIGHT. Barbie Margot has a big block party with all her Barbie friends, plus Allan and Midge (whom we stay away from!) DJ BARBIE turns up a song (which is the AMAZING ORIGINAL HIT SONG FOR THIS MOVIE) and there is a GIANT gorgeous musical number, starring the Barbies! With Kens as dancing decoration! It’s fun and sweeping and funny and a real toe- tapper all around. Ken Simu joins Barbie Margot for part of the dance, stoking Ken Ryan Gosling’s ire, who is held back, in a dancing way, by Ken Kingsley. Ken Ryan Gosling jumps up and tries to breakdance badly. Ken Kingsley joins in for moral support.. KEN SIMU Hey Barbie! Check me out! Ken Simu does a flip on the dance floor. Ken Ryan Gosling is enraged. 11. (MORE)12.Barbie Margot turns and dances with her friends whom she’d much rather be dancing with anyway. This leaves the Kens all dancing together, which is just obviously funny. Shouting over the music and dancing, Barbie Margot and friends appreciate how terrific everything is: BARBIE ALEXANDRA (while dancing) This is a real rager, Barbie! BARBIE MARGOT (also dancing) THANKS BARBIE! Gosh this night is just perfect! BARBIE SHARON It’s perfectly perfect! BARBIE EMMA You look so beautiful Barbie! BARBIE MARGOT Thank you Barbie! I FEEL so beautiful! BARBIE SHARON So do I! BARBIE HARI This is the best day ever! Dancing and shouting and so happy it almost hurts: BARBIE MARGOT It IS the best day ever! And so is yesterday and so is tomorrow and so is the day after tomorrow and even Wednesdays and every day from now until FOREVER! Suddenly, as the flip side of the coin of this thought: BARBIE MARGOT (still shouting) Do you ever think about dying?! Literal record scratch and everything is quiet. All the Barbies and Kens look at her. She’s broken the movie. BARBIE MARGOT (to herself) I don’t know why I just said that? (MORE)12. BARBIE MARGOT (CONT’D)13.(to everyone else) I’m just dying to DANCE! There is panic in Barbie Margot’s eyes as she starts maniacally dancing, doing about eight different dance moves from over the decades, starting with the Twist, going through disco, punk, break dancing, etc. The music picks back up, and she is relieved, although troubled by what just happened. She shakes it off, and continues to party. Maybe there is nothing wrong! LATER THAT EVENING... After their fun party, Barbie Margot and Ken Ryan Gosling stand in the moonlight. Ken leans forward for a goodnight kiss. He gets part of the way there and then pulls back. KEN RYAN GOSLING (re: the “kiss”) Wow. BARBIE MARGOT (smiling sweetly) You can go now. KEN RYAN GOSLING I was thinking that maybe I could, you know, stay over tonight? BARBIE MARGOT Why? KEN RYAN GOSLING ‘Cause we’re girlfriend boyfriend. BARBIE MARGOT To do what? KEN RYAN GOSLING To... I’m not actually sure... BARBIE MARGOT But I don’t want you here. She’s smiling her gorgeous smile. Not mean, just truthful. KEN RYAN GOSLING (bummed) Ok. (pause) Is it Ken?BARBIE MARGOT (CONT’D)13. 14.BARBIE MARGOT No, Ken is just a good friend. (as if it’s comforting:) And after all, this is MY Dreamhouse. It’s Barbie’s Dreamhouse. Not Ken’s Dreamhouse. Right? KEN RYAN GOSLING (chastened) Right as always. BARBIE MARGOT And: It’s girl’s night! We cut to the other side of them to reveal that all of Barbie Margot’s friends are there, watching it all unfold. BARBIE EMMA (O.S.) Come on, Barbie, slumber party! BARBIE HARI Come on! The president is here! BARBIE ISSA I am. You’re welcome! KEN RYAN GOSLING Every night is girl’s night. BARBIE MARGOT Every night! Forever! KEN RYAN GOSLING (nodding) Every night. BARBIE MARGOT Forever and ever! Goodnight! She runs back to her friends. They scream and are THRILLED. Phew, Ken was a LOT! KEN RYAN GOSLING (acting out the fantasy) I love you too. But I can’t... I gotta go. And then he leaves, thank goodness. She likes Ken, but she needs her space!",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BARBIE DREAMHOUSE, BEDROOM. NIGHT. LATER. Barbie Margot tucks herself into bed:14. 15.BARBIE MARGOT (to her Barbie neighbors) Goodnight Barbies! I’m definitely not thinking about death any more! Her eyes fly open - she IS THOUGH.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BARBIE DREAMHOUSE, BEDROOM. MORNING. MORNING! Barbie opens her eyes, ready for an amazing day. But something is off, she can feel it - she feels groggy, her eyes don’t want to open. She stretches, stiff from sleeping. She makes a face, cups her hands and smells her breath. YUCK!",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BARBIE DREAMHOUSE, BATHROOM. DAY She brushes her teeth with nothing, but the gesture makes a difference. Same shower situation, but suddenly Barbie YELPS and leaps out of the way of the non-water. BARBIE What the-- How was the water that isn’t even there COLD?! She adjusts the knobs and then steps back under the non-water. Better. KITCHEN Same breakfast situation, but the plastic waffle is burnt - how is that even possible? She pours milk into a glass (which is nothing) and drinks. Spits it out. Looks at the container. BARBIE Expired?! Barbie Margot turns and sees (because remember there are no walls) another Barbie at her breakfast table, who smiles and waves. Barbie Margot tries to muscle through it - she’s going to try to smile her way out of this, darn it! But what is this new feeling? Is it... shame?",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BARBIE DREAMHOUSE. DAY Barbie Margot stands at the edge of the roof, waiting to be flown into her car, and she leans into the air and... FALLS. Just belly flops into the air. She pops up out from behind her car, trying to save face, waving.15. 16.BARBIE MARGOT (to nobody) I’m fine! A-ok! People look at her curiously. What is wrong with her?",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BARBIE LAND. BEACH. DAY Barbie Margot and Co. all hang out together on the beach. It’s pretty fun, but not perfect fun. The Barbies play a wicked game of Beach Volleyball while the Kens cheer (like reverse Top Gun, remember this). ALLAN Great cheer, Kens! Everyone else laughs earnestly but when Barbie Margot tries, it’s forced. BARBIE MARGOT (tripping over the laugh) Ha, ha. Ha ha ha ha ha.Ha. Something is wrong. Why can’t she really laugh? BARBIE ANA (calling out) Come on, Barbie, let’s run towards the water! Barbie Margot steps up on her tip-toes and wobbles weirdly on the sand. She can’t hold it any longer, her foot cramps and she topples to the ground. She looks down and discovers that her feet are - SHOCK! HORROR! - No longer arched!!! She’s just got big ole flat feet. She gasps and tries to crawl herself to the beach bench. Barbie Alexandra, Barbie Hari, Barbie Sharon, Barbie Emma and Barbie Ana rush over: BARBIE SHARON Hey Barbie, are you OK? BARBIE MARGOT Yeah, Barbie, I just fell... BARBIE HARI Fell?!BARBIE MARGOT (looking around) I’m so... embarrassed. BARBIE ALEXANDRA Barbie doesn’t get embarrassed! 16. (MORE)17.BARBIE MARGOT Barbie, I think my - I don’t even have any context for this, but - I think my feet are - my heels are on the ground. BARBIE ANA WHAT?! BARBIE MARGOT I’m no longer on my tip-toes. BARBIE HARI Let me see. (gasp!) FLAT FEET!! Barbie Hari throws up nothing. Same with Barbie Alexandra. Ken Kingsley joins in, throwing up nothing. BARBIE SHARON Stop it, Ken. KEN KINGSLEY (nauseous) I’m sorry... I’m sorry... The Barbies ignore him. BARBIE MARGOT (panicking) I know I’m Stereotypical Barbie, and therefore don’t form conjectures concerning the causality of adjacent unfolding events, but some stuff has been happening that might be related: bad breath this morning, a cold shower, burnt waffle, falling off my roof... Barbie Alexandra gasps, hand over mouth. BARBIE ALEXANDRA You’re malfunctioning! BARBIE MARGOT What? No, I’m just, am I? BARBIE EMMA (horrifyingly drawn in) I’ve never seen this kind of malfunction. (MORE)17. BARBIE EMMA (CONT’D)18.It’s usually just hair related. You know - you’re going to have to visit... Weird Barbie. BARBIE MARGOT But I’ve never had to go visit Weird Barbie. BARBIE HARI That’s because you’ve never malfunctioned. BARBIE SHARON I heard that she used to be the most beautiful Barbie of all but then someone played too hard with her in the Real World... CUT TO: The REAL WORLD with a little girl doing that thing we all do to our Barbies at some po",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int. She snips off her hair, colors her face with marker, lights her hair on fire, puts her in the splits and drop kicks her into her toy bin. BACK TO: Barbie Margot looking concerned. Barbie Hari is in a trance of the Legend of Weird Barbie: BARBIE HARI ...and now she’s fated to an eternity of making other Barbies perfect while falling more and more into disrepair herself. And that we call her Weird Barbie all the time both behind her back and also to her face. (happy again) Anyway, you have to go see her! BARBIE MARGOT Ugh, she’s SO Weird. And why is she always in the splits? EXT/",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. WEIRD BARBIE’S WEIRDHOUSE. DAY Barbie Margot climbs the seemingly never-ending stairs up to the Weirdhouse. It’s like an abstract art version of every girl’s Dreamhouse after she’s played with it for years. Think Jeff Koons, Gaudi, Murakami all put in a blender. BARBIE MARGOT I would never wear heels if my feet were shaped this way! Barbie Margot steps gingerly in, looking around.BARBIE EMMA (CONT’D)18. 19.BARBIE MARGOT Um, hello? Barbie Margot frowns. A dog (Tanner) passes by and poops out little plastic pellets. Barbie Margot steps around them. WEIRD BARBIE (O.S.) (from the dark) What’s cookin’ good lookin’? A pool of light illuminates Weird Barbie - she’s in the splits, has an unintentionally asymmetrical short haircut and mismatched clothes. She’s like David Bowie + a hairless cat. WEIRD BARBIE Welcome, welcome to my Weirdhouse. Weird Barbie hitches her leg down and lopes oddly into a giant room. Maybe she does a flip or two. WEIRD BARBIE (looking at the floor) Sorry about the dog crap! Why anyone would want to introduce pooping into a doll universe is beyond me. HELEN MIRREN (V.O.) (with distain) Or pregnancy. WEIRD BARBIE (moving on) What can I do you for? BARBIE MARGOT (taking off her heels) I had to come see you about -- My feet -- they’re um... WEIRD BARBIE (looking) FLAT! HA! (with interest) I’ve never seen that before... BARBIE MARGOT Yeah. Can you fix them? WEIRD BARBIE (suspicious) You’re Stereotypical Barbie, aren’t you? 19. 20.BARBIE MARGOT Uh, yeah... WEIRD BARBIE That Ken of yours is one nice looking little protein pot. BARBIE MARGOT Um, I guess. WEIRD BARBIE I’d love to see what kind of nude blob he’s packing under those jeans. She claps her open hands together like the way little kids mash Barbies together. Barbie Margot watches with horror. It goes on too long and then stops as suddenly as it started: WEIRD BARBIE Anyway. What preceded this? BARBIE MARGOT Oh, um, nothing. A really fun game of volleyball... WEIRD BARBIE Really?! BARBIE MARGOT (mumbles) Thoughts of death. Weird Barbie looks at her horrified. Small voice: BARBIE MARGOT Is that a problem? WEIRD BARBIE (concerned) Oh. BARBIE MARGOT What? WEIRD BARBIE Oh.BARBIE MARGOT What?! WEIRD BARBIE I’d heard this was possible but I’ve never seen it happen before. BARBIE MARGOT Never?!20. 21.WEIRD BARBIE You’ve opened a portal! BARBIE MARGOT I didn’t open a portal! WEIRD BARBIE Well, someone did! There is a rip in the continuum that is the membrane between Barbie Land and the Real World and if you want to be Stereotypical Barbie perfect again you’ve got to go fix it! Or you’re going to keep going funny. Look at your upper thigh. She does. Ack! A dimple. BARBIE MARGOT What is that?! WEIRD BARBIE CELLULITE. It’ll spread EVERYWHERE and you’ll start getting mushy and sad and... complicated. BARBIE MARGOT NO!!! What do I have to do?!? With that, Weird Barbie turns and travels through her house, up and over all of the strange architecture. Barbie Margot tries to keep up. WEIRD BARBIE You have to go to the Real World and find the girl who is playing with you. BARBIE MARGOT Playing with me? Weird Barbie goes through the mess around her, finding a technical drawing which she refers to briefly and then gets tired and throws it back on the stack. WEIRD BARBIE We’re all being played with! Usually there’s some kind of separation: there’s the Girl, aka the Player, and the Doll, aka the Playee. And never the twain shall cross. 21. (MORE)22.BARBIE MARGOT The twain is crossing? WEIRD BARBIE (another drawing) Yes! The girl playing with you must be sad and her thoughts and feelings and humanness are interfering with your dollness. Am I being too technical? BARBIE MARGOT Why would she be sad? We fixed everything so that all women in the real world are happy and powerful! WEIRD BARBIE I DON’T KNOW! (looking at her hard) If you ask me, you’re responsible for this, too. It usually takes two to rip the portal. BARBIE MARGOT ME?! But I didn’t do anything. I’ve only ever wanted for things to be exactly as they are. WEIRD BARBIE Well however it happened, you and she are becoming inextricably intertwined. You have to help her to help yourself. Weird Barbie holds her hands out: this is a Matrix moment where Barbie Margot is offered two different versions of life, i.e. red pill and blue pill, except for Weird Barbie holds a high-heeled shoe in one hand and a Birkenstock sandal in the other. Very dramatic, full of meaning and moodiness. BARBIE MARGOT (re: Birkenstock) What is that?! WEIRD BARBIE (cryptically) So what will it be? You can go back to the way your life was-- (holding the high heel up) --and not even remember that this happened, or you can know the truth about the universe. (holds up the Birkenstock and with a woo-woo voice) (MORE)22. WEIRD BARBIE (CONT’D)23.The question is planted in your mind. The choice is yours. Breaking the “mysterious” spell, Barbie Margot answers instantly and with too much chipper energy: BARBIE MARGOT The first one. The high heel. WEIRD BARBIE (annoyed) No. We’ll do a redo. You’re supposed to want to know! BARBIE MARGOT (cheerfully) I don’t. WEIRD BARBIE Babe, listen. You have to want to know. BARBIE MARGOT I'm not Adventure Barbie, I'm Stereotypical Barbie. I'm like the Barbie you think of when someone says ""think of a Barbie"" and that's me! WEIRD BARBIE That is so sad. BARBIE MARGOT (closes her eyes, happily) Okay, I’m ready to forget now. WEIRD BARBIE NO! BARBIE MARGOT (opening her eyes) Why? WEIRD BARBIE You’re doing this anyway. I just gave you a choice so you could feel like you’re in control! BARBIE MARGOT So there is no first option? WEIRD BARBIE (CONT’D)23. 24.WEIRD BARBIE NO! You have to go fix the rip yourself. Don’t blame me, blame Mattel, they make the rules. BARBIE MARGOT Ugh, I don’t want to go. WEIRD BARBIE Fine, get cellulite, I don’t care. Weird Barbie turns away. On Barbie Margot. She summons all her bravery. She wants to meet the moment. BARBIE MARGOT (steels herself) Send me through the portal. Weird Barbie laughs, and then opens a toy-manual. WEIRD BARBIE Oh, no, there’s no portal to the other world. That’s just a figure of speech. We see the different vehicles as she rattles off: WEIRD BARBIE It’s a sports car to a speed boat to a rocket ship to a tandem bike to a camper van--FUN--to a snowmobile--BRR--which will take you most of the way to the state of Los Angeles where you’ll don neon and rollerblades and enter the country of California. Weird, I know. Best if you don’t think about it too much. Weird Barbie takes a swig from a flask with nothing in it (of course), presentation done. After all the energy she now seems tired of this whole business, and hurries Barbie Margot out. BARBIE MARGOT When I’m there, how do I find this girl? WEIRD BARBIE You will know. BARBIE MARGOT And how will I get back? 24. 25.WEIRD BARBIE Same way you came, in reverse. BARBIE MARGOT Like I should go forward but do the order backward or move backward and do the order backward or...? WEIRD BARBIE (voice of Zuul) REVERSE EVERYTHING. BARBIE MARGOT K. WEIRD BARBIE If you don’t find her and fix things, what’s ugly will become uglier, what’s weird will become weirder. Barbie Margot screams. WEIRD BARBIE And then you will look like me. Barbie Margot screams again. WEIRD BARBIE Gee, thanks. I understand. I set myself up for that. Anyway, I believe in you. BARBIE MARGOT (flustered) Thank you... bye!",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BARBIE DREAMHOUSE/CUL-DE-SAC. MORNING Barbie Margot’s having a send off party with all of the Barbies - there is a big banner that reads: “Bon Voyage to Reality and Good Luck Restoring The Membrane That Separates Our World From Theirs So You Don’t Get Cellulite!” The Kens all stand to the side, a bit like men at a baby shower. There, but not. Ken Ryan Gosling and Ken Simu do a jealous mingle. KEN SIMU I guess she’s going without you.25. 26.KEN RYAN GOSLING (clearly lying) No, she literally asked me, but I preferred to stay here. KEN SIMU (provoking) Why? Are you scared? KEN RYAN GOSLING No! KEN SIMU I’ll bet you’re scared and I bet she doesn’t even want you to go. KEN RYAN GOSLING You bet both of those things incorrectly! I bet the other direction! KEN SIMU Which way is that? You don’t even know. Barbie gathers around her car with her friends. BARBIE MARGOT I just don’t want to leave! I’m Trying to find reasons not to leave!! I’m going to miss you guys so much. I just wish someone could come with me... but you can’t. I should do this alone. Back to the Kens. The other group of Kens are playing a very mysterious game which appears to be mostly guessing: KEN KINGSLEY What bird am I thinking of? KEN NCUTI Parrot. KEN SCOTT Dolphin. I mean, no, a bird. KEN KINGSLEY (pleased) PELICAN. Back to the Barbies: all the Barbies finish bringing her stuff to the car. 26. 27.BARBIE ALEXANDRA We’ll miss you Barbie! BARBIE MARGOT I’m going to be back in no time with perfect feet and we’ll forget that this ever happened. BARBIE EMMA And you’ll get to see all the good work we’ve done to fix the world. BARBIE ANA You’ll be such a hero to them! BARBIE SHARON All those grateful, powerful women who owe their wonderful lives to Barbie. BARBIE ALEXANDRA I bet every woman will say thank you and give you a really big hug! BARBIE MARGOT (deep breath) Yes! You’re right! OK, here I go! Bye! BARBIE MERMAID (bursting out of the pool) Bye Barbie! Good luck in reality! Barbie Margot hops in her convertible, waving and driving off into the sunset.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. CONVERTIBLE/,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BARBIE LAND OPEN ROAD. MORNING Barbie Margot drives and sings along SUPER LOUD to Indigo Girls “Closer to Fine,” which for some reason they have in Barbie Land. She’s loving this adventure, actually! BARBIE MARGOT “I went to the doctor / I went to the mountains / I looked to the children / I drank from the fountains... AHHHHHHH!!!!! Ken Ryan Gosling pops up in the backseat singing and Barbie Margot screams her head off and he screams at her screaming. They skid off the road, flipping over a few times and then landing upright in the desert.27. 28.RADIO (Indigo Girls still singing) “Closer I am to Fine...” Still hysterical: BARBIE MARGOT What are you doing here? KEN RYAN GOSLING I’m coming with you! BARBIE MARGOT Please get out! KEN RYAN GOSLING No! I can’t! I have a double bet with Ken, please, you can’t make me look uncool in front of Ken! BARBIE MARGOT Ken’s not cool!KEN RYAN GOSLING HE IS TO ME! BARBIE MARGOT You’re just going to slow me down! KEN RYAN GOSLING What if there’s Beach? You’ll need someone who is a professional in that! BARBIE MARGOT (relenting) Did you bring your roller blades? KEN RYAN GOSLING (holding them up, smiling) I literally go nowhere without them. She thinks, and then relents. BARBIE MARGOT OK, let’s do this. KEN RYAN GOSLING (so excited) Can I sit in front? BARBIE MARGOT NO!28. 29.He accepts this, and they’re OFF! Dramatic music as they go through all the different kinds of transportation. HELEN MIRREN (V.O.) So Barbie and Ken set off on their adventure to the Real World!",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. TRANSPORTATION Sports Car - back in their car and on the ROAD! Into... Speed Boat - Barbie drives the speedboat while Ken hides from a seagull. Rocket Ship - Barbie and Ken wear space suits and ride a rocket, which makes zero sense. Tandem Bike - through the prairie OR the French Alps? Barbie on the front of the bike, Ken behind. Camper Van - In a National Park they screech to a stop, jump off their bikes, and set up a little grill. Ken flips a burger while Barbie chills out in a lawn chair, reading a tabloid. Snowmobile - BACK TO THE ACTION! - Ken hangs on to Barbie for dear life as she catches air over slaloms.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. VENICE BOARDWALK Rollerblades - Finally they are in the sunny state of California, in the town of LA, on the boardwalk of Venice Beach - wearing rollerblades. Barbie Margot wears a bikini and Ken wears a onesie. They’re openly getting a lot of looks. Just the two of them in REAL Los Angeles is genuinely strange and hilarious. They appear as extremely good-looking aliens. BARBIE MARGOT Wow! The Real World! Ken smiles and waves loving all of this, but Barbie Margot looks confused bordering on anxious. Note: this is more real than Barbie Land but still heightened, like a 1980s comedy - slightly exaggerated. Like there is no way Ferris Bueller sang the Beatles at that German parade, but we allow it because it’s fun. Same here. KEN RYAN GOSLING See, I told you there’d be Beach!29. 30.BEACH DUDE (hollering at her) Give us a smile, blondie. People are laughing and pointing and amused and also leering. BARBIE MARGOT What’s going on, why are all these men looking at me? KEN RYAN GOSLING They’re also looking at ME! Ken winks at someone who winks back. KEN RYAN GOSLING I LOVE THIS! BARBIE MARGOT (looking worried) I feel kind of ill-at-ease, I don’t even know the word for it... Like I’m conscious of it but it’s my self I’m conscious of-- KEN RYAN GOSLING (happy as a clam) I’m not getting any of that. I feel appreciated but not ogled. Mine has no undertone of violence. BARBIE MARGOT Mine very much has an undertone of violence. Up ahead is a construction site, workers on break for lunch. BARBIE MARGOT Oh, great! A construction site! We need that good feminine energy. But as they get closer, it’s not what she thought. Construction workers eat sandwiches and cat-call Barbie. CONSTRUCTION WORKER 1 Do fries come with that shake?CONSTRUCTION WORKER 3 Have I died and gone to heaven because you’re an angel. CONSTRUCTION WORKER 2 If I said you had a hot body, would you hold it against me?CONSTRUCTION WORKER 4 Is that a mirror in your pocket? ‘Cause I can see myself in your pants!30. 31.BARBIE MARGOT I don’t know exactly what you meant by all those little quips, but I’m picking up on some sort of entendre which appears to be double, and I would just like to inform you that I don’t have a vagina and he-- (pointing at Ken) --doesn’t have a penis. We don’t have genitals The Construction Workers look at them blankly and then shrug, unbothered. This is Los Angeles after all, live and let live! CONSTRUCTION WORKERS Far out!... That’s okay... Whatever works... you do you... They’re actually very sweet guys. She blades away as Ken Ryan Gosling tries to impress the construction workers. KEN RYAN GOSLING I have all the genitals. He catches up to Barbie Margot. BARBIE MARGOT Jeez, you would think a construction site at lunchtime would be the perfect place for a little woman-power. But this one was so... male. KEN RYAN GOSLING (a little excited) Yeah everything is almost, like, reversed, here. There’s a slight moment here. Like maybe he’s ON to something... But they’re distracted as they pass a large billboard advertising The Miss Universe Contest: BARBIE MARGOT Look, the Supreme Court! KEN RYAN GOSLING They’re so smart! Another Beach dude passes by and slaps Barbie Margot on the ass. Barbie Margot punches him in the face. Ken screams.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. VENICE CENTRAL BOOKING. DAY Barbie Margot and Ken Ryan Gosling’s mug shots.31. 32.Then they are being finger printed. Over and over again because the cops can’t find any prints. The cops drool over Barbie Margot: POLICEMAN I love me a leotard. POLICEMAN #2 I love the elbow pads. BARBIE MARGOT (to Ken) I think we should get some different clothes.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. VENICE BEACH STOREFRONT. DAY. Ken Ryan Gosling exits wearing all denim with fringe and a cowboy hat, followed by Barbie Margot, who wears a pink cowgirl outfit. ALL the security lights and bells go, but they are oblivious. BARBIE MARGOT We look great! KEN RYAN GOSLING (admiring his reflection) I LOVE FRINGE! BARBIE MARGOT I love denim! A Security Guard rushes after them, panicked. SECURITY GUARD Hey! You two! What are you doing?! You have to pay for those! They give chase!",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. VENICE CENTRAL BOOKING. AGAIN. DAY Barbie Margot and Ken Ryan, getting finger printed. The male cops are still leering. POLICE MAN #2 She’s even sexier in clothes. POLICE MAN I know, because you can imagine more. POLICE MAN #2 You know what? Keep ‘em! 32. 33.BARBIE MARGOT Goddammit!",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. POLICE STATION. DAY Barbie Margot and Ken Ryan Gosling emerge into the midday LA sun, wearing their stolen/gifted clothes. BARBIE MARGOT Weird Barbie said I’d know how to find this girl, but I have NO IDEA. (takes a deep breath) What would a smart Barbie do? I just need to clear my mind so I can think. Barbie sits down on a bench, almost like she’s meditating. KEN RYAN GOSLING (annoyed) I hate it when people think. I’m so bored! BARBIE MARGOT The faster I figure this out, the faster we get home. She closes her eyes. Ken Ryan Gosling gets all antsy like a kid, unable to sit still. KEN RYAN GOSLING (lost without her) What am I supposed to do?! BARBIE MARGOT Go for a walk or something! He makes faces, then goes for a walk. BARBIE MARGOT (eyes still closed) Don’t go far!",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CENTURY CITY. DAY. Ken Ryan Gosling walks under a sign for: CENTURY CITY. He looks up: A tall building looms over him and he starts putting together the world a little bit. He sees: - A gym, full of men. - A man in a mink. - A policeman on a horse.33. 34.- A Hummer, stuffed to the brim with businessmen. - Generic men in business suits shaking hands having generic business conversations. BUSINESSMEN Great deal. Great deal. We’re all going to make a lot of money. A female secretary tries to come up and tell her boss something, he holds up his hand to stop her: BUSINESSMEN In a second, Margaret. (to his associates) Shall we all shake on it? She backs away, submissive, as they all shake madly. Ken Ryan cannot believe what he’s seeing. Are they more powerful than she is?? How is this possible? Ken Ryan Gosling rides an escalator up to a giant video screen, playing images of Big Man Stuff: - Money, Presidents, Golf videos, mini-fridges, a bunch of dudes working out at the gym. Men in sports, men as statues, men in paintings, important men in photographs, the Greased Lightening scene from Grease, all culminating in Sylvester Stallone in a mink coat. - MEN EVERYWHERE and then just another horse and then MORE MEN EVERYWHERE!",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. POLICE STATION. DAY Barbie Margot still sitting on the bench, breathes in and out, and sees: Glimpses of A Girl, maybe a pigtail, some chipped nail polish. She’s “Shining” or something like that. But without the horror! - The Girl laughing with her Mom, eating ice cream. - The Girl opening the door saying “Mom, I had a bad dream.” - The Girl playing Barbies with her Mom - her Mom shows her a Barbie idea sketch and the girl applauds. - The Girl is getting older, moving away when her Mom tries to show affection. - The Girl plops a box of her Barbies and Barbie accessories in front of her Mom, clearly marked “Goodwill.”34. 35.- The Mom sadly drops her daughter off at school, and when she tries to wave at her, the Girl pretends not to see her. It’s junior high. Everyone is their worst self in junior high. CLOSE on Barbie Margot, a tear rolls down her face. Barbie opens her eyes. She wipes the tear from her face. She looks down at the moisture in her hand. She’s never cried before. BARBIE MARGOT (to herself) That felt achy... but good. Barbie Margot looks around - across the street she sees a park, filled with mundane and beautiful and funny and sad moments of every day life. - A young couple with a baby. - Kids playing tag. - A teen girl crying and being comforted by another girl. - Best friends laughing together. - A middle aged couple walking hand in hand. - Three friends in an argument. - An old man feeds the birds. - Someone reading a book. - A man with a child. - Guys kicking a ball around. - 20-somethings arguing. - A young man who looks like he’s been crying. Next to her an Older Woman sits on a bench, reading. Barbie studies her for a moment. Barbies don’t get old, so this is something she doesn’t have experience with. The woman, as if she can feel Barbie’s gaze on her, looks up. They meet eyes. The Older Woman nods in greeting. BARBIE MARGOT You’re so beautiful. 35. 36.OLDER WOMAN (cheeky) I know it. They laugh, it’s lovely. Ken runs up to her, breaking the moment. KEN RYAN GOSLING (O.S.) BARBIE! She turns to him, and he and Barbie excitedly say: KEN RYAN GOSLING I’ve got it!BARBIE MARGOT I’ve got it! KEN RYAN GOSLING What have you got? BARBIE MARGOT You go first. KEN RYAN GOSLING No you! BARBIE MARGOT Let’s go at the same time. KEN RYAN GOSLING Men rule the world!BARBIE MARGOT She’s at school! BARBIE MARGOT What was that? KEN RYAN GOSLING The girl is at school! BARBIE MARGOT But what did you ? --KEN RYAN GOSLING -- Nothing, doesn’t matter, let’s go to the SCHOOL! They both run off together, and Barbie sneaks a glance back, but the old woman is back to reading her newspaper, the moment has passed.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MATTEL HEADQUARTERS. DAY. An imposing, many floored building. Masculine. STRONG. A phone is ringing from somewhere. We BOOM DOWN from the top floor ALL THE WAY DOWN --36. 37.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MATTEL HEADQUARTERS LOWEST FLOOR. DAY. An endless forest of cubicles. MATTEL EMPLOYEE Hello? Split screen with:,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FBI HEADQUARTERS. DAY. Men in those aviators for no reason, pictures on cork boards. DAN AT THE FBI This is Dan at the FBI. MATTEL EMPLOYEE This is Aaron at Mattel. DAN AT THE FBI I don’t give a flying squirrel who you are Aaron! What are you, like an intern? AARON DINKINS I mean, not really an--DAN AT THE FBI Two of your dolls have gotten loose! AARON DINKINS Impossible. How do you know? DAN AT THE FBI Don’t sass me Aaron! Couple of blondes answering to Barbie and Ken rollerblading in Santa Monica. Claim to have no genitals. AARON DINKINS Genital-less? DAN AT THE FBI We’re going to need Mattel’s help landing the eagle. Don’t crap the bed, Aaron! AARON DINKINS (concerned) I won’t. Sweating bullets, he hangs up the phone. AARON DINKINS This is bad. This is really bad.37. 38.Another younger employee peers over the top of his cubicle: YOUNGER MATTEL EMPLOYEE What?! AARON DINKINS This happened once before. Popping up from ANOTHER cubicle, three cubicles away: AN EVEN YOUNGER MATTEL EMPLOYEE What?! When?! AARON DINKINS About ten years ago a woman named Skipper turned up in Key West at some family’s home and asked to babysit the kids... She then tried to take their toddler surfing. We were able to straighten it out and keep it under wraps. (grave) But this is serious. AARON DINKINS I’m going all the way up. YOUNGER MATTEL EMPLOYEE No one goes all the way up! You may never come back! AARON DINKINS I know.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MATTEL HEADQUARTERS. ELEVATOR. He takes a deep breath and steps into the elevator. Floors tick by 99, 100, 101. Walks briskly down a huge hallway.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MATTEL HEADQUARTERS. BOARDROOM RECEPTION. CLOSE on some sketches of Barbie. But these Barbies look distressed, mascara running down her cheeks from crying. She wears the identical clothes to Barbie Margot. A woman, Gloria, sits at a reception desk. She’s in her late 30s, but has something of the kid in her, a pair of pink shoes? We love her! She is drawing the sketch. Gloria has an old Barbie on her desk which resembles Barbie Margot. And next to that a photo of her daughter. She’s singing “Closer to Fine” to herself. 38. 39.Aaron stops at the desk. Gloria is so lost in her drawing she doesn’t see him. He clears his throat. AARON DINKINS Um... Gloria. He snaps his fingers. She shakes her head and looks at him. GLORIA Oh, hi, Aaron. AARON DINKINS (re: her sketch) New designs? GLORIA Yeah, for some reason I just started drawing her. I don’t know why. She hands them to him. GLORIA It’s Crippling Shame Barbie, Irrepressible Thoughts of Death Barbie, Full Body Cellulite Barbie. AARON DINKINS Yeah, OK. (getting to the point) I have to talk to the top brass. RECEPTIONIST/GLORIA They’re in a big corporate ideas sesh. No one is to be admitted-- But Aaron is walking toward the door. RECEPTIONIST/GLORIA (stage whisper) AARON stop it!...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MATTEL HEADQUARTERS. BOARDROOM He opens a door to a giant PINK GLITTERY board room. It’s like the inside of a 5 year old girl’s sparkly heart. MATTEL CEO (true believer) Always be empowering girls! Always! What do we really sell? We sell dreams! Imagination! And sparkle! When you think of sparkle, what do you think after that?39. 40.He doesn’t wait for an answer, already so pumped to say: MATTEL CEO Female agency. AARON DINKINS Um... excuse me... A table of men turns around all at once. They’re all wearing suits but it somehow feels like tuxedos. MATTEL CEO Who are you? AARON DINKINS Aaron Dinkins, sir. MATTEL CEO We’re in the middle of a major sit- down here, Aaron Dinkins. AARON DINKINS But, I think you’re going to want to hear this, sir. MATTEL CEO Can you just email it? And you can send it to me EOD (proud) End of day. AARON DINKINS May I put it in a whisper, sir? MATTEL CEO Ugh, fine, whisper me. Aaron Dinkins leans in and whispers something to the Mattel Executive #1. He’s ashen. He turns and whispers to the man next to him and each man in turn reacts and whispers to the man next to him. Finally, the CEO listens with shock: MATTEL CEO My god it’s a repeat of Skipper in Key West. AARON DINKINS And with all due respect, that was Skipper, sir. This is... (dramatically) Barbie. They all react. The Mattel CEO stands up, dramatically.40. 41.MATTEL CEO If this got out, that our dolls were coming to Los Angeles from Barbie Land as life-size versions of themselves and roaming the earth it would be very bad... (lame finish) ... for business. CUT TO: Gloria listens outside the conference room doors. She shakes her head, doing some insane calculation. GLORIA (to herself) Barbie? In the real world? (thinks) No, that’s impossible. (thinks again) Right? We CUT BACK inside the BOARD ROOM: MATTEL EXECUTIVE #2 We’ve got a definite situation on our hands. MATTEL CEO Catastrophic! I can’t stress that enough! What’s your name again? AARON DINKINS Uh, Aaron Dinkins Sir MATTEL CEO Aaron Dickinson? AARON DINKINS Dinkins. Um, is Barbie Land like an alternate reality or like our imaginations come to life or...? ALL OF THE EXECUTIVES Yes. MATTEL CEO Think of it as a town in Sweden, Aaron Dinkins. (sizing him up) How much do you weigh? Never mind. This sounds like a job for the box. ALL OF THE EXECUTIVES Yes sir. 41. 42.MATTEL CEO No one rests until this doll is back in a box!",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. JUNIOR HIGH SCHOOL. AFTERNOON Barbie Margot and Ken Ryan Gosling approach the school. Barbie Margot sticks out even more here, as the kids are all wearing dark colors trying not to be noticed. You know, Junior High School. BARBIE MARGOT (looking up at the sign) Look! Davey Crocket Junior High School! Just like I saw in my vision. KEN RYAN GOSLING A man on a horse! BARBIE MARGOT We better find her soon, I’ve started to get all these weirdo FEELINGS. Ugh. Like I have fear with no specific object, what’s that? MOM (passing by) Anxiety. I have it too. (re: the kids) They’re just awful at this age. KEN RYAN GOSLING I feel amazing. MOM That’s because kids don’t take it out on Dads. KEN RYAN GOSLING Cool! Kids are running everywhere. Barbie Margot and Ken Ryan Gosling try to not look sketchy. BARBIE MARGOT She’s got to be here somewhere. They pass the library and Ken says, kind of suspiciously: 42. 43.KEN RYAN GOSLING Hey, I’m just going to pop into to the library and see if I can find any books on trucks... BARBIE MARGOT Okay, but don’t get in trouble! KEN RYAN GOSLING I won’t!",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. JUNIOR HIGH SCHOOL. CAFETERIA Barbie scans all the different girls’ faces and then BAM - like Roy Scheider in “JAWS” seeing that kid getting eaten - she sees her Girl, the one from her vision! Her Girl is sitting in a VERY prominent table with a group of other pretty 13 year old girls. She’s clearly popular. They all have Hydroflasks, big t-shirts, scrunchies, Mario Badescu Or whatever kids are into after this pandemic! She begins to walk towards the girl but is interrupted by: OTHER GIRL What are you doing? Indicating the one she thinks is HER girl: BARBIE MARGOT What’s that girl’s name? OTHER GIRL (reverence) That’s Sasha. BARBIE MARGOT (calling out) Hey Sasha! OTHER GIRL (panicking) NO DON’T TALK TO HER! Sasha can talk to you but you can never talk to Sasha. She’ll crush you. BARBIE MARGOT Don’t worry - everyone likes me and thinks I’m cool and pretty. OTHER GIRL (staring at her) Huh.43. 44.BARBIE MARGOT Thank you! And then she goes up to talk to Sasha, and all these 13-year- old queen bees turn to look at her. NOTE: this is the opposite of what Barbie (and we!) think will happen. BARBIE MARGOT Hey ladies! Sasha, what’s up? Sasha and her friends stare at Barbie Margot, stunned: SASHA (if looks could kill...) Who are you? BARBIE MARGOT I’m only your favorite woman of all time - Barbie! SASHA You really think you’re Barbie?! BARBIE MARGOT Well yeah! They burst out with lots of mean laughter, unable to stop. POPULAR GIRL #1 Omg she’s crazy.POPULAR GIRL #2 Do you think she’s escaped from an insane asylum? POPULAR GIRL #3 So do you think you’re like pretty?POPULAR GIRL #2 Tell us more about how you think you’re Barbie. SASHA Okay, so you’re like BARBIE Barbie. Like a professional bimbo? BARBIE MARGOT No way! Barbie’s not a bimbo! Barbie’s a lawyer. And a doctor. And a senator. And a Nobel Prize winner. POPULAR GIRL #1 You’re a Nobel Prize winner? BARBIE MARGOT (slightly defensive) Well, not me. But Barbie is. They all laugh in her face, again. Barbie is confused:44. 45.BARBIE MARGOT Don’t you guys - I mean aren’t you guys going to thank me and give me a big hug? For being your FAVORITE toy? SASHA We haven’t played with Barbies since we were like 5 years old. POPULAR GIRL #2 Yeah. I hated dolls with hair. POPULAR GIRL #1 I played with Barbie but it was the last resort. POPULAR GIRL #3 I loved Barbie... They give that girl a look. SASHA Anyways. Even then it was horrible for us. BARBIE MARGOT Horrible? Why? Her friends egg her on, they know that Sasha can totally flatten someone. POPULAR GIRL #2 Come, on Sasha.POPULAR GIRL #1 Give it to her. POPULAR GIRL #3 Destroy Barbie. SASHA Ok, Barbie, let’s do this. Sasha’s verbal jabs are like a boxer relentlessly landing punches in a ring, maybe we even shoot it like Raging Bull. She is clearly so smart and so articulate that you can’t help but admire her. SASHA You’ve been making women feel bad about themselves since you were invented. BARBIE MARGOT No, I think you have that the wrong way around.45. 46.SASHA You represent everything wrong with our culture: sexualized capitalism, unrealistic physical ideals. BARBIE MARGOT Whoa hang on you’re describing something stereotypical. Barbie is so much more than that. SASHA Look at yourself! BARBIE MARGOT (she has a point) Well, I am, actually, Stereotypical Barbie. SASHA You set the feminist movement back fifty years, you destroy girls’ innate sense of worth and you’re killing the planet with your glorification of rampant consumerism. BARBIE MARGOT But, but I’m supposed to help you and make you happy and powerful - SASHA - I am powerful and until you showed up here and declared yourself “Barbie”, I hadn’t thought about you in years, you FASCIST. Barbie bursts into tears and runs away. The Other Girl watches Barbie run, and just shakes her head. THE OTHER GIRL They never listen. We stay with Sasha for a moment, who suddenly feels bad. Under all the bravado is a lot of feeling.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. JUNIOR HIGH SCHOOL. MEANWHILE: Ken runs out of the school library with a bunch of books in his arms - Men & Wars, The Origins of the Patriarchy, Why Men Rule (Literally) and just one called Horses. His mind is blown. A Female Pedestrian stops and asks, casually:46. 47.FEMALE PEDESTRIAN Excuse me, sir, do you have the time? KEN RYAN GOSLING (stunned) You respect me! FEMALE PEDESTRIAN Um, do you know what time it is? KEN RYAN GOSLING No, I do not! FEMALE PEDESTRIAN Thank you? Ken feels like he was just declared king. KEN RYAN GOSLING Why didn’t Barbie tell me about Patriarchy? Which, according to my understanding, is where men and horses run everything! (inspired) I shall seek my fortune there! QUICK IMPOSSIBLE MONTAGE:",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. OFFICE BUILDING Ken Ryan Gosling addresses a businessman. KEN RYAN GOSLING I want a high level, high paying job with influence. OFFICE EMPLOYEE You need at least an MBA and many of our people have PhDs. KEN RYAN GOSLING Isn’t being a man enough??? OFFICE EMPLOYEE Actually right now it’s the opposite. KEN RYAN GOSLING But that’s not what books say! You guys certainly aren’t doing patriarchy well.47. (MORE)48.OFFICE EMPLOYEE (winks at Ken) Oh, we’re doing it well. We just hide it better now.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DOCTORS OFFICE We watch Ken also get rejected from a DOCTOR’S OFFICE. FEMALE DOCTOR No, I won’t let you do “just one appendectomy!” KEN RYAN GOSLING BUT I’M A MAN! FEMALE DOCTOR But not a doctor. KEN RYAN GOSLING Please?! FEMALE DOCTOR No. KEN RYAN GOSLING Can I talk to a doctor? FEMALE DOCTOR You are talking to a doctor. KEN RYAN GOSLING Can you get me a coffee? And I need a clicky pen and a white coat and a sharp thing! (sees a man) There he is! Doctor!",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. VENICE BEACH And even from a BEACH. A life-guard listens, perplexed. KEN RYAN GOSLING I would like to apply for the job of Beach. LIFE-GUARD Oh so you want to be a life guard? KEN RYAN GOSLING Oh I’m not trained to go over there. (points to the water) (MORE)48. KEN RYAN GOSLING (CONT’D)49.I’m trained to stand confidently over here. He points to the sand at his feet. LIFE-GUARD But nobody is in danger here. KEN RYAN GOSLING (proudly) And even if they were I’m not trained to save them. Ken trudges away, rejected by the life-guard. KEN RYAN GOSLING I can’t even do BEACH here! Clutching his books, he returns to the school.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. JUNIOR HIGH SCHOOL Barbie Margot is sitting in the parking lot still fully weeping from her interaction with Sasha. BARBIE MARGOT (to herself, baffled) She thinks I’m a fascist? I don’t control the railways or the flow of commerce?? Ken Ryan has arrived back at the school and approaches the same Female Pedestrian, now with her tween daughter. She’s not thrilled to see him again. KEN RYAN GOSLING There you are, that went terrible. I need a place where I can start patriarchy fresh. Barbie Margot is approached by bunch of CIA or FBI-looking types - dark suits, mirrored sunglasses, earpieces, but emblazoned with the Mattel Logo. MATTEL AGENT Miss Barbie? BARBIE MARGOT (sniffling) It’s just Barbie. MATTEL AGENT You’re going to have to come with us. KEN RYAN GOSLING (CONT’D)49. 50.Ken watches from a distance. He freezes. BARBIE MARGOT Who are you? MATTEL AGENT We’re Mattel. KEN RYAN GOSLING (to himself) Mattel! BARBIE MARGOT OH THANK GOODNESS! I’ve got to talk to someone in charge. It’s all backwards here. Men look at me like I’m an object, girls hate me, everyone thinks I’m crazy and I keep getting arrested. MATTEL AGENT Just step this way, ma’am. BARBIE MARGOT I also just learned how to cry! First I got one tear and then I got a bunch... She keeps talking as Ken has a little conversation with the Female Pedestrian. KEN RYAN GOSLING What do I do? Should I go after Barbie into that scary unmarked black truck car? (to himself) A truck car I would like to have actually... (back to the pedestrian) Nah, she’ll be fine, it’s Mattel! (excited) I know! I’ll go back to Barbie Land. Wait until I tell the Kens what I’ve learned! Oh it’s going to be beautiful! (sotto) Back to Barbie Land! FEMALE PEDESTRIAN (walking away) Let’s go... that way. Ken hurries off... And Sasha gets into her Mom’s car. It’s Gloria, the receptionist from Mattel! Now we get it! 50. 51.GLORIA Hi Honey Bear! SASHA MOM! Don’t call me that! GLORIA Shoot, sorry! I got off early because of a crisis at work. I thought we could go get soft serve this afternoon! Gloria and Sasha see Barbie Margot getting into the van: SASHA (unleashes the teen) Thank god they arrested that nut job! (checking herself) I mean: that reality-challenged woman. She thinks she’s Barbie-- GLORIA (can’t believe it) Wait, what did you say? CLOSE on Gloria’s face - WHAT?! It’s 1/2 of the “love look”: she recognizes her. But although Gloria can see Barbie Margot, Barbie Margot can’t see Gloria. ... as one of the Mattel employees shuts the doors on Barbie’s friendly face, and looks around all secret-agent- like as he gets into the passenger seat and they drive off.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT./,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BLACK VAN. DAY As the van zooms down the highway, a chipper Barbie tries to talk to the men in the car. BARBIE MARGOT Of course, Mattel! It was you guys who wanted me to come to the Real World! Because it definitely wasn’t that Sasha girl. No one responds.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. GIANT MATTEL HEADQUARTERS. DAY The scary black van pulls up, and Barbie steps out looking up at the giant building. 51. 52.BARBIE MARGOT Thanks for the ride! This has been so much fun. She is escorted through the big double doors... BARBIE MARGOT (in awe) Wow! The Mothership!",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MATTEL HEADQUARTERS. LOBBY Barbie Margot smiles as she’s taken through the lobby and up a glass elevator and it opens on to the top floor with all the executives... And she opens the door on So Much Pink.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MATTEL HEADQUARTERS. BOARDROOM. 1/2 EXECUTIVES ALL TOGETHER Barbie! We’re so happy to see you! THE OTHER HALF ALL TOGETHER Can we get you anything? Mineral water? BARBIE MARGOT Yes, thank you. She’s handed a glass of mineral water which she turns and pours all over her open mouth and down her shirt. The lime wedge sticking to her cheek. They all stare at her. BARBIE MARGOT (inspecting the glass) I’m not used to that having anything in it. The executives part, revealing our CEO, arms outstretched. MATTEL CEO We’ve been REALLY anxious to get some quality face time with you... BARBIE MARGOT Of COURSE! So what can I do to repair the rift in the space time continuum portal and get my feet back and that one cellulite gone? And generally just not turn into Weird Barbie. They all look at her blankly. 52. 53.MATTEL CEO We have been discussing that very topic. If you are agreeable to it, we would love it if you could just... get into this giant box. A human-size Barbie box is wheeled out. It has the logo and plastic restraining straps and everything. MATTEL CEO If you get in that box, you’ll go back to Barbie Land, and everything will be as it was. Barbie thinks for a minute. The executives all impatiently lean forward. It’s taking everything for them not to just capture her and put her in the box themselves. BARBIE MARGOT (finally) You know what. We should probably get Ken first. MATTEL CEO Ken? BARBIE MARGOT You know... Ken. MATTEL CEO Oh Ken! The guy. Oh right! WE CUT BACK TO: Ken just screaming his lungs out on the rocket going back the other direction. BACK TO MATTEL: MATTEL CEO ... yeah, Ken isn’t something we’re worried about... ever. BARBIE MARGOT OK. I’ll get in the box. EXECUTIVES ALL TOGETHER (relieved) Oh, wonderful! BARBIE MARGOT But since I came all the way here could I meet the woman in charge? Your CEO? They all hesitate. The male Mattel CEO raises his hand.53. 54.MATTEL CEO Um, that would be me. BARBIE MARGOT Well what about the CFO? But it’s another man. EXECUTIVE #3 Er, me. BARBIE MARGOT The COO? Man. EXECUTIVE #2 Me here. BARBIE MARGOT Goodness gracious, what about -- President of the Barbie division. It’s another man. EXECUTIVE #1 Present.AARON DINKINS Um, I’m a man with no power, does that make me a woman? BARBIE MARGOT ARE THERE ANY WOMEN IN CHARGE?! MATTEL CEO (emotional) Listen, I know where you’re going with this, and I have to say I really resent it because we are a company literally MADE of women. There was a woman CEO in the 90’s and another one at some other time. Women are the freaking foundation of this long phallic building! We have gender neutral bathrooms up the wazoo! Every single one of these men you see before you loves women. EXECUTIVES IN UNISON Up the wazoo!54. 55.MATTEL CEO I am the son of a mother, I am the mother of a son, I am the nephew of a woman aunt, some of my best friends are Jewish... what I’m trying to say is GET IN THE BOX YOU JEZEBEL! Everyone gasps! MATTEL CEO What?! I can’t say JEZEBEL now?! Barbie Margot seems unfazed, looks at the box. BARBIE MARGOT I haven’t been in a box in ages. One executive steps into the box and then jumps back out. MATTEL CEO See it’s easy. BARBIE MARGOT OK. She slowly steps into the box. BARBIE MARGOT I totally remember this smell! I’m having a real Proustian flashback. EXECUTIVES ALL TOGETHER Haha, Proust! MATTEL CEO (to his neighbor) Remember Proust Barbie? That did not sell well. The employees surround the box somewhat menacingly. A Mattel Employee grabs the plastic ties from the holes in the back of the box and pulls. Barbie Margot feels the restraints tighten on her wrist. She hesitates, it sinking in. She pulls her wrist out quickly just as the plastic cinches. Then she jumps out of the box. BARBIE MARGOT You know what? Before I get in the box, can I just make sure my hair is perfect? 55. 56.MATTEL CEO It really is time to get in the box! BARBIE MARGOT But I want to look factory beautiful. MATTEL CEO OK, but let’s hurry it up. She backs over toward the bathroom and then zigs toward the double doors of the conference room. Then she BOLTS! MATTEL CEO Get that Barbie!",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MATTEL CUBICLES. CONTINUOUS. A BIG CHASE through the main bullpen offices of Mattel. The CEO and all the executives hurry after her. It’s like a giant maze. Barbie Margot darts around the cubicles as employees work, people pass from cubicle to cubicle popping up and looking around, trying to spot her. MATTEL CEO (to the troops) It’s quicker if you go OVER the cubicles! The CEO tries to scramble/climb badly over the TOP of a cubicle and topples into an employee and a computer console. Barbie sprints toward giant double doors on the other side of the room. The Mattel Executives in hot pursuit. She hurries through the doors and shoves a broom through the handles to hold them off. Barbie enters a big hallway with lots of doors, she tries every one, but they’re all locked. Trapped! Panicked! She hears the executives getting closer. Then one door opens...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MAGICAL ROOM FROM THE 1950S. ETERNITY She enters the room and shuts the door behind her. A VOICE (O.S.) Oh, hello, come in. Barbie Margot sees a woman, dressed like a mom in the 1950’s. The room we see resembles a 1950’s kitchen. She’s working on something - her sewing machine is out, and there are scraps of paper and cloth all over the kitchen table. 56. 57.1950 WOMAN Don’t worry, you’re safe here. BARBIE MARGOT (looking around) What is this place? 1950 WOMAN (laughing at herself) I always find that I think best at kitchen tables. Tea? BARBIE MARGOT Yes, please. The woman hands her the cup, which Barbie Margot brings to her lips then hesitates. A little dribbles down her chin but she is able to drink it too. She smiles, proud of herself. She feels strangely comfortable here. BARBIE MARGOT So, a woman does work here. 1950 WOMAN Oh, sweetie, we do more than work here. BARBIE MARGOT (comfortable) The real world isn’t what I thought it was. 1950 WOMAN (smiling) It never is. And isn’t that marvelous? There is a moment that passes between them. Barbie Margot feels the woman’s gaze. BARBIE MARGOT What? Is it that I don’t know how to drink tea? 1950 WOMAN No. You look different. BARBIE MARGOT (embarrassed) I’m not what I used to be. I used to be perfect.57. 58.1950 WOMAN I don’t know, I think you’re just right. She settles down at her sewing machine and resumes her work. BARBIE MARGOT Who... who are you? We hear the Executives in the hallway, yelling, trying doorknobs. Barbie Margot tenses. Without looking up, the older woman indicates a closet next to the refrigerator. 1950 WOMAN If you go through that closet, you’ll find a stairwell down to the lobby. Just be careful of the mops and brooms. BARBIE MARGOT Thank you... ? 1950 WOMAN (smiling) Ruth. BARBIE MARGOT Thank you, Ruth. RUTH You’re welcome, Barbie. Barbie Margot hesitates then enters the cupboard. She pushes through the mops and brooms. The cupboard extends beyond and Barbie Margot finds herself in a narrow back stairwell.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. LOBBY/,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. STREET Barbie Margot scampers across the lobby and onto the busy street. She looks around desperately. She glances back through the glass windows. Mattel Executives sliding across the shiny, slippery lobby floor. Barbie freezes, panicked. Gloria’s car pulls up, door opening. GLORIA Get in! Barbie Margot then SEES Gloria. Time slows down. It’s the “love look” completed. They see each other seeing each other. Just then the Mattel Executives come running out of the building.58. (MORE)59.GLORIA NOW! GET IN NOW! Barbie Margot leaps into the back seat. The door slams shut and the car screeches off. Town cars and vans pull up. The executives scramble inside. MATTEL CEO Follow that Barbie!",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GLORIA’S CAR. Gloria drives, making crazy turns. She’s an incredible driver. Sasha in the passenger seat. Everyone is screaming. SASHA (so embarrassed) God I hope nobody from school saw us put a life-size Barbie in our car. How did this even happen?! Mattel gains on them. Gloria does some crazy amazing driving. GLORIA I don’t know! SASHA How are you here? You’re like, an idea. BARBIE MARGOT A GREAT idea. GLORIA So, I’ve been a little lonely lately and I found the Barbies we used play with -- SASHA I thought we gave those away!GLORIA And I started playing and making drawings like we used to do together because I thought it would be fun and joyful-- BARBIE MARGOT (she understands) But it wasn’t, was it? GLORIA No, because I started feeling sad and weird and then the drawings got sad and weird... (MORE)59. GLORIA (CONT’D)60.and maybe because I couldn’t be like you I ended up making you like me? BARBIE MARGOT Did any of these drawings by chance have thoughts of death and cellulite? GLORIA YES! IRREPRESSIBLE THOUGHTS OF DEATH BARBIE! BARBIE MARGOT OH MY GOD! GLORIA And CELLULITE! BARBIE MARGOT I came for YOU!GLORIA YOU came for ME! SASHA What?! BARBIE MARGOT Those were YOUR memories! CUT BACK to earlier images of mother and daughter, but this time we see Gloria’s experience, the joy of participating in Sasha’s childhood and the pain of Sasha inevitably moving away as she grows up. BACK to THE CAR: SASHA What? Are you two, like, Shining??? GLORIA No, it’s nothing like THAT! SASHA Are you Shining with a REAL Barbie? GLORIA No! Well, I mean, kind of... YES! Gloria makes a crazy, screeching turn. (This should feel like the chase in Bullitt!) SASHA I don’t even know where to start with this wishing a Barbie to life crap. GLORIA (CONT’D)60. 61.GLORIA Listen, I’m just a boring Mom with a boring job and a daughter who hates me. Can you blame me for wanting a little fun? Gloria checks the rearview mirror. The Mattel cars flanking. GLORIA I’m going to have to lose these chuckleheads. She makes another crazy turn: clearly Gloria is NOT boring. SASHA Mom! Everyone slides over, Barbie Margot falling. Gloria rights the car, Barbie Margot climbs back up, her hair a mess. BARBIE MARGOT (shaking her head) I think I owe you ladies an apology. I thought Barbie had made the Real World better, but the Real World is forever and irrevocably messed up! GLORIA Well the real world isn’t perfect, but you inspired ME! BARBIE MARGOT (depressed) But I love women, I want to help women. SASHA Oh, come off it, everybody hates women. Women hate women and men hate women. It’s the thing we can all agree on. BARBIE MARGOT (horrified) Is that true? GLORIA It’s complicated... hate is a strong word.SASHA Wake up Mom! Two cars appear on either side. The Mattel executives yelling, but we can’t hear anything they’re saying through their tinted windows.61. 62.GLORIA I am WIDE awake Sasha! Gloria turns the wheel smashing into the side of a median strip, sending them skidding. SASHA MOM! Where did you learn to drive like this? GLORIA There was this guy... SASHA Was it dad? GLORIA (vague) Yeah... yeah it was dad. Gloria does a crazy reverse, Tokyo Drift thing right into a hidden alley. Everyone quiets as the Mattel vans drive by, not seeing them. GLORIA I can’t hold them off forever. BARBIE MARGOT (suddenly) WAIT! I have an idea! Can you get us to Venice Beach?!",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. VENICE BEACH. 20 MINUTES LATER They roller blade, frantically. GLORIA Where are we going?! BARBIE MARGOT Barbie Land! We’ll be safe there! SASHA WHAT?! Mom, are you really going to let Barbie take you and your tween daughter to an imaginary land? GLORIA Yes and you know why? Because I never get to do anything. I didn’t even go on that cruise I won at your school raffle because I didn’t have enough vacation days and your dad is allergic to sun. 62. 63.SASHA What about Dad? We can’t just leave him! GLORIA He’ll be fine. CUT to Nerdy Well Meaning Dad, in sandals and socks, learning Spanish from an app. NERDY WELL MEANING DAD (into his phone, loud) Boligrafos. APP Muy bien! BACK to our group. SASHA Yeah, he’ll be fine. BARBIE MARGOT Ready for fun! Here we go! TRANSPORTATION MONTAGE AND: We replay some of the various vehicles. First is Snowmobile. Cute winter wear! SASHA Where are we! How did we get into these clothes? BARBIE MARGOT (a twinkle in her eye) How did you get into this vehicle? GLORIA (looking down) When I was a kid, I lost these boots and my mom wouldn’t let me buy a whole new Barbie just to replace the boots! BARBIE MARGOT They look so good on you. GLORIA Why thank you! Sasha does an eye roll. 63. 64.Camper. They’re all chilling in lawn chairs. GLORIA (admiring Barbie Margot) She was always my favorite Barbie. BARBIE MARGOT And you are my favorite human! Tandem Bike. It’s now a three seater! GLORIA Don’t tell him, but I never got a Ken. BARBIE MARGOT That’s because Ken is totally superfluous! They all crack up - Barbie Margot and Gloria are real pals. Rocket. BARBIE MARGOT Women hold all major positions of power, control all the money, basically everything men do in your world, women do in ours. SASHA (bending a little) I mean, that sounds kind of cool. Boat. Sasha is laughing as they take the waves in the speed boat. The experience, as bizarre as it is, can’t help but delight her. Sasha then regards her mother regarding her: GLORIA Look! Dolphins!",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BARBIE LAND. BARBIE CAR. DAY Barbie, Gloria and Sasha cruise in the Barbie Car. Indigo Girls “Closer to Fine” playing on the radio, as always BARBIE MARGOT (singing) I went to the doctor / I went to the mountain.GLORIA (also singing) I went to the doctor / I went to the mountain. SASHA WHAT IS THIS SONG?!BARBIE MARGOT (going on) ... and we have a female president!64. 65.BARBIE MARGOT And it’s fun and work and friendship and female 24/7. SASHA Do giant hands come in and play with you? BARBIE MARGOT What? No. That’s crazy. CUT BACK TO: VENICE BEACH. REAL WORLD Mattel Executives talk to locals on the Boardwalk who tell them what they saw earlier. MUSCULAR VENICE BEACH PERSON (pointing indistinctly) A blonde, a brunette and a tween roller bladed in that direction... MATTEL CEO (ominous) The first step is always rollerblading. AARON DINKINS (he’s tagged along) Excuse me, sir?MATTEL CEO They’ve gone to Barbie Land. AARON DINKINS Oh no. MATTEL CEO And she brought humans there with her. This could mean extremely weird things for our world. AARON DINKINS Like what? MATTEL CEO Like nothing any of our collective imaginations COULD EVER DREAM UP. Aaron Dinkins looks peculiar, trying to imagine. EXECUTIVE #1 A podcast hosted by two wise trees? Or a choir of two thousand young fathers...65. 66.MATTEL CEO Not even CLOSE. (to the others) We’ve got to get to Barbie Land! GO! Find some blades. Just pick a direction and run! They scatter.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BARBIE LAND. DAY. Gloria and Sasha are totally impressed by the beauty of BARBIE LAND as they drive by the ocean in Barbie’s convertible. BARBIE MARGOT (soaking it all in) I can feel my heels lifting already. Yes, this is what I was supposed to do. Bring you back here! GLORIA (so happy) It feels right! BARBIE MARGOT It does! They pass the BEACH. Kens are playing volleyball a la Top Gun and the Barbies are cheering (reverse of beginning). BARBIE MARGOT That’s strange... Also Kens race on the beach and hug triumphantly in the surf (a la Rocky III). Barbie Issa hands a Ken a beer. BARBIE ISSA Incoming brewski beer-- (she makes plane sounds) BARBIE MARGOT Uh, so that’s our president with the beer. And the cheering squad... is the supreme court? BARBIE ISSA This is so much better than being President!! BARBIE MARGOT Something’s weird today.66. 67.A Ken Mermaid leaps out of the surf and waves. You don’t think that’s a thing? Check this out: KEN MERMAID Hi Barbie! BARBIE MARGOT (slightly taken aback)) Oh... OK. Hi Ken. Barbie Mermaid emerges and hands the Ken Mermaid a beer. BARBIE MERMAID Here have a brewski beer! My big guy is thirsty! BARBIE MARGOT Huh. (shaking it off) OK. Wait until you see my Dreamhouse. Everything I’ve bought and owned will totally inspire you. We’ll change clothes again! They pass the Capitol. BARBIE MARGOT And that’s the Capitol! SASHA It’s pink!! And finally they pass Barbie Mt. Rushmore, but now instead of Barbies it’s... horses?! BARBIE MARGOT (frowns) Huh.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BARBIE MARGOT’S DREAMHOUSE They drive through the neighborhood. BARBIE MARGOT And these are the Dreamhouses! This is where I live. As they arrive in the cul-de-sac, Gloria exclaims. GLORIA (still in awe) You can see through the houses!67. 68.SASHA So each Barbie has their own house? Where do the Kens stay? BARBIE MARGOT (this has never occurred to her before) I don’t know! GLORIA (nerding out) I had that treehouse! I saved up my allowance to buy it. A Ken sits on the swing and waves to them. Barbie cocks her head. Strange. They pass a giant Hummer with flames-- BARBIE MARGOT I’ve never seen a car like that before... what happened here? She finally takes in the full transformation - There are mini- fridges everywhere, that poster of dogs playing poker, video games, BIG TVs playing horse footage, Doritos, Mini basketball hoops & arcade games, chin-up bars in the doorways, foosball, pool, ping pong, air hockey, it’s all Ken all the time, empowered through some strange game of telephone with the real world... Some of them have beards, some mustaches, a couple have goatees. Every Ken is there, including Ken Simu. This embrace of a Real World cartoon masculinity seems to have united them. A now bearded Ken Ryan Gosling sporting a mink coat is in the middle of a monologue. All the Kens listen, rapt. KEN RYAN GOSLING (rotating through all the man-activities) At first I thought the Real World was run by men, and then for one minute I thought it was run by horses, but now I realize that horses are just men-extenders. So are cars, buildings, airplanes, EVERYTHING! Everything exists just to expand and elevate the presence of MEN! KEN KINGSLEY That’s amazing!68. 69.BARBIE MARGOT (O.S.) Ken, what have you done?! What are you wearing?! The Kens turn to see Barbie Margot, Gloria and Sasha. Ken Ryan Gosling is secretly thrilled she showed up. He’d been wanting her to see what he was capable of. He tries to cover with nonchalance. KEN RYAN GOSLING Don’t question it. Just roll with it tiny baby. BARBIE MARGOT Don’t call me “baby!” He’s hurt, but instead of admitting it, now he’s going to go full-out aggressive and posturing. KEN RYAN GOSLING Ok, what about Mini Baby like this mini-fridge? Ken Ryan Gosling opens the door to his mini-fridge and grabs a beer. Laughter from the Kens. Allan sits with the Kens on a leather couch and looks miserable. BARBIE MARGOT This is MY Dreamhouse. KEN RYAN GOSLING This is no longer “Barbie’s Dreamhouse,” this shall henceforth be known as “Ken’s Mojo Dojo Casa House.” SASHA You don’t have to say “Dojo” and “House.” GLORIA And “Casa.” KEN RYAN GOSLING But ya do. Because it feels so good. Try it. Mojo. Dojo. Casa. House. Gloria and Sasha begin to repeat it back to Ken Ryan Gosling. Barbie Margot shushes them to stop as Ken laughs maniacally. EXT/",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MATTEL SHIPPING WAREHOUSE. REAL WORLD. DAY People loading Ken Mojo Dojo Casa Houses onto forklifts.69. 70.MATTEL CEO (O.S.) (yelling into his phone) Give it to me straight - how weird is it? WAREHOUSE EMPLOYEE These Mojo Dojo Casa Houses are literally flying off the shelves! The kids are CLAMORING for them! Ken is on t-shirts, mugs, it’s the number one tattoo. Warner Bros has started auditions for the Ken movie. Which is already a blockbuster hit!",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. VENICE BEACH. REAL WORLD. DAY All the Mattel execs are roller blading. The CEO reacting to the news on his phone. MATTEL CEO It’s happening. That thing we could never imagine. If we don’t get my Words Lady -AARON DINKINS - Executive Assistant - MATTEL CEO Executive Words Lady and someone who is probably her daughter back here and close the portal, our world could be altered forever. EXECUTIVE #2 But what does it matter if it’s Barbie or Ken? The money is pouring in! MATTEL CEO Shame on you, Executive Number 2! Do you think I spent my entire life in board rooms because of a bottom line?! They all look away not wanting to answer this. MATTEL CEO No! I got into this business because of little girls and their dreams! In the least creepy way possible! (back to panic) BLADE FASTER! Time is running out!70. 71.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BARBIE MARGOT’S DREAMHOUSE Ken Ryan Gosling swings a golf club through some plastic flowers in the yard. Barbie Margot reacts. KEN RYAN GOSLING Look, I’m just hanging down with my bro-homies having a brewski beer in my Mojo Dojo Casa House. (to Barbie Margot) You can stay here if you want as my bride-wife or my long-term-low- commitment-distance girlfriend. Now, brewski beer me. BARBIE MARGOT I will NOT brewski beer you. KEN RYAN GOSLING That’s fine. I mean, without you Barbies running things, we can do our hair however we like-- We see Kens with crazy patches of beard on their faces. KEN KINGSLEY I have hats. Barbie Emma enters in a French Maid outfit, Barbie Hari in a Naughty Schoolgirl outfit. BARBIE EMMA (brainwashed) How are my hungry boys! Who wants snacks? BARBIE MARGOT Barbie, I’m so glad to see you! Can you believe what’s happening?! BARBIE EMMA (body snatched) I know! Isn’t it great? BARBIE HARI (to the men) Does anyone need a brewski-beer? BARBIE MARGOT What are you doing? You’re a doctor!71. 72.BARBIE HARI Being a doctor was stressful and a lot of work. I’m happy being helpful decoration. BARBIE EMMA And Allan likes to help me give the Kens foot-massages. ALLAN No, I don’t. I don’t like that. Allan looks totally freaked out by what’s happening. Barbie Sharon and Barbie Ana sit on a leather couch rubbing a Ken’s feet. BARBIES We do! KEN RYAN GOSLING I’m so blotto-faced day-drunk. Kens cheer in agreement. KEN KINGSLEY Ditto same-same that! BARBIE EMMA I like not having to make any decisions. It’s like a spa day for my brain, forever. BARBIE MARGOT What’s wrong with her?! KEN RYAN GOSLING Nothing. We just explained the impeccable immaculate seamless garment of logic that is Patriarchy and she crumbled. GLORIA (figuring it out) Oh my God. It’s like in the 1500s with the indigenous people and small pox. They had no defenses against it. KEN RYAN GOSLING (no idea what she’s talking about) Yeah!! Ken Ryan Gosling climbs up onto the roof of his Hummer.72. 73.KEN RYAN GOSLING Buckle up, babe, because Barbie Land is now Ken Land and it’ll be just like Century City in Los Angeles. Because they have it figured out in Century City. (describing a delicacy) The minute you get out of your car, you’re like I can’t believe how great this place is. Ken Simu nods vigorously. He LOVES it! BARBIE MARGOT No! They don’t. They don’t have it figured out in Century City. Because we failed them. With sudden, personal intensity, almost crying, based on a life-time of feeling like a second class citizen: KEN RYAN GOSLING No, you failed me! Out there I was a SOMEBODY! I walked down the street and people respected me just for WHO I AM. (to the Kens) One lady even asked me for the time. KEN SIMU NO WAY! KEN RYAN GOSLING WAY! Except for these dumb technicalities like MBAs and medical degrees and, I don’t know, swim lessons, I could have ruled THAT world. He attempts to slide down the hood of the Hummer but his mink sticks to the metal and he moves at a glacial pace. Finally landing on the ground: KEN RYAN GOSLING But here I don’t need any of those things. Here I’m just a DUDE! AND THAT IS ENOUGH! He raises a remote with a sense of triumph and switches the channel on giant gross TV that has, until this point, been playing romantic horse footage. 73. 74.BARBIE RITU (O.S.) (brainwashed) This has been such an exciting day!",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. CAPITOL STEPS. ON THE TV. DAY A Newswoman (Barbie Ritu) interviews Ken Scott. KEN SCOTT It sure has! And please call me Mr. Ken President Prime Minister Man. BARBIE RITU Let’s recap all the amazing changes and innovations thanks to the Kens! CUT TO: THEATRE Nobel prize ceremony. All the contestants are Kens and all the judges are Ken. ANNOUNCER The Nobel Prize in Horses goes to “KEN!” It’s Ken Ryan Gosling. He winks as he accepts his prize.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BARBIE KEN OVAL OFFICE. DAY Ken Scott, who is president, signs a bill into law with all of the Ken senators standing around him.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. SUPREME COURT. DAY Ken Kingsley argues in front of the Ken Supreme Court. The Gallery erupts into rapturous applause.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PINK HOUSE. DAY BARBIE RITU And now you’re making all of this permanent with a special election to change the constitution! KEN SCOTT (taking the microphone) That’s right, in 48 hours all the Kens will go to the polls and vote to change the constitution to a government for the Kens, of the Kens and by the Kens! 74. 75.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MOJO DOJO CASA HOUSE. SAME Ken Ryan Gosling turns triumphantly to Barbie Margot, but also kind of wanting her approval. BARBIE MARGOT You can’t do this. This is Barbie Land. The Barbies worked hard and dreamed hard to make it everything it is. You can’t just UNDO it in a day! KEN RYAN GOSLING Literally and figuratively watch me. (echoing Barbie from earlier in the movie) Now, if you’ll excuse me. This is MY Mojo Dojo Casa House. Not Barbie’s Mojo Dojo Casa House. Right? Barbie Margot looks devastated. KEN RYAN GOSLING (quiet and sincere) See how it feels? It’s not fun, is it? ALL THE KENS It’s boy’s night! A catch in his throat, this almost hurts him to say: KEN RYAN GOSLING Every night is boy’s night. Ken Ryan Gosling feels for her, but then puts on sunglasses to hide his emotion. Then he puts sunglasses on top of his sunglasses and walks away. Cold as ice.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CUL-DE-SAC. DAY Barbie Margot runs from the house screaming. Gloria and Sasha follow. As she reaches the lawn, clothes and accessories come raining down. Ken is tossing all her stuff off the third floor. KEN RYAN GOSLING And take your lady fashions with you! He identifies each clothing set as it flies through the air. 75. 76.KEN RYAN GOSLING Take your “Celebrate Disco” bell bottoms, take your “Ice Capades Pretty Practice Suit and Dazzling Show Skirt”... Gloria surreptitiously picks up a few great pieces. GLORIA These are archival! KEN RYAN GOSLING ...your “Pajama Jam in Amsterdam” set AND your “Pretty Paisley Palazzo Pants” and get OUT. He is angry but he still loves all the clothes and obsessively calls them by their proper names, of course. BARBIE MARGOT NOT THE PALAZZOS!!! Ken Ryan Gosling collapses in a pool of emotion. Barbie Margot runs crying. Gloria and Sasha follow. Gloria tries to comfort her. Barbie Margot turns on Gloria, angry: BARBIE MARGOT Why did you wish me to your messed up world using your complicated human thoughts and feelings?! Barbie Land was perfect before and I was perfect before! GLORIA I’m so sorry I wasn’t trying to do anything-- Sasha steps in, defending Gloria, who is touched. SASHA Don’t apologize -- Don’t blame my Mom. Maybe you wished us? Maybe it’s your fault, Barbie. BARBIE MARGOT I didn’t wish anything! I’ve never wanted anything to change. GLORIA Well, honey, that’s life. It’s all change.76. (MORE)77.BARBIE MARGOT Well that’s just terrifying. I don’t want that. Not MY life. I’m just going sit here and wait and hope that one of the more leadership oriented Barbies snaps out of it and does something about this whole mess. Barbie Margot drops listlessly into a sitting position, tips over and lies flat like a doll. GLORIA I really understand this feeling. It’s basically like being a human person all the time--BARBIE MARGOT JUST LEAVE ME HERE! Go back to your messed up world and leave me to mine. SASHA So you’re just going to give up? I almost felt bad for you, but you are exactly what I thought you were. GLORIA Come on, honey, let’s go SASHA How do we even--BARBIE MARGOT Do everything we did, reversed. Gloria and Sasha walk away. SASHA She doesn’t deserve you. Barbie Margot is now actually face down on the lawn. BARBIE MARGOT This is the lowest I’ve ever been. Emotionally AND physically. CUT TO: A COMMERCIAL ON TV. It’s all bright and happy except for the dolls are really going through it. They look wrecked and sad. ADVERTISING VOICE Ok, kids! It’s time to run out and get the NEW Depression Barbie! (MORE)77. ADVERTISING VOICE (CONT’D)78.She wears sweatpants all day and night, she spent seven hours today on Instagram looking at her estranged best friend’s engagement photos while eating a family sized bag of Starbursts and now her jaw is KILLING her and she's going to watch the BBC's Pride and Prejudice for the seventh time until she falls asleep. (Anxiety, panic attacks and OCD sold separately).",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BARBIE KEN LAND STREET. DAY. Weird Barbie patrols in a vehicle version of her house, constructed from abandoned Barbie cars. It’s kind of like a tank, very Road Warrior. It rumbles past a Ken taking down “Barbie Way” and putting up a “Ken Avenue Boulevard Road Mews” sign. They screech to a halt beside a catatonic Barbie Margot: WEIRD BARBIE Got a live one here! Earring Magic Ken and Barbie Video Girl pick Barbie Margot up. From Barbie Margot’s point of view we see Weird Barbie. BARBIE MARGOT I’m like you now. Ugly and unwanted. WEIRD BARBIE Thanks, kid. Barbie Margot is lifted into the amazing, cock-eyed vehicle.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. TRANSPORTATION MONTAGE TANDEM BIKE. With the CEO at the front and Aaron Dinkens in the back, Mattel rides a 12 person tandem bike on their journey to Barbie Land! MATTEL CEO (shouting to the group) Isn’t this great!! Wait until you see the boat! INT/",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. WEIRD BARBIE'S WEIRDHOUSE. DAY Barbie Margot has joined Weird Barbie and her motley crew - the reject Barbies, Earring Magic Ken, Sugar Daddy Ken, Growing up Skipper -- her boobs grow when she lifts her arm -- Teen Talk Barbie, Tanner the pooping Dog, Video Girl Barbie. Barbie Margot is lying on the floor, unable to do anything, totally without any will to live. Teen Talk Barbie and Video Girl Barbie attempt to un-brainwash Barbie Alexandra. TEEN TALK BARBIE (to Barbie Alexandra) You’re a writer. This is your Nobel Prize. Remember?82. 83.Barbie Alexandra goes into one of those acceptance speeches women give, totally self-effacing and not embracing the win. BARBIE ALEXANDRA Oh my God, I don’t even know how I got here. I don’t deserve this! I’d like to thank Ken. WEIRD BARBIE (entering the room) It’s pointless trying to deprogram her. I’ve already tried. (looking at Barbie Margot) The fork in my soup is this, Barb: why didn’t the brainwashing work on you? BARBIE MARGOT (still face down) My exposure to Patriarchy in the real world made me immune. Either you’re brainwashed or you’re weird and ugly. There is no in-between. WEIRD BARBIE Sing it sister. (to the group) Get ready to live in the shadows and on the margins because in 48 hours Barbie Land becomes Ken Land. They hear voices. Everyone screams and then tries to hide, badly. Except for Barbie Margot, who doesn’t move. Other Barbies step over her. Some try to freeze like statues. WEIRD BARBIE It’s the Kens! They’ve found us! The sound of footsteps grow louder. Until finally Gloria, Sasha and Allan are standing there. WEIRD BARBIE HUMANS! ALLAN AND ALLAN! The lights go on and they all emerge out of their random hiding places. Barbie Margot half clocks Gloria and Sasha and tries to pull herself away, out of their sight. 83. 84.WEIRD BARBIE (to Sasha and Gloria) Welcome, welcome to my Weirdhouse - I’m Weird Barbie. I’m in the splits, have a funky hair cut and I smell like basement. GLORIA OH MY GOD I HAD A WEIRD BARBIE! WEIRD BARBIE Yeah you did. GLORIA YOU MAKE THEM WEIRD BY PLAYING TOO HARD! Again, we take in the group as Gloria identifies each one -- GLORIA That’s Sugar Daddy Ken! And Earring Magic Ken! Mattel discontinued them... SASHA Sugar Daddy Ken? WTF? SUGAR DADDY KEN No, no, I’m not a Sugar Daddy. This is Sugar. (holding up a dog) And I’m her Daddy. EARRING MAGIC KEN And I have an earring. A magic earring. GLORIA (to Sasha) Yeah, those were actual Kens. (identifying all of them) And-- more discontinued Barbies!! Growing Up Skipper?! May I? (to Sasha) Watch this! Gloria lifts Growing Up Skipper’s arm and her boobs inflate. This is as weird as it sounds. GLORIA See! Her boobs grow!84. 85.SASHA (aghast) Why would they do that? Gloria continues down the line of discontinued Barbies. GLORIA And Barbie Video Girl! BARBIE VIDEO GIRL I have a TV in my back. You know whose dream that is? Nobody. It’s nobody’s dream. WEIRD BARBIE And that’s Barbie Barbie, of course... she’s not dead she’s just having an existential crisis. Gloria and Sasha walk over to Barbie Margot who hasn’t gotten very far. She just presses her face to the ground. Gloria turns her over. Barbie Margot hides her face with her hands. Gloria gently moves them away. And there is unadorned Barbie Margot, no makeup, nothing special just her (which WE KNOW is INSANELY BEAUTIFUL, don’t worry.) Barbie Margot totally falls apart weeping. Like a toddler crying. GLORIA What’s wrong? BARBIE MARGOT (between sobs) I’m... not... pretty... any... more... GLORIA What? You’re SO pretty. BARBIE MARGOT (shaking her head) Not “Stereotypical Barbie” pretty... HELEN MIRREN (V.O.) (interrupting) Note to the filmmakers: You should have never cast Margot Robbie if you wanted to make this po",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. WEIRD BARBIE’S WEIRDHOUSE The place is now bustling with Barbies who are back to themselves. It’s alive with chatter and planning. Weird Barbie does a taxi whistle to get their attention. 93. 94.WEIRD BARBIE (to the room) Tomorrow the Kens are going to vote to change the constitution but we have to get there first. SASHA The final stage of our plan: To turn the Kens against each other. Now that they think they have power over you, you make them question whether they have enough power over each other. CLOSE on Barbie Margot. A hand applies make-up to her face. It’s Gloria. BARBIE MARGOT What if this doesn’t work? What if he doesn’t... like me anymore? GLORIA He likes you... BARBIE MARGOT But he was really upset... GLORIA Because he likes you. And deep down he knows you don’t feel the same way. BARBIE MARGOT I still don’t want to hurt him. GLORIA He took your house. He brainwashed your friends. He wants to control the government... BARBIE MARGOT Ok true. Right. (laughs) It’s like I’m a woman already... GLORIA Welcome. BARBIE MARGOT Is this what it’s really like? They share a rueful smile as Gloria finishes. 94. 95.Barbie Margot walks into the room of Barbies. They all smile at her. She’s “Stereotypical Barbie Perfect” again. BARBIE MARGOT I’m ready. Here we go!",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. KEN’S MOJO DOJO CASA HOUSE Barbie rings the bell. Ken Ryan Gosling sees her, pretends he doesn’t, noisily prepares himself, and then fakes being shocked to see her. It’s a lot. KEN RYAN GOSLING Oh... hey. You’ve caught me reading. BARBIE MARGOT Hey. I’ve been thinking. KEN RYAN GOSLING Uh huh. BARBIE MARGOT Ken Land is--KEN RYAN GOSLING Kendom-- BARBIE MARGOT Kendom-KEN RYAN GOSLING Kendom Land-- BARBIE MARGOT Land of--KEN RYAN GOSLING The Free and Men-- BARBIE MARGOT Right. Well, this place-- KEN RYAN GOSLING Uh huh-- BARBIE MARGOT Is really great. I’ve never seen the Barbies so happy-- KEN RYAN GOSLING They’ve done a great job cheering. BARBIE MARGOT Yeah, and the Kens really are better at ruling than the Barbies are-- KEN RYAN GOSLING (like it’s nothing) We just took Patriarchy and made it Patriarchy.95. 96.BARBIE MARGOT (confused but moving along) Right and--KEN RYAN GOSLING Yes? BARBIE MARGOT And... I’m ready to be your long- term-distance-low-commitment-casual girlfriend if you’ll still have me? KEN RYAN GOSLING (clearly into this idea) Um... will you just hold on for one second. Ken Ryan Gosling retreats into his house and out of view. KEN RYAN GOSLING (O.S.) SUBLIME! Returning to Barbie. KEN RYAN GOSLING I don’t know. I’m going to have to think about it. BARBIE MARGOT Please? KEN RYAN GOSLING Fine. Come inside and I can play the guitar at you. BARBIE MARGOT Yay! She hops inside.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. KEN’S MOJO DOJO CASA HOUSE Ken Ryan Gosling plays guitar on the couch while staring at Barbie Margot who listens patiently. KEN RYAN GOSLING (to Barbie Margot) “I want to Push you down, well I will well I will.”",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BARBIE LAND. BEACH. NIGHT 4 Hours Later and he’s still going. Now on the dunes. It’s a beach party with all the Kens and their Barbies. All the Barbies pretend to be brainwashed, and all the Kens play guitar at them. Yes, it’s like 20 guitars. And one drum set.96. 97.KENS (to Barbies) “I want to Push you down, well I will well I will.” BARBIE MARGOT (V.O.) This is the final stage of our plan. Give them their dream come true... GLORIA (V.O.) And at the peak of their happiness, when they think you actually care about this song... SASHA (V.O.) You take it all away. Margot looks across to Barbie Alexandra, who nods - it’s time. Then Barbie Margot looks at her phone and giggles. KEN RYAN GOSLING (immediately insecure) Who... who are you texting? BARBIE MARGOT (feigning innocence) Huh? KEN RYAN GOSLING Who are you texting? Anyone who asks that question twice has already lost all power. BARBIE MARGOT No one. He snatches the phone. KEN RYAN GOSLING (reading) Ken! BARBIE MARGOT Sorry, one sec... We follow Barbie Margot and move throughout the Barbie/Ken couples at the party, all playing their guitars at their Barbies. Barbie Margot approaches Ken Simu who also plays guitar and sings Matchbox 20 at Barbie Alexandra. 97. 98.BARBIE MARGOT That’s a beautiful song you’re playing. Did you write it? KEN SIMU Yes. Want to sit here and watch me do it while staring into your eyes uncomfortably for four and a half minutes? BARBIE MARGOT I’d love to. Ken Ryan Gosling observes this, enraged. He smashes his guitar into the sand but it doesn’t break. And now the other Barbies do similar things, walking across the sand from their Kens to engage with opposing Kens. BARBIE MARGOT (V.O.) You play on their egos and their petty jealousies and you turn them against each other. While they’re fighting, we take back Barbie Land. The Kens look at each other suspiciously. No Ken can be trusted! EXT/",TWIST +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. KEN’S MOJO DOJO CASA HOUSES, CUL-DE-SAC. LATER Ken Ryan Gosling, Ken Kingsley and Ken Ncuti sit on the edges of their houses with their feet dangling. Because the houses are open to the world, they can all see and talk to each other. It’s all very kid-like. KEN NCUTI (from his house) Does the title of long term- distance-low-commitment-casual girlfriend mean NOTHING?! KEN RYAN GOSLING (from his house) This has gone too far! KEN NCUTI What do we do?! KEN KINGSLEY (from his house) We beach every individual one of them OFF!98. 99.KEN RYAN GOSLING No. We go to war! KEN KINGSLEY Against the Barbies? KEN RYAN GOSLING Against the Kens. KEN KINGSLEY But we are the Kens. KEN RYAN GOSLING The other Kens. KEN KINGSLEY Well we should probably call them something else so it doesn’t get confusing. KEN RYAN GOSLING No, we’ll know what we mean. KEN KINGSLEY When we’re on the battlefield and you say, “Ken at four o’clock!” I won’t know if you mean us Kens or the other Kens. KEN RYAN GOSLING Because, my dudes, we attack at 10 o’clock, to take advantage of the morning waves. KEN NCUTI But not so early so we all get to sleep in. KEN RYAN GOSLING Right. KEN KINGSLEY What will we fight with? We have no guns. KEN RYAN GOSLING Tennis racquets and volley balls. KEN NCUTI And slap fights! KEN RYAN GOSLING And beach offs!99. 100.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MOJO DOJO CASA HOUSE. DAWN In his bed, Ken Ryan Gosling is already awake, singing. Then he and the other Kens mink up and walk towards battle, Ryan still singing. Think “The Warriors.” The song continues as...",FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BARBIE LAND. BEACH. DAWN They come in on paddle boats, Ken Ryan Gosling and Ken Kingsley leading the charge, paddling furiously, trying to look dignified in their arm floaties. The other Kens, led by Ken Simu, are waiting on the dunes mounted on hobby-horses. KEN RYAN GOSLING (unhinged screaming) I’ll see you on the Malibu beach! As they rush the beach in their trunks, they’re also hitting volleyballs and making sand castles. Maybe a game of Kadima? KEN KINGSLEY The water is cold! Slo-mo sand being kicked in Ken’s faces.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ROOF OF WEIRD BARBIE’S. MORNING All the Barbies, Barbie Margot, Weird Barbie, Gloria, Sasha, and the rejected Barbies and Kens look over Barbie Land. GLORIA And now they destroy themselves. WEIRD BARBIE Should we go restore our constitution? BARBIE EMMA Good idea.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. BARBIE LAND. BEACH BACK TO THE BEACH. The executives from Mattel in their suits appear amidst the Kens on the beach. MATTEL CEO This is a real hornet’s nest in here.100. 101.Aaron Dinkins is hit in the head with a volleyball. AARON DINKINS Ow! Mattel Executive #1 laughs and then is suddenly and violently shot in the arm in a real Saving Private Ryan way. He crumples on the sand. Everyone looks at each other. MATTEL EXECUTIVE #1 Did I get shot? Are there real weapons here? MATTEL CEO (not convincing) No?,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BARBIE LAND. BEACH. INTERCUT The Kens continue to do “battle” with Ken Ryan Gosling singing his heart out. This transitions into a “dream ballet” in a white space. The Kens dance in an expression of frustrated masculinity, helplessness, and feeling. It culminates in dance-off and Ken Anthem. It’s beautiful, actually. It’s broken by: KEN KINGSLEY KEN! KEN! We’re back on the beach. The Kens hold hands post dream ballet, Ken Ryan Gosling still in the feeling, Ken Kingsley comes running over to him. KEN KINGSLEY KEN! Weren’t we supposed to vote today? KEN RYAN GOSLING What? KEN KINGSLEY To change the constitution?! KEN RYAN GOSLING That’s today, isn’t it?!",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BARBIE SUPREME COURT. BARBIE/KEN LAND. DAY We move through the crowd of enthusiastic Barbies. “The last time I saw you you were brain washed! So were you! 101. 102.You look so much better not in the cheerleader costume! And you without the school girl outfit!” Barbie Issa bangs the gavel, casually and glamorously commanding. BARBIE ISSA OK ladies, let’s do this. All those in favor of letting Barbie Land be Barbie Land, say “Aye!” The Barbies all say “aye” voting to retain the constitution. Sasha grabs her mom’s hand. She has a tear running down her cheek. Barbie Margot smiles. That’s what she wanted to show them.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BARBIE DREAMHOUSE. DAY The Kens, in musical dance pack, approach the cul-de-sac as if they’re riding horses, but they’re just galloping on foot Monty Python style... As they arrive, they look up and down and all around to discover that the Barbies (plus Allan and Sasha and Gloria and the rejected dolls) are now occupying all the houses. The whole aesthetic is now a combination of Mojo Dojo Casa House PLUS Dreamhouse PLUS Weirdhouse. It’s a combo-pack, which is actually the most beautiful of all. KEN RYAN GOSLING (losing his shit) Is it my imagination, or are these Mojo Dojo Casa Houses... dreamier??? The Barbies all step out into the open. BARBIE ISSA (from on high) That’s because they’re Dream Houses, mother*******. She’s censored by a Mattel logo. BARBIE ISSA We’ve re-instated the constitution of Barbie Land the way it was MEANT to be, and returned all the Barbie’s brains and autonomy. All the Barbies cheer!102. 103.BARBIE ISSA And we seriously disinfected the houses. KEN RYAN GOSLING Kens!!! They all slowly, tiredly line themselves up. KEN KINGSLEY Who are we attacking, sir? KEN RYAN GOSLING The-- Ken Ryan Gosling looks at the Barbies, triumphant, but not confrontational. He hesitates. He looks back at the Kens who look exhausted and confused. Suddenly he sees the folly of everything. The other Kens look sheepish, as well. They look like the kids at the end of Lord of The Flies when the ship comes. Ken Ryan Gosling starts crying and runs past Barbie Margot into the Dreamhouse. KEN RYAN GOSLING DON’T LOOK AT ME!!!!! Which makes Allan cry. Barbie Margot goes into the Dreamhouse to comfort him: Ken Ryan Gosling is lying face down on the bed. BARBIE MARGOT (to Ken Ryan Gosling) Hey, are you okay? KEN RYAN GOSLING (snort) Yeah... I’m fine. Totally. BARBIE MARGOT It’s OK if you’re crying. I cried too. It’s kind of amazing. KEN RYAN GOSLING (sobbing) I know. I’m a liberated man. I know crying isn’t weak. BARBIE MARGOT Do you want to sit up for a minute?103. 104.He does. KEN RYAN GOSLING (still crying) It was hard running stuff. I didn’t love it. BARBIE MARGOT I get it. KEN RYAN GOSLING (crying harder) And those mini-fridges are so small! You can only fit like a six- pack in them, and the freezers are basically USELESS. And, to be honest, once I found out patriarchy isn’t about horses, I kind of lost interest anyway... He heaves and ugly cries, snot dripping from his nose. Barbie Margot tries to comfort him but kind of realizes she should just let this finish on its own. BARBIE MARGOT That’s OK! KEN RYAN GOSLING I always thought this would be our house. BARBIE MARGOT Oh... Ken. (gently) I think I owe you an apology. I’m sorry I took you for granted. Not every night had to be girl’s night. Ken wipes his tears, nods a thank you. We see that Ken is reflected in Barbie’s eye - Ken sees it too. He leans in for a kiss. She backs away. BARBIE MARGOT No, I didn’t mean to suggest-- KEN RYAN GOSLING (standing up) I don’t know who I am without you! BARBIE MARGOT You’re Ken.104. 105.KEN RYAN GOSLING But it’s Barbie AND Ken. There is no just Ken. That’s why I was created - I only exist within the warmth of your gaze. Without you I’m just some blonde guy who can’t do flips. Ken Ryan Gosling runs to the edge of the house, dramatically. BARBIE MARGOT Maybe it’s time for you to discover who Ken is. Ken leans in AGAIN for the kiss. BARBIE MARGOT No-- That’s not what I’m--KEN RYAN GOSLING OK, I think I got it. Ken is bursting with feeling, leaning over a few more times to try to kiss her even though he knows that’s not the solution. He just tries to accept it. He looks crazy. KEN RYAN GOSLING I feel so stupid. I look SO stupid. I LOOK SO STUPID!!!! ALL THE KENS DOWN BELOW NO! YOU LOOK SO COOL!! BARBIE MARGOT Ken, you have to figure out who you are without me. You’re not your girlfriend, you’re not your house, you’re not your mink. KEN RYAN GOSLING Beach? BARBIE MARGOT No, not even beach. Maybe all the things you thought made you you aren’t... really you. Maybe it’s Barbie AND... it’s Ken. KEN RYAN GOSLING Ken... is me? BARBIE MARGOT YES! KEN RYAN GOSLING Ken is me!105. 106.BARBIE MARGOT (quietly, to herself) And I’m Barbie... KEN RYAN GOSLING KEN IS ME! The Kens call out from below. KEN KINGSLEY And ME! KEN SIMU And ME! Ken Ryan Gosling clutches his mink in his arms as he looks down to Ken Kingsley. And then he tosses it dramatically into the air. KEN RYAN GOSLING I want you to have it. Ken Kingsley dons the faux mink coat. He turns to the crowd: KEN KINGSLEY (with all the gravitas) We were only fighting because we didn’t know who we were. Ken Ryan Gosling goes down the slide KEN RYAN GOSLING Ken is me!!!! Suddenly, there is clapping. And weeping. The Mattel CEO exits the treehouse. He is somehow clapping and weeping the hardest. MATTEL CEO (weeping) Ken is RIGHT. It is SO HARD to be a leader. He sees Midge standing next to him, screams. MATTEL CEO AHHHH!!!! Midge. God. I thought we discontinued her. (recovering) Do you know how many times I’ve just wanted to stand up in a board meeting and say, “Let’s just tickle each other!” Let’s have a company retreat and just tickle each other!106. 107.The Mattel execs all join in and tickle their CEO, who is giggling like a little kid. Aaron Dinkins’ tickle turning into a hug: MATTEL CEO NO NO NO don’t hug me! (moving on...) But thanks to the Barbies I too can relieve myself of this heavy existential burden while holding onto the very real title of CEO and we can restore everything in Barbie Land to exactly the way it was. BARBIE ISSA But, Mr. Mattel--MATTEL CEO Please call me Mother. BARBIE ISSA No thank you. (stepping forward) I don’t think it should go back to just the way it was. (looking to Weird Barbie) No Barbie or Ken should be living in the shadows. ALLAN Or Allan. Nobody notices he says this. President Barbie approaches Weird Barbie: BARBIE ISSA I’m sorry we called you Weird Barbie behind your back and also to your face. WEIRD BARBIE That’s OK, I’m owning it now. BARBIE ISSA Would you like a job in my cabinet? WEIRD BARBIE May I please have sanitation? BARBIE ISSA It’s yours. A gaggle of Kens approach, excited. KEN KINGSLEY Madame President, please could the Kens get one Supreme Court justice?107. 108.BARBIE ISSA Whoa whoa, I can’t do that. But maybe a lower circuit court judgeship-- KEN SIMU We accept! As long as we can wear robes. HELEN MIRREN (V.O) Well the Kens have to start somewhere. And one day the Kens will have as much power and influence in Barbie Land as women have in the real world. Sasha pokes at Gloria, prompting her. GLORIA (role reversal to her daughter) Okay, stop! I’ll do it! STOP! (to the group, brave voice) I’ve got an idea. MATTEL CEO (to Gloria, making weird eye contact) Tell me your secret dream child. GLORIA (interrupting) What about, “Ordinary Barbie.” (brainstorming, excited) She’s not extraordinary! She just has a flattering top and wants to get through the day! Because it’s OK to just want to be a mom or to want to be president or a mom who is president or not a mom who is also not president. The Mattel CEO looks at Mattel Executive #1 who quickly runs the numbers on an iPad. MATTEL CEO That’s a terrible idea. MATTEL EXECUTIVE #1 Yeah that’s going to make money. MATTEL CEO Oh! “Ordinary Barbie.” I love it.108. 109.MATTEL CEO Ok! We’re good, everyone good? (to the everyone) Let’s now do the work to restore the portal between our worlds. Everyone cheers. Sasha finds Barbie Margot in the crowd. Barbie Margot claps, and looks happy, but something is missing too. SASHA Hey wait, what about Barbie? MATTEL CEO What do you mean? The Barbies nod. BARBIES/KENS Yeah, what about Barbie?!/What’s her ending? SASHA What does she get? MATTEL CEO (that’s easy) Oh, that’s easy! She’s in love with Ken. SASHA That’s not her ending! BARBIE MARGOT I’m not in love with Ken. MATTEL CEO (flustered) Well what do you want? BARBIE MARGOT (tears up) I, I don’t know... I’m not really sure where I belong anymore. I don’t think I have an ending. A VOICE ON THE WIND That was always the po",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int. I created you so you wouldn’t have an ending. Coming toward her on the road, backlit by the sun, is a small, well dressed woman holding a hand bag.109. 110.BARBIE MARGOT (quietly) It’s you. It’s Ruth, the woman from the 50’s kitchen in the Mattel offices. Barbie Margot meets her half-way: BARBIE MARGOT You’re Ruth, from Mattel. Then Ruth goes from being some ethereal God-like figure to a comedian, angelic act dropped. RUTH Baby I am Mattel, until the IRS got to me, which is another movie. I Remington Steeled it for a while with my husband, but I’m the brains of the operation. BARBIE MARGOT So you’re...? RUTH (little bow) Ruth Handler, inventor of Barbie. MATTEL CEO (stage whisper) Her ghost keeps an office on the 17th floor. Whispers and looks amongst the Barbies and Kens. RUTH What? You think the lady who invented Barbie looked like Barbie? Ha! I’m a five foot nothing Grandma with a double mastectomy and tax evasion issues. Nobody looks like Barbie. Except, of course, Barbie. Take a bow, honey. BARBIE MARGOT I don’t feel like Barbie though, not anymore. Ruth gestures to Barbie Margot. RUTH Walk with me. 110. (MORE)111.Barbie takes Ruth’s hand. They head down the road. The cul-de- sac of Barbies and Kens and Mattel all do a slow theater wave goodbye. Ken Ryan waves, heartfelt: KEN RYAN GOSLING Thank you, Barbie. Thank you.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ORIGIN SPACE A vast empty space, almost like reflecting sand on a beach, softly illuminated by different, changing colors. RUTH Tell me your troubles. BARBIE MARGOT Is this therapy? RUTH No, you’re talking to a ghost from the 1950s! BARBIE MARGOT Well, I don’t know what I’m supposed to do... I’ve always just been Stereotypical Barbie, I don’t think I’m good at anything else. RUTH You saved Barbie Land from patriarchy. BARBIE MARGOT That was very much a group effort. RUTH And you helped that Mother and Daughter connect. BARBIE MARGOT They really helped each other. RUTH Maybe you’re Self-Effacing Barbie? BARBIE MARGOT Maybe I’m not Barbie anymore. Barbie Margot says this before she realized that she’d said it and then immediately realizes it’s true. RUTH You understand that humans only have one ending. (MORE)111. RUTH (CONT’D) (MORE)112.Ideas live forever, humans, not so much. You know that right? BARBIE MARGOT I do. RUTH Being a human can be pretty uncomfortable. BARBIE MARGOT I know. RUTH I mean humans make things up like patriarchy and Barbie just to deal with how uncomfortable it is. BARBIE MARGOT I understand. RUTH And then you die. BARBIE MARGOT (nodding) I want... I want to be part of the people that make meaning, not the thing that’s made. I want to be the one imagining, not the idea itself. Does that make sense? RUTH (chuckling) I always knew that Barbie would surprise me, but I never expected this. BARBIE MARGOT Do you give me permission? To become human? RUTH You don’t need my permission. BARBIE MARGOT But you’re The Creator. You control me. RUTH Ha! I can’t control you any more than I could control my own daughter! I named you after her - Barbara. RUTH (CONT’D) (MORE)112. RUTH (CONT’D)113.And I always hoped for you like I hoped for her. We mothers stand still so our daughters can look back to see how far they’ve come. BARBIE MARGOT (figuring it out) So being human isn’t something I need to ask for or even want, it’s something I discover I am...? RUTH I can’t, in good conscience, let you take that leap without knowing what it means. Take my hands. She does. RUTH Now close your eyes. She does. RUTH Now... FEEL. We see details of Barbie Margot, her eye, her forearm, her pulse. Life. And she feels and sees what a human life is. The joy and pain of being mortal. All that she will lose and gain. We see FLASHES of life lived, unadorned home footage of many women’s lives - happiness, sadness, big moments, little moments, childhood, adulthood, old age, how it all rushes by in one moment, each life drifting into the next somehow capturing the current that runs through all things. BACK TO BARBIE: Tears roll down Barbie Margot’s face. She opens her eyes and says one thing: BARBIE MARGOT YES.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. REAL WORLD. LOS ANGELES. DAY We BOOM down to the streets of LA. HELEN MIRREN (V.O.) So Barbie left behind the pastels and plastic of Barbie Land for the pastels and plastic of Los Angeles.RUTH (CONT’D)113. 114.Gloria pulls up to the curb. Nerdy Well Meaning Dad rides shotgun, Sasha and Barbie Margot in the backseat. BARBIE MARGOT (excited, anxious) Well, thanks for the lift. GLORIA You’ve got this.SASHA I’m so proud of you. NERDY WELL MEANING DAD Estoy muy orgullosa de ti. BARBIE MARGOT Thank you, you guys are the best. Ok, lets do this. NERDY WELL MEANING DAD Sí se puede! GLORIA That’s a political statement. SASHA That’s appropriation, Dad! They all cheer her on as she walks from the car into a big building. We see that she’s wearing Birkenstocks - PINK, of course, but still, Birks.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. OFFICE. CONTINUOUS. Nervous, happy, she finds the right door, and walks up to a reception desk. To the woman behind the glass: BARBIE MARGOT Hi... RECEPTIONIST Name? BARBIE MARGOT Oh, um, Handler comma Barbara. RECEPTIONIST And what are you here for today, Barbara? And then she says, with so much pride, so much anticipation, so much meaning, so much deep joy: BARBIE MARGOT I’m here to see my gynecologist. 114. 115.CUT TO BLACK BEFORE ANYONE CAN EVEN PROCESS THAT SENTENCE. The End.115.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. UPSCALE MODERN HOME - NIGHT The ultimate bachelor pad. A Porsche is parked in front of it. ANNIE (O.S.) I’m so glad you called. TED (O.S.) I’m so glad you were free. ANNIE (O.S.) I love your eyes. TED (O.S.) Cup my balls. ANNIE (O.S.) Ok, yes, alright, I can do that. TED (O.S.) Oh, there it is!",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BEDROOM - CONTINUOUS ANNIE WALKER, mid 30's, is having sweaty sex with TED, handsome, 40. In a series of close-ups and jump cuts, we see Annie in the middle of a very long, vigorous session. ANNIE Oh, that feels good. TED You know what to do! ANNIE I’m so glad I got to see you again. JUMP CUT to see she’s now bouncing on top of him. ANNIE (CONT’D) Oh yes! (then, looking concerned) Uh, okay, wait, hold on. You and I are on different rhythms I think. TED I want to go fast!Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library ANNIE Oh, Okay. Sure-- He bounces Annie SUPER FAST.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CLEAN, UPSCALE MODERN BATHROOM - MORNING Annie stands in front of a mirror in nice lingerie. She puts on lotion, make-up, brushes her hair, mascara, etc. She getting ready to... Creep back into the bed, where Ted is still sleeping. She gets in and begins to position herself to show her good parts. Coughs and nudges Ted to wake him up. Annie quickly pretends she’s still asleep. He taps her. ANNIE (gasps/ pretending) Oh! I was having a nightmare, I was so scared. Good Morning. TED Good morning. You look beautiful. ANNIE (acting embarrassed) What? No. I’m sure I look terrible. I just woke up. I’m sure I’m a mess. TED You slept over. ANNIE I did. TED I thought we had a rule against that. ANNIE ...oh. TED I’m kidding. ANNIE Oh, that’s funny. You’re funny in the morning. TED I like hanging out with you. 2.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library ANNIE I love hanging out with you. I think we get along really well. And you’re so sexy... TED I know. Look, I just have a lot coming up at work. And I don’t want to make promises I can’t keep. ANNIE We’re on the same page. I’m not looking for a relationship right now either, let’s just say that. Whatever you want, I can do. I like “simple”, I’m not like the other girls who would be like “be my boyfriend!” Unless you were like, “yeah!”, then I’d be like “maybe”. They hug tightly and he kisses her deeply. Then he lets her go. Stares at her... TED Wow, this is awkward. I really want you to leave but I don’t know how to say it without sounding like a dick. ANNIE (speechless) Oh. Annie stares. Awkward moment leading into ...",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. UPSCALE MODERN HOME DRIVEWAY- MORNING Annie does the walk of shame out of the house. She attempts to exit through the driveway gate but it won’t open. Tries to pull it open to fit through the crack but can’t. She sighs, then starts to climb over the gate. As she’s straddling the top, it starts to OPEN. The HOUSEKEEPER in her car with her clicker. Annie WAVES to her from the top of the opening gate. Mortified. Annie jumps down and runs to her car. A old neighbor getting his paper, stares at this sad spectacle. His dog stares too. 3.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PARK - DAY A BOOT-CAMP workout session is going on, men and women are painfully following along. The instructor is yelling angrily at the class. WAY IN THE BACKGROUND we see two women peaking out from behind a tree. It is Annie and her best friend, LILLIAN, mid 30’s. They are taking his class without him knowing. LILLIAN He scares me. ANNIE Me too. LILLIAN But he’s an excellent motivator. ANNIE That’s true. Oh shit, he sees us. From the distance we hear the BOOT CAMP INSTRUCTOR yelling. BOOT CAMP INSTRUCTOR Hey! If you want to take this class, you’re going to have to pay for it like the rest of these bitches! Caught, Annie and Lillian pretend to randomly dance. BOOT CAMP INSTRUCTOR (CONT’D) Oh, dancing? In the park?! You are not dancing in the park. Freeloaders! I’m comin’ over there. The women run off. Lillian yells back. LILLIAN Sorry, Rodney, we’re on a budget!",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JONI’S RESTAURANT - DAY Annie and Lillian continue laughing, as they sit in their workout clothes, casually picking food off each other’s plates as they talk. ANNIE I’m so glad we got to do this, I feel like I haven’t seen you in forever. 4.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library LILLIAN I know, I’ve been in Chicago a lot. ANNIE I know, sleeping at Dougie’s house. LILLIAN It’s just closer to work. ANNIE How’s it going with him anyway? LILLIAN I don’t know. It’s fine, but I feel like he’s been a bit distant lately. He calls me “dude” a lot. ANNIE That doesn’t mean anything. I think everything’s fine. LILLIAN I don’t know. Anyway, what did you do last night? ANNIE Umm... LILLIAN What did you do last night? You are not telling me something. ANNIE I hung out with Ted for a little bit. LILLIAN I knew it! ANNIE We had fun. It was fun. LILLIAN Here’s what I don’t like about it. You hate yourself after you see him, every time. And then we go through this and you feel like shit, and it’s almost like you’re doing it because you feel bad about yourself.5.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library ANNIE He called me late and we hung out. It wasn’t a big deal. And it was fun. LILLIAN Ew, you had sex with him. ANNIE We had...an adult sleep over. LILLIAN Oh, did you let him sleep over IN YOUR MOUTH? ...Annie! ANNIE I’m sorry. He kept putting it near my face. LILLIAN They do that. ANNIE Let us offer. If we don’t offer-- LILLIAN You’re supposed to slap it away. ANNIE I couldn’t! You don’t want to look right at it. It’s too aggressive. It’s like... Annie imitates a penis. ANNIE (CONT’D) That’s my impression. Annie sticks out her elbows. LILLIAN Those are the balls? ANNIE I’m trying to make it round, but I can’t cause I have elbows. He’s so hot though! LILLIAN Look, I know you say heâ��™s cute and all that stuff, but it makes you feel like shit. You’re a total catch and any guy would be psyched to be your man. 6. (MORE)Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library You should just make room for somebody who is nice to you. ANNIE You know what, he’s honest. He told me we are what we are, and we’re just having fun. And I like that! LILLIAN He also told you you need dental work. He’s an asshole! Annie has food covering a tooth. ANNIE I don’t need dental work. LILLIAN You’re right. ANNIE There’s nothing wrong with my teeth. Lillian has food on her teeth too. LILLIAN You’re so beautiful. Will you marry me? ANNIE Yes. LILLIAN I love you. ANNIE I love you.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MILWAUKEE STREET - DAY Annie and Lillian are walking in downtown Milwaukee. LILLIAN I don’t want to go to work today! Lillian fishes in her purse for her phone and checks it. LILLIAN (CONT’D) Let’s see how many times Teri has called me. Oh, only 15. Ya know what Teri? I don’t want to pick up your monkey lamps. Sorry. 7. LILLIAN (CONT'D)Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library ANNIE Monkey lamps? LILLIAN I cannot wait to never work for a psychopath again. Lillian notices Annie has stopped to stare at a CLOSED DOWN BAKERY across the street. It's cool and unique, like the CBGB's of baked goods. Some of the letters have been removed, but we can see that it used to say “Cake Baby.” Between the two words is a cool drawing of 1950’s RETRO PIN-UP style woman with a cake tucked under her arm. LILLIAN (CONT’D) I’m sorry. I should have gone down Mason. ANNIE Well, I’m the genius that opened up a bakery during a recession. LILLIAN They were good cakes Annie. ANNIE Thank you. LILLIAN Come on. Look away, look away.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CHOLODECKI’S JEWELRY STORE - DAY A family owned, outdated jewelry store in downtown Milwaukee. Annie stands at a counter talking to an excited ASIAN COUPLE. ANNIE Do you have any ideas of what style? ASIAN WIFE Oh, I don't know, what do you think honey? ASIAN HUSBAND Whatever you want. ANNIE Look at how you guys are making this decision together, that’s sweet. You guys love each other huh? Oh that’s sweet. That will go away.8.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library ANGLE ON: Annie's boss, DON, is glaring at her from his desk, horrified. ANNIE (CONT’D) You can not trust anybody. Ever. Especially someone you’re in a relationship with, you know? Cause they’re living with ya. You don’t know who you’re sleeping next to. It is scary. I mean look at him, he might not even be Asian. It’s scary. So, did you guys want to look at these engagement rings? ASIAN HUSBAND We’re gonna browse. The couple turn and leave. DON What was that about? ANNIE (searching) Nothing. They had to run. They had to go somewhere. DON No wonder. You’re selling life long happiness. You’re not telling everyone your problems and how your boyfriend left you and maybe marriage will work out. Annie, when you’re selling an engagement ring, you have to represent lifelong happiness. Show me your “love-is-eternal” face. Annie tries to make a pleasant face. DON (CONT’D) No, that’s two years. Four years, tops. That’s not eternal. Kahlua, come over here please. KAHLUA, a very pretty African-American woman, walks over. KAHLUA Sup, Don-Don? DON You’re so good at nicknames. You don’t need a nickname because Kahlua is so delicious. 9. (MORE)Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Don’t sue me for touching you. Show Annie your love-is-eternal face. Kahlua beams in a sensual, ridiculous way. Don turns to Annie, who is trying to mimic Kahlua’s face. DON (CONT’D) (to Annie) That looks like you have menstrual cramps. Thank you so much, Kahlua. Kahlua smiles and leaves. DON (CONT’D) Why can’t you be more like Kahlua? ANNIE I’m trying really hard here. DON You’ve just got to try harder. (stepping closer to Annie) The whole reason you got this job was because your mom was my sponsor in AA and I’m doing her a favor. ANNIE I understand. In the background, a SECURITY GUARD is lounging against the displays behind the counter. Don turns to the guard before leaving to a back office. DON Oscar, get back to work. ANNIE (to Oscar) You shouldn’t be behind the counter.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ANNIE’S APARTMENT - DUSK Annie walks into her crappy two bedroom apartment. A woman in her 20’s, BRYNN, sits on the couch, watching TV. ANNIE Hey, Brynn. BRYNN Oh hey roomie. Guess what happened to me today? I got a free tattoo. 10. DON (CONT'D)Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library ANNIE You did what? BRYNN I couldn’t believe it. The guy said, ‘do you want a tattoo?’ ANNIE Just a random guy? BRYNN Yeah, he opened up the side of his van and said ‘it’s fo’ free!’ And I said, ‘sure.’ ANNIE You said yes? BRYNN Yeah! Look. Brynn stands and lifts her shirt and pulls half of her pants down to reveal an enormous tattoo of a giant Mexican worm that extends from her stomach around to her lower back. The back half is completely infected and scabbed, with disgusting discharge leaking out. ANNIE Oh god, Brynn, it looks awful. BRYNN It’s a Mexican drinking worm. It’s like a Native American symbol meaning ‘wasted.’ GIL enters from the bedroom smiling. He’s wearing a short- sleeved dress shirt and tie. GIL (uncomfortably nice) Annie! ANNIE Hi! Have you seen your sister’s tattoo? It’s really infected. GIL Maybe we’ll get a bit of ice on it. ANNIE Yeah, maybe get some frozen peas on there.11.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library GIL Sure, can’t hurt. Brynn moves to the kitchen to get ice. GIL (CONT’D) Um, just wanted a quick word. You know that tomorrow the rent is due? I was getting my check and I wondered if I could get your check too? ANNIE Yes, I’m getting the money. Its been a little... Behind Gil, Brynn has taken a bag of frozen peas out of the freezer and openly pours them down her back. They clatter onto the ground, going everywhere. ANNIE (CONT’D) (to Brynn) You’re supposed to keep them in the bag, put the bag on it. Brynn gives her a thumbs up and goes back into the freezer. GIL So, the check? ANNIE Yes.. GIL Because it’s kind of like, needing-it-today type sort of situation. Annie stares at the smiling Gil. She doesn’t have the check. ANNIE Yes. Ok. It’s coming. Annie escapes to her room. Gil turns and sees Brynn. He smiles warmly and chuckles. CUT TO:",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LILLIAN’S APARTMENT - NIGHT DING DONG. An excited Lillian opens the door to reveal Annie, posing with bottles of wine and a stack of magazines.12.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library ANNIE Hurry up, let me in. Your creepy neighbor invited me in to his place to watch the news again. LILLIAN Ew. Let me help you with those. Come in, let me take your magazines. Welcome to the magazine and wine party!! Lillian excitedly takes the wine. Annie walks in confused by this. Lillian is practically skipping. LILLIAN (CONT’D) Have a seat. I’m very happy you’re here, because I want to eat an apple. Would you like some apple? Lillian splays her hand, showing off a sparkling DIAMOND ENGAGEMENT RING. ANNIE (seeing ring) Lillian... what is that? LILLIAN I got engaged. ANNIE What? WHAT?! LILLIAN He asked me last night! That’s why he’s been acting so weird. I guess he’s been planning it for like two months and he’s not a good liar and so if he felt like he was gonna blow it, he would just stay away from me. ANNIE (in shock) Oh my god. Lillian... LILLIAN I know. I’m shocked, but I’m happy. ANNIE Oh my god. Oh my god, I just got hot. LILLIAN Are you OK?13.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library ANNIE My pits are sweating. My stomach hurts. I don’t know, I’m hot. Oh my god. Ah! What is happening?! LILLIAN I cant believe it. ANNIE Lill, you’re getting married. Annie hugs Lillian tightly. Lillian hugs her back but it’s a decidedly awkward moment as Annie hugs her way too long and hard, like Lillian’s going off to war. They finally separate. LILLIAN So you’ll be my Maid of Honor... ANNIE Oh god, of course I will. LILLIAN We’ll have so much fun. We can plan everything together. ANNIE ...planning a wedding. LILLIAN Are you sure you’re up for it? I know it’s a lot to ask and put on on your plate. You’re going through a tricky time, it’s a lot to ask... ANNIE Stop. It’s fine and I’m more than happy to do it. It’s not too much. Lillian’s cell phone rings. She smiles. LILLIAN (goofing) Can you hold that thought? It’s my fiancee calling. (they both laugh) Hey, honey! Yeah, yeah. ANNIE (into the phone) Yay!!14.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library LILLIAN I just told Annie. Yeah, she’s excited! Yeah, um, let me check. (then) Annie, hold on, I’ll be right back. I know baby, I miss you too. Lillian makes a goofy face at Annie and they both laugh joyously as Lillian runs out of the room. Annie is left laughing too hard by herself, freaking out inside.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. ANNIE’S APARTMENT - NIGHT Annie lays in bed looking at a photo of her and Lillian as kids.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. WALKER HOUSE - DAY Close-up of JUDY, Annie’s mom, putting the finishing touches on a painting of Wynonna Judd. ANNIE Wow. JUDY It’s Wynonna Judd. Painting those giant bangs was a royal pain in my can. And the teeth nearly killed me. I should have painted her mouth shut. ANNIE Mom, you should hurry up. We’re gonna be late for the engagement party. JUDY Oh. I forgot to tell you, I signed up to speak at AA tonight. I have to go, I forgot. ANNIE Mom! I keep telling you, you’re not supposed to go to those things. You’re not an alcoholic. JUDY Only cause I’ve never had a drink! But they are inspiring. There is this one amazing story I have to tell you. 15. (MORE)Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library This gentleman who started blow jobbing to get crack. His name is Marvin Johnson. ANNIE It’s supposed to be anonymous. JUDY OK, Marvin J., whatever. He turned into a gay prostitute and he realized he hit his bottom. Maybe this is your bottom. But I’m telling you, hitting bottom is good. Cause it’s only up from there. Positive message. ANNIE Thanks for the pep talk Mom. JUDY Oh honey, anytime. ANNIE Well, I guess I’m going to Lill’s party all by myself. JUDY Oh honey, don’t talk to me about being by yourself. I go everywhere by myself. Thanks to that new whore Barb. ANNIE Mom, come on. They’ve been married twelve years. JUDY Ok, but she’s still a whore. I’m sure she greets him in the evening beaver first. ANNIE I don’t want to think about that. JUDY Are you sure you don’t want to move in with me? ANNIE Thanks mom but no way. No way in hell.16. JUDY (CONT'D)Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library JUDY Think about it. You don’t need your own place. ANNIE I kind of do. Alright, I’m gonna go.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. THE HUNT CLUB - CHICAGO SUBURB - DAY Annie pulls up a tree-lined driveway of a BEAUTIFUL COUNTRY CLUB. People entering in fancy clothes getting out of luxury cars. Annie, surprised at how extravagant it all is. She hands her keys to the valet, self-conscious about her car. ANNIE Sorry, it needs a wash. The valet can’t get it started. ANNIE (CONT’D) You have to punch it a few times.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HUNT CLUB - DAY Annie’s eyes go wide as she walks into the elegant dining room. FANCY. A lively cocktail party’s underway. Live music. Happy upper-class people, dressed expensively. Annie smooths her dress, self-conscious, then sees Lillian. LILLIAN Annie! ANNIE Oh my gosh Lillian, this is your engagement party. LILLIAN Isn’t that crazy? ANNIE It’s so beautiful. I can’t believe Dougie’s boss is a member here. LILLIAN I know, and his parents too. And Dougie I guess. Oh gosh, and me I guess too now. C’mon, let’s go say hi to the rest of the bridal party. They head over to RITA, 30’s, a voluptuous, tired housewife.17.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library LILLIAN (CONT’D) Do you remember my cousin Rita? ANNIE Rita! RITA Annie! I haven’t seen you since you graduated high school. LILLIAN She has three kids now. RITA Three boys. ANNIE So cute. RITA They are cute, but when they reach that age they’re disgusting. They smell, they’re sticky, they say things that are horrible and there is semen all over everything. They’re disgusting. I cracked a blanket in half. Do you get where I’m going with that? ANNIE I do, yeah. RITA I cracked it in half. BY THE PATIO BAR LILLIAN Annie, this is Becca. The one from work. We’re in the trenches together. BECCA, 30, cute and perky. She stands very close to her husband KEVIN. BECCA Hi, Annie! This is my husband Kevin. I love saying that. We’re newlyweds. ANNIE Congratulations.18.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library BECCA Thank you. We went on a sweetheart honeymoon. ANNIE Where’d you guys go? BECCA AND KEVIN Disneyworld. BECCA We finish each others sentences. They do a dumb, lovey gesture. BECCA (CONT’D) So, is this your husband? Annie looks confused, then turns to see a BALD MAN with a neck brace, late 40’s, standing behind her. He looks like a strict math teacher. ANNIE No, I don’t know him, I’m sorry. BALD MAN Do you want to go for a walk later? ANNIE I can’t, sorry. BECCA I’m so sorry. ANNIE I’m not with anybody. I’m solo. BECCA I’m so sorry! Let’s start it again. KEVIN Rewind! BECCA I’m Becca. This is my husband. You don’t have a husband. Sorry. BY THE BANDSTANDAnnie and Lillian stand with MEGAN, 30’s, tomboyish, looking a bit odd in her floral dress.19.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library LILLIAN And this is Dougie's sister Megan. (sees something) Oh, wait, my grandma’s not supposed to have wine. I’ll be right back. Lillian rushes off. ANNIE How’s it going? MEGAN It’s going great. I'm on the mend. Just got pins in my legs. Believe it or not, I fell off a cruise ship. ANNIE Oh shit! MEGAN Yeah, ‘oh shit.’ Took a hard, violent fall. Kind of pin-balled down, hit a lot of railings, broke a lot of shit. I’m not gonna say I survived, I’m gonna say I thrived. I met a dolphin down there. I swear to god that dolphin looked not at me, but into my soul, into my goddamn soul Annie, and said ‘I’m saving you Megan.’ Not with his mouth, but he said it...I’m assuming telepathically. We had a connection that I don’t even know if I can-- (sees something behind Annie) Oh man, what an asshole I am. Where’s my manners? You must be Annie’s husband. I’m Megan. Annie looks and sees a very smart looking African-American MAN in his 60’s who is wearing an ascot and smoking a pipe standing next to her. Megan holds her hand out to shake his. ANNIE No, Megan, I’m not with him. MEGAN (excited) Alright, I’m glad he’s single ‘cause I’m gonna climb that like a tree. 20.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Lillian re-appears, grabs Annie and pulls her away. LILLIAN Okay, now I have to introduce you to Helen. (looking around) There she is. Helen! C’mere. In slow motion, like a goddess, the gorgeous HELEN turns and looks right at Annie. Smiling. She’s BEAUTIFUL. She walks toward them, wearing a much-too-fancy, floor-length GOWN. Everything about her is perfect. Annie swallows, straightens her plastic beads. LILLIAN (CONT’D) Helen, this is Annie. HELEN Maid of honor! There she is! It’s so lovely to meet Lillian’s childhood friend! ANNIE You’re so pretty. HELEN You’re so cute! Oh, you’re so sweet. LILLIAN Helen is married to Dougie’s boss. Mr. Harris. Perry. HELEN And they’re so close now they’re literally joined at the hip. Which is good, because so are we. Helen hugs Lillian. Lillian hugs her back tightly. Annie seems thrown by their intimacy. LILLIAN I’m so glad you guys are finally meeting. ANNIE I know, me too. HELEN Oh, if you’ll excuse me I’d better go check on the (in perfect French) hors d’oeuvres. So great meeting you, Annie!21.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library ANNIE It’s a great party. Helen turns and glides off into the crowd, a vision. Annie watches after her, stunned. LILLIAN She’s great isn’t she? ANNIE She’s awesome.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CLUB - LATER - NIGHT Lillian’s father, ED, finishes a speech. ED ... and I really do look forward to having Doug as part of the family. So much that I think you two should just get married now. Save me a shitload of money. (everyone LAUGHS) People always laugh when I say that but I’m not joking. Anyway, thanks to all of you for coming. Here’s to Doug and Lillian. (everyone toasts) All right, enough of me. Maid of honor, you’re up. Annie. Everyone claps, some whistles, as Annie nervously takes the mic from Ed, who sits down. ANNIE Um, hi everyone. I’m Annie Walker. LILLIAN Yay, Annie! ANNIE (laughs) I actually don’t want to go on with a long speech, so I’ll just say this. I’m so happy to be a part of this celebration. You two deserve each other as well as a lifetime of happiness. So, cheers! She raises her glass, people clap. Helen stands clapping and takes the mic from her. Annie looks a bit surprised. Helen gives her a smile motioning Annie to sit. 22.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library HELEN Thanks Annie, that was so sweet. Lill, remember when the four of us spent that weekend in Miami, and the boys ended up working the whole time? You and I sat by the pool the whole time, drinking wine and eating that peanut brittle. (laughs) We got such a tummy ache! I will never forget all that we shared on that trip. I told you things I’ve never told anyone before. You made me realize I can trust people again. So let me just say, Lillian, you are my best friend. Annie's mouth drops. People, including Lillian, are moved, sniffling. Helen wipes away a tear. HELEN (CONT’D) (composing herself) And I’m so proud of you. Now, ‘Dougly’, sorry inside joke, you’d better not keep my Lill on a leash. I still need my drunken Saturday nights at Rockin’ Sushi! Helen winks. People applaud and LAUGH. She gets emotional again. HELEN (CONT’D) Everybody, raise your glasses to the couple of the decade: DOUG AND LILLIAN! Have a great night, dessert wine is out. Everyone “Ahh’s” and claps a little bit LOUDER. Without thinking, Annie stands up and takes the mic from Helen. ANNIE I just wanted to say really quick that you’re SO special to me. One of the reasons is because I’ve known you my entire life and you’ve really helped shape who I am. I just want to thank you for carefully selecting me as your Maid of Honor. I know you had some other choices. You’re like my sister and I love you. Well, that concludes the speeches for the night.23.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Annie sits down, keeping the mic. Helen reappears with her own WIRELESS MIC. HELEN Thank you, one last thing. It’s rare to meet an adult you really connect with. That’s you Lill. I went to Thailand recently with my husband Perry and there was a beautiful saying that I learned there. So, let me say ... (speaks in Thai) It means, “You are a part of me, a part that I could never live without. And I hope and I pray that I never have to.” (bowing) Kap-hoon-kow. The crowd quiets. Annie looks around the room and sees everyone is in awe. HELEN (CONT’D) That’s it for tonight. Thank you all for coming, dessert wine is out. Consuelo? People are crying and hugging. Annie pops back up. ANNIE Speaking of Consuelo, Lillian and I took Spanish together in school. And so I want to say to you and to everyone here...gracias para vivar en la casa. En la escuelas and el azul marcada. Tienes con vivir en las...forstuatsa, and gracias. Helen instantly appears again with her mic. HELEN I feel so close to you and can trust you. You’re my angel and soulmate. I feel I can communicate with you with simply a look. Helen “looks” at Lillian. HELEN (CONT’D) Thank you for coming. Helen has concluded the speeches, but Annie’s back.24.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library ANNIE Lillian... She stares at Lillian for a long, awkward beat. ANNIE (CONT’D) (suddenly singing) “Keep smilin’. Keep shinin’. Knowin’ you can always count on me, for sure, that’s what friends are for. Helen steps forward with her now louder mic and in a very loud R & B voice sings with Annie. HELEN AND ANNIE “In good times, in bad times, I’ll be on your side for ever mooooore. That’s what friends are fooor!!!”",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HUNT CLUB - NIGHT Annie is waiting for her car with Lillian. LILLIAN (sarcastic) Engagement parties rule. Made me feel awesome, like I could go out and catch another dude to marry. ANNIE So what’s up with her anyway? Helen. LILLIAN What? ANNIE She’s in your wedding and you’ve only know her eight months, right? LILLIAN Come on, get it out. Get it all out. ANNIE The whole...gown thing. It’s just weird, right? Annie laughs. Lillian smiles and shrugs. 25.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library LILLIAN You know what, she’s actually really cool Annie. She’s a good one, I’m telling you. ANNIE I’m sure if you like her, I’ll like her. LILLIAN You have to get to know her, which I think you really should. Will you just do me a favor and hang out with her once, just the two of you? As a favor to me? ANNIE Ok. I will. LILLIAN I love you Annie. She hugs her and leaves.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ANNIE’S CAR - NIGHT ANGRY ROCK MUSIC BLARES. Annie drives fast, angrily swerving all over the place like a drunk person, but she is only drunk with indignation. ANNIE (mocking) My name is Helen. You live in Milwaukee? Oh, I’m sorry. Have you met Lillian? She’s my best friend. I know we’ve only known each other for five minutes. Annie starts doing mocking gibberish like a five year old, which turns into more fake Thai impressions as she gets madder and madder. Just then... A POLICE CAR sounds its siren behind her. ANNIE (CONT’D) No, no. Come on.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ROAD - NIGHT Annie is walking the line as part of a drunk test. A policeman, OFFICER RHODES, 30’s, watches her walk. He’s all business and is not having it.26.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library ANNIE See. I’m not drunk. OFFICER RHODES So you’re just a terrible driver. ANNIE Ha ha. Can I stop walking now? OFFICER RHODES I’ll tell you when to stop walking, Miss. ANNIE I told you I’m not drunk. Hey if I was, could I do this? Annie starts to dance on the “line” she’s supposed to be walking, then starts to dance. Not well. RHODES I would hope so. (then) Okay, you can stop walking. I believe you. But I’m still going to have to write you a ticket. ANNIE What? Why? OFFICER RHODES Funny thing about brake lights. You’re supposed to have them. ANNIE I knew it. Those have been out for like a year, I’m so stupid. Look, I promise I’ll get them fixed this week. I promise. (then; fake smiling) Do you still have to give me a ticket? He searches for words. She’s cute and he wants to keep her there. He keeps smiling. Awkward silence. OFFICER RHODES Yes, I do. That’s what happens when you break the law. License and registration, if you please. ANNIE Ugh. Here.27.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Starts looking in her purse. Awkward silence. She hands him her license. OFFICER RHODES Oh, Wynnewood Drive. We’re practically neighbors. I live on Ashley. ANNIE Oh. I used to work on that street. OFFICER RHODES No kidding, where? ANNIE I owned a bakery there for a little bit. RHODES Oh, Cake Baby! You’re Cake Baby. You had your sign, it was your face, that was you. ANNIE That was me. RHODES You made good cakes. ANNIE Thanks. RHODES You used to make these little pastries, you’d put something in them like a cream or a custard? ANNIE Cream puffs. RHODES Cream puffs, that’s what you called them. Delicious. I used to get served by a tall broad guy, with a wormy face. ANNIE My boyfriend. RHODES Sorry.28.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library ANNIE No, he was my boyfriend. But then he left when the business went under. RHODES You’re kidding. What a dick. I’m glad I never tipped him. Rhodes stares at her. He thinks, then rips the ticket up. OFFICER RHODES Let’s forget about this. Under one condition. Get those lights fixed tomorrow so you don’t kill anyone. He hands her a business card. OFFICER RHODES (CONT’D) Here. It’s a buddy of mine. His body shop’s in Milwaukee. ANNIE (reading) Bill... Cozbi’s? RHODES With a “z”. Different guy. Don’t mention the whole Bill Cosby thing to him, it drives him nuts. I mean it. ANNIE Ok, I get it. Thanks. RHODES You know what, if you mention my name that I referred you, he’ll give you a particularly good deal. ANNIE Oh, thank you. I really appreciate it, thanks. RHODES Well I appreciated your cakes, so we’re even. He takes back the card and writes on it. OFFICER RHODES That’s my name right there. Rhodes. Officer Rhodes. 29.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library ANNIE That’s really nice of you, thank you. OFFICER RHODES We’re not all bad. Actually, the rest of them are, but not me. Haha. I’m the best of them. ANNIE Thank you. She waves and drives off. He watches her go.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ANNIE’S APARTMENT - NIGHT Annie is in her small kitchen, surrounded by baking supplies. She is meticulously putting the finishing touches on the most elaborate cupcake ever. It’s a work of art, the frosting sculpted into a realistic looking 3D orchid. It’s beautiful. Annie finishes, looks at the cupcake, SIGHS sadly and eats it in two bites, then heads off to bed. All the work and mess was for one cupcake.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. TENNIS CLUB - DAY Annie and Helen are walking through the tennis club on their way to the courts, chatting before their big game. HELEN I didn’t know you played tennis. ANNIE I played a little in high school. HELEN I’m so glad we were able to do this. ANNIE I’m glad we’re doing this too. It’s good we’re finally getting a chance to hang out. HELEN I know right? Neither of them means it. 30.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library HELEN (CONT’D) It’s too bad Lillian couldn’t play with us. Poor thing is so busy. ANNIE She’s not really that into sports. Even when we were little, she didn’t like anything too competitive. HELEN Well she certainly enjoys tennis now. It’s funny how people change, isn’t it? ANNIE I don’t know, do people really change? HELEN I think they do. ANNIE But they still stay who they are, pretty much. HELEN I think we change all the time. ANNIE I think we stay the same, but grow a little bit. HELEN I think if you’re growing, then you’re changing. ANNIE But we’re changing from who we are, which we always stay as. HELEN Not really, I don’t think so. RYAN, 16, and ALYSSA, 13, pass by. Helen stops them. HELEN (CONT’D) Oh, Annie, these are my kids. ALYSSA Step kids. Step. 31.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library HELEN (trying to joke) Aren’t they hilarious? Excuse me, my husband’s kids, Ryan and Alyssa. What are you guys up to? ALYSSA (lots of attitude) We’re going to the snack bar. HELEN Do you need a ride home later? RYAN Fuck off, Helen. They walk off. Helen calls after them cheerily. HELEN Okay, put a quarter in the swear jar! (to Annie) So cute. ANNIE Sweet kids. They both smile warmly at each other.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. TENNIS COURT - DAY Helen and Annie stare intensely at each other across the net. Helen is with her partner BARBARA, a rich, fit woman in her 40’s. Annie is teamed with CAROL, also rich but in less great shape. Helen smashes a serve to Annie, who returns it ferociously. IN A SERIES OF SHOTS as cinematic and violent as the pool scene in Scorsese’s “The Color of Money,” we see Helen and Annie have an intense showdown. Annie unloads on the ball, hitting Helen in the left breast as hard as humanly possible. WHACK! WHACK! WHACK! Annie and Helen smash the ball into each other’s breast, chest, neck, and “other female parts”, with insane intensity. It is super violent. Annie’s partner, Carol, misses a shot. ANNIE (to her partner) Come on! Get your shit together!32.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library ALL ANNIE’S POV: She serves hard and runs Helen around the court. Annie accidentally serves very hard directly into Carol’s back, knocking her down. Helen’s step kids are watching and laugh. RYAN I’ve seen better tennis playing in a tampon commercial.",FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ANNIE’S APARTMENT - DAY Annie, Gil, and Brynn sit on the couch. ANNIE I’ve been thinking. Brynn needs to start paying rent. That’s it. She’s been here long enough. The three of us live here, it’s not fair for me to be paying half. We split it three ways, what do you say? GIL Well she can’t work, she’s on a tourist Visa. BRYNN Yeah. So technically I’m only allowed to tour. I have no way of earning money unless I go prostitute down on the street. ANNIE I don’t want you to do that. BRYNN “Hello fellas, here I am. Put your American sausage in my English McMuffin.” ANNIE I don’t even know what you’re talking about anymore. There are three people living here. If she doesn’t start paying, she has to leave. GIL Is this about the diary again?33.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library ANNIE What diary? BRYNN Your diary proved very interesting to read. ANNIE You read my journal?? BRYNN At first I did not know that it was your diary. I thought it was a very sad, hand-written book. But then because of the personal details and the bits that mentioned Gil and Brynn... ANNIE No, no, no. Don’t read my journal. Don’t go in my room. GIL Well, hello, I think before you make those sort of demands you need to think about putting a note on your door that says “Don’t come into my room, read my diary, and wear my clothes.”",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CHURRA-CHI BRAZILIAN RESTAURANT - DAY Annie and the bridesmaids stand in a parking lot of a stand- alone Brazilian steak-house in a not-great part of town. Lillian looks shocked. BECCA Wow, I’ve never been to this part of town. HELEN Look, you can get your checks cashed next door. ANNIE I know it looks a little scary from the outside, but the food is really good. Authentic Brazilian. This is where Brazilian’s come to eat. We’re not quite sure if she thinks so.34.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library LILLIAN Annie’s really good at this. She always drags me to the weirdest places and the food is always incredible. ANNIE Plus, you get a lot for your money too, so that’s good. Annie grabs Lillian and pulls her toward the restaurant as the other girls follow. As Helen stares at the place like she just smelt dog shit...",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CHURRA-CHI BRAZILIAN RESTAURANT - DAY The girls walk into the Brazilian-themed restaurant, which looks more like a rundown English steakhouse. Several OUT OF SHAPE WAITERS walk around, each holding a sword with huge hunks of meat on it. Only a few customers are there. LILLIAN To my bridesmaids...this is such a stone cold pack of weirdos and I’m so proud. The girls all laugh and click glasses. ANNIE I just want to toast all of you ladies. So happy to get to know you guys and happy to say I have four new friends. Just then, five waiters all holding HUGE SWORDS with different types of MEAT skewered on them surround the table. WAITER Senoritas bonitas, I hope you’re all hungry for Churrasco Brazil. The girls all look excited and start pointing at different meats as the waiters start to carve large hunks onto their plates. Helen wrinkles her nose and flags the waiter. LILLIAN This is crazy good. BECCA Helen, aren’t you eating any meat? The girls are scarfing down tons of food. Helen picks away at her salad. Everyone’s having a great time.35.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library HELEN It’s not good to eat a big meal before a fitting, I’ll feel a bit bloated. MEGAN Not me, nope. Physically, I don’t bloat. LILLIAN You’re lucky. MEGAN It’s a gift. Becca leans over to Rita. BECCA I can’t wait to be married for as long as you’ve been married. And to have kids. To be a mom. RITA Oh, Becca. The other night I’m slaving away to make a beautiful dinner for my family. My youngest boy comes in and says he wants to order pizza. I say ‘no we aren’t ordering pizza tonight.’ He says, ‘Mom, why don't you go fuck yourself.’ He’s nine.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CHURRA-CHI BRAZILIAN RESTAURANT - A LITTLE LATER The girls continue to eat. Lillian’s seat is empty. ANNIE Okay, while Lillian’s in the bathroom, let’s talk about the shower. I was thinking it could have a French theme, since Lillian’s always wanted to go to Paris her whole life. So I figured we could bring Paris here. Have champagne and little cookies, they’d say “Lillian and Dougie” on them, we can dip them in chocolate fondue. Get cheese from the nice part of the store. MEGAN I love that.36.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library BECCA Good idea Annie. ANNIE We can have French invitations, the whole thing. Don’t you think that would be nice? The women like that idea. HELEN Mmm, I don’t know. That’s sweet, Annie, but a Paris theme feels a bit ... I don’t know, “been there, done that”. You know? I just think we can top it. We should throw some ideas around. See if anyone else has a theme they had in mind. BECCA What about a Pixar themed shower? We all come dressed as our favorite Pixar character. MEGAN I’ll just snowball on top of that. Also, Fightclub. Female fightclub. We grease up, we pull in, Lillian doesn’t know, so it’s ‘Surprise! Were gonna fight.’ We beat the shit out her. She’s not gonna forget that. RITA Look, can I be honest? I’m stuck with three teenage boys all day every day. What about the bachelorette party? I got a tube top I’ve been waiting to cut the tags off of and I really want to take advantage of this opportunity. MEGAN I’m gonna second her. We better blow this shit out. That poor girl Lillian who we’re all here for is probably in the bathroom balling her eyes out because she’s realizing ‘holy shit, I’ve got to spend the rest of my life with Doug.’ He’s my brother, I love him, but he’s a fucking asshole. I think we can all agree on that, right? 37.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library ANNIE We’ll figure it out. I’ll think of stuff. It’ll be great. HELEN We just have to make sure it’s really, really special.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ‘BELLE EN BLANC’ BRIDAL SHOP - DAY The bridesmaids walk up to an imposing building. BECCA Belle En Blanc! This is the best place. Great work, Annie. Annie looks proud. She grabs the door which says “OPEN” but it’s locked. She notices a buzzer and presses it. VOICE FROM INSIDE Belle En Blanc. Reservation name? ANNIE Oh, I don’t have one. We’re just here to shop, try on some dresses. VOICE FROM INSIDE The next available appointment for bridesmaids fittings is in seven weeks. Absolutely no walk-ins. Helen leans into the intercom. HELEN Whitney, it’s Helen. WHITNEY Helen Harris?! Hiiii! HELEN Hiiii!WHITNEY Hiiii! WHITNEY (CONT’D) Oh my god, I’ll buzz you right in.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ‘BELLE EN BLANC’ BRIDAL SHOP - CONTINUOUS They are led into a PRISTINE, ALL-WHITE WONDERLAND of dresses and bridal bliss by WHITNEY, a glamorous woman. 38.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library WHITNEY Welcome to Belle En Blanc ladies, welcome to heaven. ANNIE Oh my god ... MEGAN This is some classy shit in here-- A burp escapes Megan’s mouth! RITA Jesus Christ, Megan. MEGAN I want to apologize. I’m not even confident on which end that came out of. Whitney, back to you, I’m sorry. WHITNEY Anyway, take a look around and get to know the dresses. If you need anything I’ll be in my office. Whitney just gives Megan a tense smile and exits. Helen GASPS and walks over to a beautiful ball gown. It looks very expensive. She checks the tag. HELEN Oh. My. Gosh. It’s a Fritz Bernaise. Ladies, I just don’t think we can do any better. This is beautiful. The girls all gather around it and “OOO” and “AAH”. ANNIE (only to Helen) Whoa, this dress is $800. HELEN You’re kidding. It’s on sale! Annie’s eyes quickly scan the room and see a simpler, cheaper dress. She heads over to it. The tag says $250. ANNIE Lillian. Lillian. What about this one? It’s really pretty and sweet. We don’t want to upstage Lillian with a fancy dress. 39. (MORE)Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Maybe we should get something kind of simple? LILLIAN Don’t worry about that. Because, guess who Helen is friends and who is designing my wedding dress? Lady St. Petsois JuJu. I just sent my measurements to France! The girls all chatter excitedly about this as Annie looks stung. She looks at Helen, who smiles at her. HELEN Ladies, let’s not decide on this bridesmaids dress straight away. Let’s let our bodies decide. Try some things on and have some fun. Ladies, start your engines. The ladies all head off excitedly to different dresses as Annie looks concerned. A drip of sweat comes down her forehead. Embarrassed, she wipes it away and grabs a dress.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BELLE EN BLANC - MAIN FITTING AREA - LATER The girls are in different dresses. Lillian is not there. They look great, although Megan’s face is beet red. WHITNEY Well you all look fantastic. Sadly, you need to agree on one. HELEN Ladies, you all look beautiful. But personally, the Fritz Bernaise, it’s one of a kind. I don’t think there’s a question. ANNIE There might be a question. I might have one. I think this dress would look great on everybody. It’s a great color, it’s a great length, it’s fun, you can twirl, you can move in it, you can...spread your legs apart. And it’s a great price. MEGAN (sweating, red) Is anybody else hot?40. ANNIE (CONT'D)Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library RITA It’s like an oven in here. WHITNEY Maybe this will help you decide. I happened to have a two year old Lady JuJu dress in storage in the back and figured it might help you see what you’ll be standing next to. Lillian? Lillian walks out in a very ornate COUTURE wedding dress. She looks crazy gorgeous. The girls GASP. RITA (fanning herself) Holy shit, you look amazing. MEGAN That dress is so beautiful it makes my stomach hurt. ANNIE Lill, I don’t know what to say. You are-- Megan lurches forward as the contents of her stomach come up into her mouth. She claps her hand over her mouth to stop from throwing up. After a beat, she swallows and pushes it back down. Looks nauseous. ANNIE (CONT’D) Megan, are you okay? MEGAN I think my dress is too tight. HELEN Oh my god. You got food poisoning from that restaurant. ANNIE (sweating) No. No. She had the same thing I had and I feel fine. Annie is really sweaty now, a mark between her boobs. Suddenly, Becca politely cups her hand over her mouth to stifle herself from getting sick. BECCA (muffled, through her hands) I’m so sorry. Is there a bathroom?41.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Rita grabs her stomach and hunches over a bit. RITA I don’t care what dress we get, I just need to get off this white carpet. We hear a noise.They all stand in horrified silence, Becca still holding her hands against her face. There are faint (and loud) stomach CHURNING sounds. Rita bolts down a hallway, followed by Becca and Megan. WHITNEY Not the bathroom! Everybody go outside! Seriously! Whitney and Lillian chase after them as Annie stands her ground with Helen, facing off, Annie unwilling to admit she’s sick. ANNIE I think everyone has the flu.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BATHROOM - CONTINUOUS The single toilet bathroom is as PRISTINE and WHITE as the fitting area. Everything is just right. Calm and quiet. Classical music plays softly. BLAM! The door bursts open as Rita runs in. She projectile vomits into the toilet...but the seat is down. Everything sprays onto the back wall. RITA Shit! Rita slams the top open and heaves again into the bowl as Megan runs in holding her backside. MEGAN I need the toilet! I need the toilet! Rita ignores her as her head is in it and she grips the sides, barfing. In desperation, Megan hikes up her dress, hops up onto the counter, and SITS in the SINK. Rita looks back at Megan. RITA No, Megan! Megan, no!!!42.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library MEGAN Look away! Look away!",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. BELLE EN BLANC - MAIN FITTING AREA - CONTINUOUS Helen and Annie are faced off. Annie is sweating profusely. HELEN You don’t look very well Annie. ANNIE I feel fine. HELEN Are you sure? It wasn’t that grey kind of lamb? You ate a lot of that weird chicken. Was it that? ANNIE No. I feel fine. HELEN I think you’d just feel better if you threw up. ANNIE I don’t have to throw up.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. BATHROOM - CONTINUOUS Becca runs in blindly over the toilet that Rita is still barfing in. Vomit rains down on the back of Rita’s head. BECCA I’m so sorry. RITA Get away from me!,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BELLE EN BLANC - MAIN FITTING AREA - CONTINUOUS The stand-off continues. Annie is soaked and woozy. HELEN You’re not sick. ANNIE No. In fact, I’m feeling hungry. I wish I had a snack.43.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library HELEN You’re hungry? ANNIE I’m starving.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. BATHROOM - CONTINUOUS MEGAN What did we eat??! This sink’s a goner. BECCA (noticing her on the sink) What are you doing? MEGAN It’s comin’ out of me like lava! Don’t fucking look at me!!,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BELLE EN BLANC - MAIN FITTING AREA - CONTINUOUS Helen picks up a bowl off a table next to her. ANNIE Jordan almonds. These are great, thank you. Annie takes a handful and painfully puts them in her mouth, chewing them slowly. She forces it and swallows the almonds down with a slow gulp. HELEN Better? ANNIE I was just hungry. A sweaty Lillian runs up to Annie, who is still faced off with Helen. LILLIAN Annie, everyone’s really sick from that restaurant. Lillian gets a look on her face. She grabs her stomach as it GURGLES loudly. ANNIE It wasn’t the restaurant. 44.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library LILLIAN Oh no. I. Am. In trouble. I need a bathroom. She turns and bolts away. Annie runs after her. ANNIE Lillian, where are you going?",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BELLE EN BLANC - CONTINUOUS Lillian bursts out of the building and runs across the street toward a 7-11. Cars SCREECH to a halt to avoid the fleeing bride. Annie runs out and watches in horror. ANNIE Lillian! What are you doing? Be careful! LILLIAN It’s happening, it’s happening. Suddenly Lillian stops running and slowly sinks down onto the ground, embarrassed and unable to move. She throws a helpless look back at Annie. LILLIAN (CONT’D) Oh, it’s happening...it happened. In the doorway, Whitney and Annie watch it all in horror. WHITNEY Oh no, don’t you dare ruin that dress! ANNIE Oh, you’re really doing it aren’t ya? You’re shittin’ in the street. After a beat, Helen walks up behind Whitney. HELEN (re: the expensive dress) We’ll just take five of the Fritz Bernaise Whitney, thank you.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ANNIE’S CAR - DAY A green looking Annie drives a green looking Lillian, who is back in her regular clothes.45.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library ANNIE You okay? LILLIAN I just took a shit in the middle of the street. I just shit. ANNIE People do that. LILLIAN I shit in my shorts. I shit myself.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TED’S BEDROOM - NIGHT Annie and Ted lay in bed, post-coital. Still panting. TED That was fun. ANNIE Oh my gosh. You know what I was thinking? You should come with me to Lillian’s wedding maybe. Nothing serious, just a fun time. We can get dressed up, go dancing, drink. It will be fun right? TED (chuckling warmly) I don’t want to put you in a position of having to explain to everyone who I am and what our relationship is. You know? That would suck for you. Right? ANNIE Yeah, I guess so. TED I’m just thinking of you. ANNIE That’s okay. (lying) I have someone else to bring anyways. TED Really? Who? Who are you gonna bring? Annie struggles to think of a name.46.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library ANNIE (lying) This guy George. Ted grabs a glass of water from the night-stand and takes a sip. Idea! ANNIE (CONT’D) George Glass. TED Ok? Who is this George? ANNIE He is a very hot, nice guy who likes me a lot and would probably love to be my date. TED Really? Well let me ask you this, can George Glass do this to you? Ted intensely cups her breast and just rubs it in a circle. ANNIE Probably? TED You know what, it’s getting really 41 41 late. You should probably go. I’m gonna miss you so much.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MINI MART - NIGHT Annie is looking at the herbal drinks. “Calm,” “Focus,” “Sex Appeal.” She finally picks “Calm.” OFFICER RHODES (O.S.) Annie Walker. What brings you here so early? ANNIE Oh, hey. Just had a bad night. Boy stuff. OFFICER RHODES You want me to arrest anybody? I could do that. ANNIE Actually...47.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library OFFICER RHODES Do you want to talk to a cop about it? We’re just like priests, except we can tell everybody about it afterwords. I won’t though. ANNIE That doesn’t sound very inviting. He approaches her, holding a bag of carrots. OFFICER RHODES You want a carrot? Annie stares at him, considering. ANNIE Right now? OFFICER RHODES Yea, I’ll share. I’ve got plenty. ANNIE Sure, I’ll have a carrot.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MINI MART - NIGHT Annie and Rhodes sit on the hood of his cop car in front of the mini mart, sharing a bag of carrots. RHODES That sounds rough. ANNIE It’s gonna get better, right? RHODES I’m sure it will get better. My sister was the maid of honor at our cousin’s wedding and she found it so stressful, her hair started falling out. ANNIE That’s terrible. RHODES It grew back. But it was pretty gross. Planning a wedding should be fun. If I ever had a wedding, I’d want everyone to be stress free. I’d like it to be like a carnival. 48. (MORE)Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library People win prizes for guessing the brides weight, dunk tanks... ANNIE You could have elephants, the bride and groom could walk on a tight rope... RHODES What you’re talking about there is a circus wedding. That is a totally different thing. You missed it. ANNIE (smiles) Sorry. RHODES You know, instead of spending your money and time on all this wedding business, you should really be figuring out how to open your next bakery. ANNIE I’m done with all that. RHODES What? ANNIE I don’t do it anymore. Rhodes studies Annie a beat. She takes another carrot. It’s a small dried-out carrot. ANNIE (CONT’D) Ew, this one’s weird. RHODES Oh, you got the ugly carrot. There’s one in every bag. You have to eat it, it’s good luck. ANNIE I’m not eating this. RHODES Yeah. I’ll eat it. He goes to eat it. She grabs it out of his hands. ANNIE No, no! Don’t eat it! EW!!! 49. RHODES (CONT'D)Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library She throws it on the ground. RHODES Hey hey, don’t litter, I’ll fine you. Haha (then) Seriously, that really bothers me. He picks it up. Annie watches him, a bit intrigued. ANNIE I didn’t know you could be a cop here if you weren’t a citizen. RHODES You can’t. But they made a special dispensation because I’m so tough and strong...and handsome. ANNIE Right. You’re a tough cop. RHODES You’re saying that but you’re laughing. Annie feels his bicep. RHODES (CONT’D) You didn’t let me flex that time, that was unfair. I’m really tough. ANNIE So am I. I could be a cop. RHODES You think you could be a cop? ANNIE Yeah. RHODES Okay, let’s see. Sun is nearly up, let’s see if you’ve got what it takes.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ROAD - MORNING Annie is standing in front of Rhodes’ cop car on the side of the road, holding up the speed gun, aiming it. Rhodes sits on the hood and continues to eat his food.50.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library RHODES That’s right. Arms straight. Plant your feet. Now, what you want to do is aim it right at the license plate. That gives you the most accurate reading. A car zooms by. ANNIE Fifty-eight. What’s the speed limit here? RHODES Fifty-five. ANNIE Okay, we’ll let them go. RHODES You were born to do this, look at you. Another car zooms by. ANNIE Sixty-three. You’re missing some good ones here. RHODES Ah, they’re probably going to work. Why ruin their day? Another car is approaching. Rhodes looks at it. RHODES (CONT’D) Watch this. Forty-eight. The car zooms past. ANNIE Forty-eight! How’d you do that? RHODES It wasn’t! That has never happened before. It was forty-eight? ANNIE Yeah, forty-eight. I’m pretty impressed. RHODES I’m pretty impressive.51.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Annie gives him an impressed look, then goes back to pointing a fun as Rhodes watches her. He smiles. A car roars by. ANNIE Oh, that one was ninety-three! Can we go? RHODES Okay, hot shot. Let’s go get the fucker. Annie whoops, delighted. They jump in the car and drive off.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ANNIE’S BEDROOM A fired-up Annie goes to the computer and starts typing feverishly We see words she types: “Bachelorette party!,” “LILLIAN’S LAKE HOUSE,” “campfires,” “Beer and s’mores,” etc. She presses send, and is very pleased. The phone immediately rings. Annie picks it up. INTERCUT BETWEEN CALLS. ANNIE Hello? Helen sits in her BEAUTIFUL home, looking at her laptop. HELEN I just got your e-mail. Um...lake house? ANNIE (polite but firm) It’s Lillian’s parents’ house, we used to go there all the time in the summers. HELEN A bachelorette party at a cabin? Annie’s call waiting BEEPS again. She deflates. ANNIE Oh, just a sec, Helen. (she clicks over) Hello? Rita in her “new money” kitchen, straight out of the Soprano’s. Her three boys are fighting and playing. 52.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library RITA Annie, it’s Rita. I need a trip that I can fantasize about forever so that I’m able to have sex with my husband. That’s why I’m thinking Vegas. Annie glances down at her $350 PAYCHECK. ANNIE Vegas? Really? RITA Hang on. (to boys) Shut your filthy mouths! (to Annie) I’m sorry, I’m surrounded by savages. Annie’s call waiting BEEPS again. ANNIE You know I should probably run, my other line is ringing. RITA I can get cocaine from my hair dresser. ANNIE Bye! Becca, in her shabby-chic home office, paints a front porch sign that says “The Whitman’s.” BECCA Annie, I’m so excited. Helen just called, she said we could go to Vegas. ANNIE But we’d have to fly there. BECCA Annie, I know you’re afraid of flying but I want to see Criss Angel! But I’m scared, which I sort of love. Annie’s call waiting BEEPS again. She clicks over.Megan is in front of a wall of computer and television screens. It is a TECHNICAL HAVEN that looks like NASA.53.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library MEGAN Annie, it’s Megan. Just had some thoughts about the bachelorette party. Here we go, easy-peasy, Vegas it is. ANNIE Helen called you, didn’t she. MEGAN Yeah, she got the jump on you. RITA I want balls in my face. HELEN Honestly, I think it’s Vegas. BECCA I love puppets! RITA Balls! ANNIE I guess were undecided? INT - JETWAY - DAY The women are dressed to the NINES, heading to the plane, excited. Annie tails the group, looking very afraid. She takes a breath and gets on board.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. COACH SECTION - DAY Annie settles into her seat next to a PREGNANT WOMAN who’s reading. Annie forces a smile at her. The woman gives her a dismissive smile. This is not going to be a fun flight.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FIRST CLASS - DAY The bridesmaids settle in. Lillian sits next to Helen. LILLIAN I feel so bad that Annie’s stuck back in coach. HELEN I tried to buy her a first class ticket but she wouldn’t let me. She’s too proud.54.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library LILLIAN That was really nice of you. Behind them, Megan sits next to an middle-aged man, JON. She looks down at his feet. MEGAN No carry on? I noticed you didn’t put anything in the overhead bin. I get it. Protect and serve ... (leaning in) ... Air Marshal style. MAN What? MEGAN Listen, I don't want to infringe on your privacy, but I want you to know I appreciate your service to this country and I respect the hell out of you. She mimes a key locking her lips shut. JON Huh? No, I’m not an Air Marshal. I’m gonna take a nap. MEGAN Awesome, I’ll take the first watch. JON I’m not an Air Marshal. You don’t need to take a watch. MEGAN Ok. I’ve got the first watch. She raises her eyebrows at Jon, who doesn’t notice.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COACH SECTION - MOMENTS LATER The plane is taking off. Annie grips the armrest, trying to maintain her composure but SHEER TERROR takes over. ANNIE Woooooooo .... Oh god. I’m really hoping this flight is quick and we get there on the ground safely. I’m sorry, I’m not a good flier. The pregnant woman is even more freaked out than Annie.55.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library PREGNANT WOMAN I had a dream last night that we went down. It was terrible. You were in it. The plane is ascending now. It jolts a bit. PREGNANT WOMAN (CONT’D) Oh god, it sounds like something’s happening. Annie is officially terrified.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FIRST CLASS - MOMENTS LATER The plane is still ascending, everyone strapped in. Annie comes through the curtain and approaches, struggling to walk uphill as the plane ascends. LILLIAN Annie, what are you doing? You’re supposed to be in your seat. ANNIE I know but I’m freaking out. FEMALE FLIGHT ATTENDANT (yelling from jump seat) Ma’am, we are still ascending! Please return to your seat. ANNIE Okay. Yeah, I was just -- HELEN Annie, I have something. Take two, you’ll fall asleep. When you wake up and we’ll be there. Annie looks at the pill in Helen’s palm. Considers. The plane hits a bump of turbulence. Annie looks at Lillian who shrugs like “What the hell, do it.” FEMALE FLIGHT ATTENDANT Ma’am, you’re going to have to return to your seat please. ANNIE Thank you, Helen. Annie goes back to coach.56.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library LILLIAN God I feel terrible. I should be sitting back there with her, I shouldn’t be in first class. I feel like such a jerk. HELEN Lill, this is your weekend. You are treating yourself, relax. She will make friends. There’s much more of a sense of community in coach, I promise you. She’ll be fine.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FIRST CLASS - A LITTLE LATER Rita has a cocktail. RITA You’ve never been with anyone else?! BECCA Nope. Just Kevin. RITA I’m sorry Becca. I just can’t help but feel bad for you. You don’t even know what you want. Becca looks perplexed. In front of them, Megan is flirting with Jon. MEGAN I gotta know where you keep the gun man. Ankle, hip, lower back? You don’t...between the cheeks? JON No, I don’t stick a gun up my butt. That’s stupid. MEGAN I didn’t say “up”. I just know of a guy that did a lot of undercover work...all I know is that he had tape marks all up and down his cheeks. JON That can’t be true. People don’t keep guns up their asses because if you needed to use it, how are you gonna get it?57.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library MEGAN He cut a hole in his back pocket. You’ve gotta get something out of your ass and you cut a hole in the back of your jeans, you want to tell me you can’t get to something? JON I don’t have a gun for you to put up my ass to make your po",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int. MEGAN I can put my Nano. I will show you. If you get me scissors, I will cut a hole in my pocket... (holding up her ipod) And you’ll never find this again. Until I want you to find it. Behind them, Rita and Becca are talking. BECCA (thrown) Kevin can only have sex in the bed. In the dark. Under the covers. After we shower. Separately. Sometimes by the time we’re finished cleaning ourselves he’s too tired. Then I pretend I’m tired, but I’m not tired. I’m not tired. Rita gives her a look like “WHAT?” RITA See that’s why every girl needs those slutty college years to experiment and get it out of their system, find out what you like. Becca’s eye are wide. She signals the flight attendant. BECCA Excuse me, could I have a glass of alcohol when you get a chance. RITA Two double Seven and Sevens. (to Becca) You’ll like it, it’s sweet.58.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COACH CLASS - CONTINUOUS Annie is FIDGETING. The pregnant lady is freaked. PREGNANT WOMAN I have to go to the bathroom, but I heard about a woman who went to the bathroom on a plane, and she got sucked into the toilet. Sucked right in. This is not helping Annie. Helen comes back. HELEN Are you okay? ANNIE Yes. I think what you gave me didn’t do anything. I have too much adrenaline or something. Helen hands a cocktail to Annie. HELEN Here, take my Scotch. This’ll just give that pill the kick it needs. I do it all the time. And I have a much smaller build than you. ANNIE Thanks. Helen gives her a wink and heads up back to first class. PREGNANT WOMAN You should just toss it back. Don’t waste anymore time. Annie downs the glass. ANNIE Okay, that will do it.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FIRST CLASS - DAY Becca and Rita are drinking. BECCA So you don’t even have sex anymore?59.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library RITA Oh no, I have sex constantly. The sex is constant. But he hasn’t kissed me in five years. BECCA What are you doing when you’re having sex then? RITA Thinking about other things and wishing it would stop. Sometimes I just want to watch The Daily Show without him entering me. Helen and Lillian are drinking champagne. The curtain sweeps open and a drugged Annie comes sauntering in. HELEN And then we’re going to the MGM Grand Wet Republic Ultra Pool. The people from the Real World go there all the time. LILLIAN I'm so excited! Annie pops up next to them, rubs Lillian’s head. LILLIAN (CONT’D) Hey buddy, how ya doin? Annie gives her a big druggy smile, then leans on the back of Lillian's chair. ANNIE I’m goooood. I’m so much more relaxed now. Thank you Helen. I just feel like I’m excited, I’m relaxed, I’m ready to paaaaarrrtttyyyy... (starts singing) ...with the best of them. And I’m gonna go down to the river ! LILLIAN Wow, it looks like someone is really relaxing now. ANNIE What are you guys talking about up here?60.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library HELEN We’re going to a restaurant tonight, I know the owner... ANNIE (mocking) You do? Oooh, Helen. Woo woo. Helen knows the owner. Big whoop. LILLIAN Hey Annie, let’s go take a nap. What do you say? STEVE, A MALE FLIGHT ATTENDANT appears. MALE FLIGHT ATTENDANT Miss, you cannot be up here. ANNIE Hello grandpa. I’m sorry, I just want to be up here with my friends. I’m with this group. LILLIAN Yeah, can she just stay up here for a while? The sign's off. MALE FLIGHT ATTENDANT No. Coach passengers aren’t allowed up here in first class. It’s policy. Sorry. ANNIE Gosh, this plane is very strict. Welcome to Germany. Okay, I'm gonna go take a nap. LILLIAN I think that’s a good idea. ANNIE Catch you on the flip side muthafuckas! LILLIAN I’m sorry, she’s -- ANNIE I’m leaving. Annie sweeps open the curtain and steps into coach.61.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library ANNIE (CONT’D) This should be open, it’s civil rights. This is the 90’s. MALE FLIGHT ATTENDANT Right, it’s not. You’re in the wrong decade. ANNIE You are. MALE FLIGHT ATTENDANT Okay right, I am. LILLIAN Holy shit, what did you give her? She looks at Helen, who shrugs like “I don’t know what’s wrong with her.”",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FIRST CLASS - MOMENTS LATER Annie comes back into first class wearing SUNGLASSES and sits down next to a man who looks like Enrique Iglesias. MALE FLIGHT ATTENDANT Miss. ANNIE No, it’s not me. MALE FLIGHT ATTENDANT Yes, it’s you. Please go back to your seat. ANNIE I’m with him. I’m Mrs. Iglesias. MALE FLIGHT ATTENDANT No you’re not. You were just up here and you put sunglasses on. Out. ANNIE I don’t want to. Lillian and Helen get up from their seats.62.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library HELEN She can have my seat. Everyone should experience first class in their lives and I don't want Annie to miss out just because she couldn't afford a ticket. FEMALE FLIGHT ATTENDANT I’m afraid it’s not allowed, ma’am. ANNIE Help me, I’m poor. LILLIAN (to flight attendant) Please. We’re a whole wedding party, I’m the bride. I’m getting married. The seat is empty. She’s obviously nervous. We’ll calm her down. MALE FLIGHT ATTENDANT I understand, but Claire is right -- ANNIE Everyone get back to your seats. MALE FLIGHT ATTENDANT You especially. You have three seconds to get back to your seat. ANNIE You can’t get anywhere in three seconds. MALE FLIGHT ATTENDANT Well, you’ve gotta try. ANNIE You’re setting me up for a loss already. Whatever you say... (reading his name tag) Stove. MALE FLIGHT ATTENDANT It’s Steve. ANNIE Stove, what kind of name is that. MALE FLIGHT ATTENDANT That’s not a name. My name is Steve.63.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library ANNIE Are you an appliance? MALE FLIGHT ATTENDANT No, I’m a man and my name is Steve. ANNIE You’re a flight attendant. MALE FLIGHT ATTENDANT That’s absolutely accurate. The flight attendant glares at her. Annie leaps back into coach. AT THE FRONT OF THE PLANE Jon walks out of the bathroom. Megan is right there, two inches from the door. Talks quietly to him. MEGAN Hey, “not-Air-Marshal Jon”. Maybe we should go back into the restroom and not rest. JON I should get back to my seat. MEGAN Yeah, you’ve got to get back ... on my seat. You get it? JON I definitely get it. Megan swings her leg up, blocking the door. MEGAN Uh oh, what’s that? Somebody found a souvenir. JON I’ve got to get back to my seat. Could you move your leg please. I’ve got to go. Jon tries to move Megan’s leg out of the way. MEGAN You feel that steam heat coming? That’s from my undercarriage. That can go up and higher.64.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Megan lets him pass and opens the bathroom door. MEGAN (CONT’D) Jon, get us a blanket. I’ve gotta take a whiz and then I’ll be right back. Cool. As Jon escapes, he walks past a drunk Rita and Becca. RITA I don’t want you to be a big fuck up like me. BECCA How do you think I feel? RITA You can still turn it around. BECCA Stop it! You’re more beautiful than Cinderella. You smell like pine needles and you have a face like like sunshine.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. COACH SECTION - DAY Annie is seated. The plane shakes a little. She looks past the pregnant woman and out the window. Her eyes go WIDE.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FIRST CLASS - CONTINUOUS The flight attendant gets on the microphone. FEMALE FLIGHT ATTENDANT Ladies and gentlemen...As you can see, the captain has turned on the fasten-your-seat belt sign. It seems we’ve found rough patch of weather here-- ANNIE (O.S.) (over intercom) I have an announcement too. There is a colonial woman on the wing. Lillian recognizes Annie's voice. LILLIAN Oh, shit.65.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Lillian jumps up and runs back to help Annie. Jon jumps up and draws his gun and a taser. JON ALL RIGHT, PEOPLE. EVERYONE REMAIN CALM! I’M AN AIR MARSHAL. He runs to the back of the plane. Megan jumps up. MEGAN Yes! I knew it!! Holy shit, I knew it! I got your back, Jon! In the back of plane, all three flight attendants are battling with Annie, who is still trying to yell into the mic. ANNIE There is a colonial woman on the wing. There is a woman on the wing, I saw her. She is churning butter. There’s something they’re not telling us! She is out there right now! PREGNANT WOMAN LET’S GET OUT! LET’S OPEN THE DOORS AND GET OUT. SAY GOODBYE! WE’RE GOING DOWN! Lillian and the flight attendant grapple. Annie DUCKS away, RUNS up the aisle, FAKES the Air Marshal out and climbs over people to get to the other aisle and heads for first class, passing the pregnant woman, who reaches for her. PREGNANT WOMAN (CONT’D) Where is this woman? Who is she?! What does she want?! Passengers get HYSTERICAL. Annie runs past Rita and Becca who are now MAKING OUT, towards the bathroom. Megan APPEARS from the galley and tackles her. CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. WYOMING TERMINAL - DAY Annie and Lillian are being escorted off the plane in handcuffs by the police and Air Marshal Jon. The unhappy bridesmaids follow.66.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BUS - DAY The bridesmaids are BUMMED. Annie sits next to Lillian. ANNIE Let me make it up to you please. I’m telling you, your shower is going to be amazing. I have so many ideas... LILLIAN I wanted to talk to you about something. This has been very overwhelming for you. It’s starting to make you crazy. ANNIE Lill, I’m fine. LILLIAN No, you’re not fine Annie. We need things to just flow smoothly from now on and Helen knows how to do this kind of stuff. She does it all the time. She’s good at it and she likes doing it. This way you don’t have to plan any more lunches or trips. You don’t have to do anything you don’t want to do. ANNIE I get it. LILLIAN I think that it would be best for here on out. For the shower, for everything. ANNIE Whatever you want. That’s probably best. LILLIAN I think so, right? ANNIE I just want you to be happy. LILLIAN I think that will make me happy. Annie looks crushed. 67.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ANNIE’S CAR - NIGHT Annie drives home depressed. Up ahead, she sees Rhodes’ car sitting on the side of the road in his usual spot. Annie pulls up next to him. ANNIE Hi. Do you want to hang out?",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BAR - NIGHT Rhodes and Annie are talking in the middle of a crowded bar. ANNIE It’s not funny. Have you ever been kicked off a plane? RHODES I can’t say I have. ANNIE All of the girls hate me right now. RHODES So you’re like the maid of dishonor. ANNIE I hope Lillian won’t be mad at me too long. RHODES She’ll be alright. ANNIE I wish things were they way they used to be. I feel like her life is going off and getting perfect and mine is just... RHODES It will turn around. ANNIE I’ve been hearing that for a long time. RHODES It’s gonna turn around, I just know it. You gotta bake...68.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library ANNIE I don’t really do that anymore, I told you. RHODES Why? ANNIE After it went under, I stopped. It doesn’t make me happy anymore. RHODES Just because you didn’t make any money doesn’t mean you failed at it. ANNIE I lost a lot of money. All my money. RHODES You’re so good at it. ANNIE Oh well, let’s change the subject. No more baking, I’m done. RHODES I just don’t know how you can not do it anymore. If I wasn’t a cop, I would still go out with a gun and shoot people. (beat) I probably wouldn’t do that. (beat) You’re ok, you know. ANNIE You don’t know me very well. RHODES I know you well enough to know that you’re not so bad. You’ve got some stuff. You’ve got bits and pieces going on. ANNIE Thanks. RHODES I’ve been thinking about you a little bit.69.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library ANNIE About me? Really? RHODES There’s something about you...that sticks.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DARK APARTMENT - NIGHT Annie and Rhodes fly through the door, making out. ANNIE Where’s the bedroom? RHODES I am so glad this is happening. ANNIE So am I.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RHODES DUPLEX - MORNING Annie wakes up. She looks like a disaster. She reacts when she sees Rhodes sitting on the bed, staring at her. He is in a t-shirt and shorts. Looks like a kid in love. Annie instantly seems a little freaked out. It is a role reversal of her relationship with Ted. RHODES Good morning. ANNIE Good morning. RHODES Sorry to freak you out. I haven’t been sitting here that long. ANNIE Sorry, I guess I fell asleep, I didn’t mean to sleep over. RHODES Don’t be silly. (still smiling) I made you a cappuccino. ANNIE You made it?70.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library RHODES Last night was fun. ANNIE It was. Very fun. Annie looks around the room. The place is modest, at best. It is clean and organized, but it’s nothing like Ted’s apartment. Rhodes stands up. RHODES Annie Walker, would you mind following me into the kitchen? The fun may continue... (catching himself) A different kind of fun. Why don’t you get dressed though, I left your clothes over there. ANNIE (smiling) Ok.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RHODES’ KITCHEN - CONTINUOUS Rhodes walks in with a big smile, then turns to Annie. She walks in and stops as Rhodes gestures grandly at something. Annie looks surprised. RHODES There she is. Your workshop awaits. ANNIE’S POV: The kitchen counter is laid out with mixing bowls and baking pans and brand new ingredients like flour, sugar, eggs, vanilla, butter, etc. RHODES (CONT’D) I know it’s a bit crazy, but I popped out and got a few little things. Bits and pieces--butter, milk. I thought it would be fun for us to bake together today. Obviously you will be doing the baking and I will be doing the eating, because you are the expert. He chuckles. Annie stares at the ingredients in horror. ANNIE I know you went through all this trouble but I don’t really want to--71.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library RHODES Come on. I know you haven’t done it a while, but it will be great. Don’t be silly, just get into it. You’re so good at it. Annie is uncomfortable. She stares at him. RHODES (CONT’D) Alright I get it, it was a bit of a curve ball. ANNIE I think I’m gonna go. Sorry. Rhodes stares at her. It’s obvious he really cares about her. She stares back at him, then heads for the door. RHODES Annie, I don’t know what you’re getting so upset about. ANNIE Because you don’t know me. You don’t know anything about me or my life. I don’t know what you’re trying to do here. I don’t need you to fix me. RHODES To fix you? ANNIE I don’t need any help. Who do you think you are? RHODES Jesus Annie, we had a really good time and now you’re being all -- ANNIE It’s my fault. I shouldn’t have come here last night. Last night was a mistake. RHODES Alright. ANNIE I’m sorry. This was all a mistake. It was all my fault. She exits, slamming the door behind her. Rhodes stares after her, stunned.72.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ANNIE'S CAR - MORNING Annie gets in her car, depressed and confused. She finds Lillian's name on her phone and dials. She gets Lillian’s voicemail. ANNIE Hey Lill, it’s me. I’m sure you’re still probably a bit mad at me. I hope not. Anyway, the excitement continues with me. I just slept with a cop that pulled me over and woke up today with him. He was really sweet, nice, and cute. So naturally, I ran off as fast as I could. What’s wrong with me? I know you’re busy with stuff, so just call me when yo get a chance. I’d love to talk this out with you when you can. Okay, bye.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ANNIE'S APARTMENT - MORNING - A COUPLE OF WEEKS LATER The clock reads 11 am. KNOCK at the door. Annie wakes up, surprised that she slept this late. Brynn pops her head in. BRYNN Annie wake up, it’s 11 AM. ANNIE Oh, shit. BRYNN You got a package. I’d bring it to you but you said ‘don’t touch my things.’ She goes into the living room and sees a beautiful pink and white striped box with her name and address in calligraphy sitting on the table. When Annie opens the lid, “CANON IN D” PLAYS and a real butterfly flies out. Inside the lid, it reads, “A Shower for Lillian.” In the box, there is a chocolate sculpture of Lillian and Doug as Bride and Groom, a candle that has two wicks and says on the outside “Lillian and Dougie. Twin Flames. An Atmospheria Special Addition.” A stunned Annie takes a card out that reads “A SHOWER FOR LILLIAN.” She opens it...73.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library HELEN (V.O.) Please join us for a Parisian brunch at the home of Helen Harris III to celebrate the marriage of Lillian Donovan and Douglas Price. Let us “shower” Lillian with gifts and love. Responde S’il Vous Plait. Yay! The butterfly lands on her face.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CHOLODECKI’S - DAY Annie stares at wedding rings in the counter. GIRL (O.S.) Excuse me!! Annie looks up. A snotty 13 year old rich GIRL stands at Annie’s counter with an iced coffee, chewing gum. GIRL (CONT’D) I’m looking for a birthday gift for my best friend. I want to get her a necklace that says ‘Best Friends Forever.’ ANNIE Are you sure you want it to say forever? (off the girl’s “duh” face) I don’t think you guys will be together forever. No offense, but the friends you have when you’re younger, sometimes you grow apart. You’ll get older and maybe she’ll find a new best friend. And maybe she’ll be more successful than you are, and prettier, and richer, and skinnier, and they end up doing everything together. GIRL You’re weird. ANNIE I’m not weird. GIRL Yes you are.74.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library ANNIE No I’m not. You started it. GIRL You started it. Did you forget to take your Xanax this morning? ANNIE God, I feel bad for your parents. GIRL I feel bad for your face. ANNIE Call me when your boobs come in. GIRL You call me when yours come in. ANNIE What, do you have four boyfriends? GIRL Exactly. ANNIE Have fun having a baby at your prom. GIRL You look like an old mop. ANNIE You know, you aren’t as popular as you think you are. GIRL I’m very popular. ANNIE (miming a blow job) I’m sure you are. Very popular. GIRL You’re an old single loser who is never going to have any friends. ANNIE You’re a little cunt. CUT TO:75.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DON’S OFFICE - DAY Don stands across from Annie who finishes cleaning out her locker. She sadly starts to leave. ANNIE Sorry. Let me tell my mom, okay? DON I already told her. ANNIE Was she mad? DON Mmm-hmm. Don walks out, disappointed.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ANNIE’S CAR - CONTINUOUS She sits in her parked car listening to a message on her cell. RHODES (O.S.) (on phone) Hey Annie, its Rhodes again. Since you aren’t returning any of my calls I assume you aren’t interested in spending any more time with me, which is fine. So don’t worry, I won’t be bothering you ever again. (beat) Get those tail lights fixed. Rhodes hangs up. Annie looks confused and torn, unsure if she’s made the right decision about him or not.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ANNIE’S BEDROOM - DAY Brynn and Gil sit at the edge of Annie’s bed. BRYNN We’d like to invite you to no longer live with us anymore. ANNIE What do you mean? I don’t get it.76.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library GIL (tries to soften it) We decided it’s a bit immature for a grown up brother and sister to still be living together with a roommate at this age. We look a bit silly don’t we? BRYNN Pathetic. GIL So we’re actually going to live together alone. Without you. BRYNN You’re moving out. Annie absorbs this. BRYNN (CONT’D) She’s not moving. GIL She will move, eventually. BRYNN (to Gil) She has to. (to Annie) You have to go. Brynn touches Annie’s leg to console her. BRYNN (CONT’D) Oh, that’s prickly.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. JUDY'S HOUSE - DAY Annie gets out of her loaded car. Her mom meets her in the driveway. ANNIE Remember when you thought I hit bottom? That wasn’t bottom. MOM Aw, come here. We’re going to have fun. I, for one, am really glad you’re here. And guess what just came in today on the Netflix? “Castaway.” Tom Hanks. 77. (MORE)Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library It’s like Forrest Gump, but on an island. You’re going to love it.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. MILWAUKEE STREET - DAY Annie stands outside the closed Cake Baby storefront. The sign has been vandalized to read “Cock Baby.”,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ANNIE’S CAR - DAY She drives past a stone column inscribed “The Harris House - established 2006” and proceeds through two huge, wrought-iron gates that lead to a beautiful, plantation-style, tree-lined driveway. Her jaw drops. AT THE NEXT STOP SIGN A BUTLER appears with a tray. BUTLER Are you a guest of Helen Harris III? ANNIE Yeah, I guess so. BUTLER The shower is over the second bridge. Pink lemonade? He hands her a crystal glass of pink lemonade with a large orchid sticking out of it. ANNIE I don’t have a cup-holder. But he has moved on to the next car. Annie struggles to drive while holding the too-full glass. She is annoyed. ANNIE (CONT’D) (mumbling) Pink lemonade. Nice touch. She takes a sip. ANNIE (CONT’D) Goddamnit, that’s good. Shit, that is fresh. CUT TO:78. MOM (CONT'D)Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HELEN’S ESTATE - DAY Annie arrives at the main house straddling a WHITE HORSE, with a horseman leading her on foot. She struggles to dismount. The horseman looks annoyed. The front door is swung open by two attendants. As Annie enters the mansion, groups of girls pass by her... SHOWER GIRLS This is the most beautiful shower I’ve ever been to/Can you believe this?/Did you see the party favors?!/What a good friend ... Helen’s house is ALL cream and white with gold. Couches are puffy, art hangs everywhere. The house of a very rich person.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HELEN’S ESTATE - BACKYARD - DAY Annie walks into the backyard and stops, her jaw dropping.ANNIE’S POV: It’s all of the Paris shower ideas she told Helen, but huge and over the top. Decorations to make it look like France are everywhere. A TRIO WITH AN ACCORDION PLAYER PLAYS FRENCH STANDARDS. LIVE SWANS and bunnies mill about. Attendants in full French outfits ready to serve. A giant cake shaped like the Eiffel Tower. In the middle of everything stands an eight foot tall HEART COOKIE that says “Lillian and Dougie!” in puffy pink cursive. REVEAL a glorious four-tiered CHOCOLATE FOUNTAIN. Girls are around it dipping in strawberries and smaller cookies, laughing. Annie takes it all in, shocked. A waiter offers her champagne. WAITER (fake French accent) Would you like some champagne? It’s French. ANNIE Yeah, no kidding. LILLIAN Hey Annie, you’re here!79.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library ANNIE Yeah, I’m here. I was invited, right? LILLIAN No yeah, I just meant... you’re here. Like you’ve arrived. ANNIE Well, here I am. LILLIAN Can you believe this? Isn’t this amazing? ANNIE Yep. Yeah, it’s nice. Awkward silence. ANNIE (CONT’D) Are we ok? LILLIAN Yes. They both speak at the same time. ANNIE I didn’t want to bug you, but I just...have so much to tell you. LILLIAN Sorry I haven’t called back. I’ve been... swamped. Forgive me, there’s just lots of organizing and- ANNIE I totally understand. LILLIAN ...you look great. ANNIE You too. LILLIAN So you’re cool? ANNIE Yup. LILLIAN And we’re cool?80.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library ANNIE Super cool. We’ll talk later though, right? LILLIAN For sure. Awkward silence. LILLIAN (CONT’D) OK, great. I have to say hi to my aunt or she’ll get mad at my mom. Lillian runs off. Annie watches her go, frustrated by the brief encounter. She stands there alone.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HELEN’S GREAT ROOM - LATER Lillian is opening presents. She opens a box filled with beautiful towels. LILLIAN Rita, you got all our towels? RITA Love you, kid. Rita takes a picture. Lillian then grabs a gift, obviously from Annie. It’s quirky, homemade, tons of bows. Doesn’t look like the others. LILLIAN I know who this is from, I can tell by the wrapping. Lillian unwraps it, smiling. Inside is... LILLIAN (CONT’D) Awww. It’s us, Annie. It’s a box of all my favorite things from stores I love in Milwaukee. This is so unbelievable. (pulling out a CD, beams) Wilson Phillips? MEGAN I love Wilson Phillips. LILLIAN We listened to “Hold On” probably 10,000 times when I got my driver’s license. This is such an amazing gift, thank you. 81.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library They share a moment. Annie looks pleased, throwing a smug look at Helen. Shrugs like “it was nothing.” Helen looks a bit self-conscious. HELEN Now I feel bad. I’ve been so busy putting the shower together that all I did was get you a card. Helen hands her an envelope. LILLIAN Helen, you threw me this shower. That’s more than enough. Lillian opens the card and reads it. Helen exchanges a look with Annie. Then, in shock ... LILLIAN (CONT’D) Oh my god. Helen. LAURIE Honey, what is it? LILLIAN Helen’s taking me to Paris. HELEN Ha ha! Got you! (then) Just a little pre-wedding vacation. And while we’re there, we’re going to meet your wedding dress designer and have a fitting! LILLIAN Paris? YOU GOT ME A TRIP TO PARIS?!!! Lillian jumps up and down, then grabs Helen and hugs her tightly. Annie watches them, then something (finally) snaps. ANNIE Are you fucking kidding me? JUDY Annie? ANNIE MOTHERFUCKING PARIS?! LILLIAN Annie, what are you doing?82.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library ANNIE (to Helen) I told you she wanted to go to Paris. I told you Paris! I told you about ALL this stuff! LILLIAN Annie, calm down. ANNIE No! What, you’re going to go to Paris with Helen now?! Are you going to ride around on bikes with berets and fucking baguettes in the basket of the front of your bikes? How romantic! What woman gives another woman a trip to Paris? Am I right? Lesbian! We’re all thinking it aren’t we? Rita and Becca are uncomfortable. BECCA I’m not. MEGAN I was. ANNIE Yes, we’re all thinking it. Right? LILLIAN Annie. ANNIE Lillian this is not the ‘you’ I know. The ‘you’ that I know, would have walked in here and rolled your eyes and thought this was completely over the top, ridiculous, and stupid. Look at this shower! LOOK at that fucking COOKIE!! Did you really think this group of women would finish that cookie? Hey, you know what!? That reminds me, I don’t think I ever got a piece! Annie storms outside. She takes swings at the cookie, punching it. ANNIE (CONT’D) Stupid fucking cookie! 83.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library She rips off a large hunk, shoves it in her mouth. ANNIE (CONT’D) Oooh, delicious! Ooo! Maybe it’s better if I dip it in the CHOCOLATE!! She tries to take the cookie off its stand to carry it. It’s too huge. She falls backwards and the cookie falls on top of her. Annie punches her fist up through the cookie and struggles awkwardly to get out from under it. She storms over to the chocolate fountain and tries to tip it over. It’s way too heavy. She starts to empty the HOT chocolate with her hands onto the ground. ANNIE (CONT’D) (as she scoops) Is this what you want Lillian!? Nothing says friendship like 1,000 gallons of unsanitary chocolate! (still scooping) Ow, ow, ow! Oh, god, it’s so hot. Everyone is watching Annie. She is fighting and punching the air like a crazy person, chasing a swan. A little girl starts crying. Lillian storms outside seething. LILLIAN Annie, what are you doing? What is going on?! ANNIE What am I doing? You wouldn’t know. Where have you been?! You would have no idea. Well, let me fill you in. Ever since you got engaged, everything has turned to shit. LILLIAN This is supposed to be my time. You have managed to ruin every event in my wedding, thank you very much. ANNIE Thank you very much. (pointing to Helen) It’s all her fault. It’s not mine. You would know that if you got your beautiful-haired-head out of your asshole. In fact, out of her asshole! WHICH I’M SURE IS PERFECTLY BLEACHED!84.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library LILLIAN IT IS! You know how I know? Because I went to the fucking salon with her and I GOT MY ASSHOLE BLEACHED TOO! And I LOVE my new asshole! Why can’t you just be happy for me and then go home and talk behind my back like a normal person! ANNIE I am happy for you, Lillian. I am very happy for you. I wish you well and I won’t bother you anymore. LILLIAN Are you kidding me? Annie! Annie storms off back through the house, her hands and forearms completely covered in chocolate. Lillian soon follows. Annie walks fast through the lobby. On her way out the door, the DOORMAN offers her the party favor. A PUPPY. DOORMAN Party favor? LILLIAN No, no! She does not get a party favor. She does not get a dog! Annie walks out. Lillian follows her, upset. LILLIAN (CONT’D) And if you’re going to act like this, don’t even bother coming to my wedding. Annie looks at her, and then is gone. This hangs in the air. Lillian turns to sees all the women standing behind Helen. HELEN I’m proud of you, Lill. LILLIAN Shut up, Helen. Anyone else have anything they want to share today? No one says anything, then ... Megan’s hand shoots up. MEGAN I took two dogs already! They’re in the back of my van. 85.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ANNIE’S CAR - DAY Annie is pissed, driving down the highway. She looks over as MEGAN’S VAN SPEEDS PAST HER, PACKED WITH DOGS who are looking out the windows, sitting on her lap, laying on the dashboard. As she stares at the van, a PORCUPINE crosses the road in front of her. She slams on her brakes to avoid hitting it and BOOM! Annie is rear-ended, hard. The driver behind her then backs up, peels out and drives away. ANNIE (yelling after car) Hit and run, CLASSY! This is perfect! WHIR-WHIR-WHIR. Her car won’t start. She puts her forehead on the steering wheel, at her wit’s end.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HIGHWAY - DAY Rhodes is looking at the damage. He's distant but dutiful. RHODES Well, I can’t say I’m surprised. I did tell you to get your lights fixed. ANNIE (sheepish) I know. RHODES And now here we are. ANNIE Look I’ve had a horrible day, I don’t need a lecture from you right now. Helen just -- RHODES This didn’t happen because of Helen. This happened because you didn’t get your tail lights fixed. Pretty simple. (suddenly losing it) DO YOU KNOW HOW CRAZY THAT MAKES ME?! SEEING YOU DRIVING PAST NIGHT AFTER NIGHT AND YOU STILL HAVEN’T GOTTEN THOSE FUCKING LIGHTS FIXED?! DO YOU KNOW HOW FRUSTRATING THAT IS?! THERE WAS A SIMPLE SOLUTION AND YOU DIDN’T DO IT!! 86. (MORE)Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Your problem Annie, is that you just don’t understand that you could hurt people...with these broken lights. Don’t you see how irresponsible that is? ANNIE Yes, I should have gotten my taillights fixed, but I didn’t. RHODES Don’t worry about it. Seriously, your message was received. Annie is speechless. ANNIE Please, I don’t know what’s going on with me right now -- RHODES It’s fine, don’t bother. What is done is done. ANNIE Look, I’m just in a weird place right now. You were so nice and I feel like you-- RHODES Like I said, don't bother. What's done is done. He turns and starts walking toward his car. Annie is stunned. ANNIE So, what, that's it? RHODES Yes, that’s how it works. ANNIE Come on -- RHODES For the record Annie, you flirted with me. You made me feel like you really liked me. Which is really unfair. Then you came home with me and we did stuff, fun stuff, and then you left like it was nothing.87. RHODES (CONT'D)Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library ANNIE Oh please, I know how guys do this thing, how they act. One minute it means something the next minute it doesn't. RHODES Right, you got it all figured out. How’s that working out for you, pretty good? Rhodes stops and turns to look at her, unsure. Just then, TED screeches up in his Porsche. TED Boom. What’s up fuck buddy? You called for some roadside assistance? Rhodes’ face drops. TED (CONT’D) Thanks officer, I can take it from here. RHODES Come on! ANNIE I didn't have anyone else to call! I didn’t know you were going to show up. RHODES That’s the problem with cops Annie, we’re never there when you need us. Rhodes gets into his car, drives off. TED That cop talks weird. Annie looks defeated, then SIGHS. TED (CONT’D) Come on Dingus. Tic-tock, I have shit to do. She sadly gets into Ted's car. 88.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TED'S CAR - MOMENTS LATER ANNIE Thanks for picking me up. TED Not a problem. ANNIE Were you busy? TED Well, it is Friday. You look tired. If you’re tired you can totally lay down in my lap, if you want. ANNIE What? TED Just take a little lap nap. If you want. (pointing) Open for biz. Annie looks at him, thinking. Then ... ANNIE Can you please pull over? TED That’s an even better idea. ANNIE No, just please stop the car. I want to get out. TED No, it’s super gravelly. ANNIE Please pull over! TED Why? ANNIE (looking at him) I just realized I would rather get murdered out here than spend the next half hour with you. Now, please stop the car.89.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library TED Annie, it’s called humor, learn about it. Besides, I would never last a half hour. Ted pulls over. Annie gets out, grabbing her purse. She closes the door, straightens her sweater, and heads off down the shoulder of the road. He drives beside her. TED (CONT’D) You used me! (As she walks away) Fine, you’re no longer my number three!",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. JUDY’S HOUSE - LIVING ROOM - NIGHT Annie sits on the couch waiting Castaway. It’s the tear- jerking scene when Wilson the volleyball is floating away from Tom Hanks. He’s losing his friend. Annie is sobbing. The DOORBELL rings. Annie opens the door. MEGAN is standing there with 7 PUPPIES from Helen’s shower on leashes. MEGAN I’m coming in. Megan barges into the house with the dogs leading the way. MEGAN (CONT’D) Heel. Heel. Heel. Heel. Heel. Heel.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ANNIE'S MOM'S LIVING ROOM - MOMENTS LATER. Megan puts the dogs on the porch then closes the door. Then she sits on the couch with Annie. MEGAN Heel. Heel. ANNIE How many did you take? MEGAN Oh. Uh, I took nine. I overcommitted with this whole dog thing. I’d probably be more comfortable with six. It’s a lot of energy to deal with. But you wouldn't know that because you haven't been returning my calls. 90.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library ANNIE And say what? Hi, I can’t get off the couch. I got fired from my job, I got kicked out of my apartment, I can’t pay any of my bills, my car is a piece of shit, I don’t have any friends -- Megan stands up and starts pacing then gets in Annie’s face. MEGAN You know what I find interesting about that Annie? It’s interesting to me that you have absolutely no friends. Do you know why that’s interesting? Here’s a friend standing directly in front of you trying to talk to you and you choose to talk about having no friends. ANNIE You know what I mean. MEGAN You know what I think? She pokes Annie. Then continues to prod and push her as she talks. MEGAN (CONT’D) You don't want help. You want a pity party. ANNIE No, I don't. Stop it. MEGAN You're an asshole Annie. Megan shoves Annie. ANNIE Ow. What are you doing? MEGAN What? Am I bothering you? I’m life. Life bothering you? Life's hard, huh? Life can push you around. I'm your life. You’re gonna let life bite you on the ass? Then Megan sits on top of Annie and holds her arms.91.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library MEGAN (CONT’D) I’m trying to get you to fight for your shitty life and you won’t do it. I’m your shitty life Annie. Annie SMACKS Megan hard in the face. ANNIE Oh my god, I’m sorry. Megan looks like she might get mad, but then she smiles. MEGAN I’m not. Nice hit. I’m glad to see you’ve got a little bit of spark in you. I knew that Annie was in there somewhere. (then) I think you’re ready to hear a little story about a girl named Megan who didn’t have a very good time in high school. I’m referring to myself when I say Megan, it’s me Megan. I know you look at me now and think, boy she must have breezed through high school. Not the case Annie. This was not easy going up and down the halls with. They used to try to blow me up. People used to throw firecrackers on my head in high school. Firecrackers, literally, not figuratively. They called me a freak. Do you think I let that stop me? Do you think I went home crying to my mommy, ""Oh, I don't have any friends."" I did not. You know what I did? I pulled myself up, I studied hard, I read every book in the library and now I work for the government and have the highest possible security clearance. Don’t repeat that. I cannot protect you. I know where all the nukes are and I know the codes. ANNIE I won’t say anything. MEGAN You would be amazed, a lot of shopping malls. Don’t repeat that.92.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library ANNIE I won’t. MEGAN I have six houses. I bought an eighteen wheeler just cause I could. You lost Lillian. You got another best friend sitting right in front of you if you’d notice. You need to stop feeling sorry for yourself. I do not associate with people that blame the world for their problems cause you’re your problem Annie, and you’re also your solution. You get that? This hits Annie. Annie's speechless. Megan exhales, winded. ANNIE Yes. I just miss her I guess. MEGAN I know you do, I know you do. Come on, bring it in. They hug. MEGAN (CONT’D) There’s the Annie I knew was there. (smelling her hair) Oh Annie, wash your hair. You’ve got to wash your hair.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JUDY’S HOUSE - KITCHEN - LATER The kitchen is a mess as Annie bakes something, very focused.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. JUDY’S HOUSE - BEDROOM - MOMENTS LATER Annie walks up and smiles at her mom. JUDY What's going on? Annie hugs her mom. ANNIE Nothing. I love you.93.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BILL COZBI’S BODY SHOP - DAY Annie stands looking at her fixed and cleaned-up car as BILL COZBI, a big pleasant mechanic in his 50’s, writes her bill. Judy sits reading an ancient magazine in the waiting area. ANNIE Wow, it looks fantastic. BILL Rhodes and I worked a deal out way back when so it’s on the house. ANNIE Are you serious? Annie sees something warm in him, sparks an idea. She walks over and grabs her mom. Drags her over. ANNIE (CONT’D) This is my mom, Judy. Annie motions for her mom to talk to Bill, then leaves. JUDY (looks at Bill, then) Wait, don’t I know you from AA? BILL Oh my gosh, you made that artichoke 117 117 dip didn’t you. It was just delicious. They smile a each other. Happy.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. RHODES DUPLEX - DAY Annie puts a cake box on the stoop in front of Rhodes’ front door. She looks pleased, then rings the doorbell and runs back to her car. She ducks down. Rhodes opens the front door and looks down. It’s a cake shaped like a carrot that says “I’m Sorry.” He stares at it as Annie watches. Then, he heads back into the house and closes the door, leaving the cake out there. Annie deflated. Heartbroken, she drives away.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. RHODES DUPLEX - NIGHT Annie drives past Rhodes’ place. She sees the cake still sitting on the stoop, then continues on sadly.94.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. RHODES DUPLEX - DAY Annie drives past the house AGAIN. The cake is being eaten by RACCOONS, still sitting in the same place on the stoop. It hits her...she’s lost him.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JUDY’S HOUSE - MORNING Annie is sleeping. Judy enters in her bathrobe. JUDY Are you sure you’re not gonna come with me today? It’s Lillian’s big day. ANNIE Mom, she doesn’t want me there. JUDY Okay. I’ll fix you a tuna fish sandwich. ANNIE It’s eight in the morning. JUDY You can put syrup on it.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JUDY’S HOUSE - SOME TIME LATER DING DONG. Annie answers the door in her clothes. It’s HELEN. She starts to close the door, Helen stops her. HELEN I know. ANNIE What do you want? HELEN (strangely calm) I was wondering if you knew where Lillian was? ANNIE What do you mean? HELEN She disappeared after the Rehearsal dinner last night. I can’t find her, we looked everywhere.95.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library ANNIE What? HELEN She’s missing. Can you help? ANNIE (suddenly concerned) Wait here. I think I know someone A123 A123 that could help. I’ll get my keys.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ANNIE’S CAR - DAY Helen and Annie are driving. It is beyond awkward. HELEN I just don’t know what could have possibly gone wrong. Everything was going smoothly. The dress looked fantastic, it had come in from Paris. Dougie was being great and very helpful. I had organized everything to the last final detail. I just don’t know what happened to her. ANNIE I don’t know. You should know, right? You’re her best friend. It’s weird that you don’t know, you guys are so close. HELEN Annie I want to apologize to you, personally, for all the things that have gone down. I know I hurt you and that I created a distance between you and Lillian and I want to apologize for that and everything that happened at the shower, with Las Vegas -- ANNIE Okay, I don’t want to hear anymore honestly. I just don’t want to talk to you. As Helen starts to talk, her face is starting to get red and her eyes are welling up. She fights to remain completely composed.96.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library HELEN Perry never wants to talk to me either. He travels a lot, like all year. I’m basically just by myself. ANNIE I don’t feel sorry for you. HELEN You know I really liked that original dress you picked at the bridal store. I thought it was beautiful, you have really lovely taste. ANNIE Thanks. But it’s a little too late for that. Helen’s hands and body contort and her face gets redder and sweatier. HELEN And I don’t think that Brazilian food really gave us food poisoning. ANNIE No it did. HELEN No, I don’t think it did. ANNIE It was the food. I shit my pants. HELEN I don’t think that was your fault. ANNIE No, that was my fault. HELEN I think people only ask me to do their weddings because I’m good at organizing parties. Helen is now beet red and looks almost like she’s in pain as she fights with every muscle in her body to remain composed. Annie looks disturbed. HELEN (CONT’D) I don’t have any female friends. Helen is now crying, and not pretty. Annie cracks a smile.97.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library HELEN (CONT’D) Why are you smiling? ANNIE This is the first time I’ve seen you look ugly. It makes me kind of happy. HELEN I look ugly? (laughing and crying) No I don’t. I don’t really look ugly. ANNIE You’re an ugly crier, but that’s okay. HELEN Well, I’m not really an ugly crier. ANNIE Maybe just a little bit. HELEN I ruined my makeup. I still look pretty right?",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ROAD - DAY Rhodes sits in his car at his post, reading a newspaper. Annie’s car pulls up next to him. ANNIE (yelling over Helen) Rhodes! Rhodes. Rhodes starts to roll up his window. HELEN He’s ignoring you. (to Rhodes) Officer! Roll down your window! Excuse me! Please! ANNIE Rhodes, I know you can hear me and I know you’re mad at me. But I need your help, please. Rhodes lifts a sandwich to his mouth and takes a casual bite. Flips to the next page of the paper. Icing Annie. 98.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library HELEN You know this guy? Annie stares at him, thinking, then drives away.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ROAD - CONTINUOUS Annie’s car SPEEDS past Rhodes. He takes another bite of his sandwich, ignoring her. Helen is scared. HELEN WHAT ARE YOU DOING?! ANNIE Just trying to get his attention. Annie looks back and turns the car around. She’s gonna try again. This time she honks the horn and flashes her headlights, speeding past even faster. Rhodes folds his paper into a square and prepares to do the crossword. Annie turns around again. She screeches to a stop.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ROAD - CONTINUOUS She speeds by Rhodes again, this time swerving all over the road. She yells to him... ANNIE I’m speeding! You better pull me over!! Rhodes REALLY wants to, but instead takes out a pen and starts doing the crossword. RHODES Really. Annie speeds by again and again, throwing a bunch of TRASH and DIET COKE CANS out of the window, blaring music, drinking a 40 oz., doing a donut in the middle of the road, burning rubber, sending up a cloud of smoke. He fights to continue ignoring her. She finally pulls up behind him and taps the back of his car. Rhodes sets down his crossword and turns on his flashing lights. Makes the siren give one small sad BLOOP. Then quickly gets out of his car. RHODES (CONT’D) Are you crazy? All that stuff, that would have been dangerous for a good driver.99.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library ANNIE I’m sorry. I need your help. We can’t find Lillian. RHODES How long has she been gone? ANNIE She’s been missing for like twelve hours. RHODES Twelve hours? It’s not a missing person until it’s at least twenty four hours. Have you ever seen CSI? Twenty four hours. Let me get on with my job Annie. ANNIE (sincere) Nathan...please. I really need your help. HELEN Please Nathan. RHODES Who’s this one? ANNIE (hesitates) This is Helen. Rhodes is immediately speechless. RHODES Hello Helen, I’ve heard wonderful things.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. RHODES’ CAR - MOMENTS LATER Rhodes is on his phone as he types on the car’s computer. Annie and Helen stand, watching. RHODES (into phone) Uh huh. Uh huh. Okay, thanks. (then) We’ve traced her cell phone to the corner of Craner and Rose. Do you know where that is?100.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library The girls are quiet and perplexed, talking softly to each other. ANNIE (to Helen) That’s her apartment. I thought you said you looked there. HELEN We did. Last night. RHODES So you’re saying she’s at her apartment? That’s what you’re telling me? ANNIE She must have gone back after you left. RHODES God, that was crazy of her. HELEN Thank god, thank you. Let’s go, Let’s go. ANNIE (to Rhodes) We found her! I’m so sorry, I didn't mean to waste your time. That’s embarrassing. Thank you. RHODES (underwhelmed) No, you’re welcome. This is the kind of high-octane stuff that made me want to be a cop. Missing girl found at her apartment. It’s adrenaline pinching. ANNIE ...It’s nice to see you. RHODES I’m glad that you got your tail lights fixed. Means I won’t have to stop you again. Annie reads between the lines. It’s over. HELEN Annie, let’s go!101.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library RHODES Anyway, go and save your friend from her apartment. He sits in his car. Annie looks like she wants to say more but can’t. She gets in her car, then drives away. Helen looks at Annie, then out the back window at Rhodes. HELEN’S POV: Rhodes stares after them, looking bummed.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. LILLIAN’S APARTMENT BUILDING - DAY Annie’s car pulls up in front of Lillian’s apartment building. Her car is there! They start to jump out. ANNIE Do you mind if I actually go by myself? Helen understands and nicely nods. She gets it.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LILLIAN’S APARTMENT - DAY Annie, with her own key, unlocks the door, and walks into the apartment. It’s quiet. ANNIE Lillian? Lill?! After a beat, she hears a small GROAN. Annie walks in and sees the outline of Lillian in bed. She’s completely covered from head to toe by her comforter. ANNIE (CONT’D) Lill? LILLIAN Go away. Annie sits on the bed and pulls the covers off of Lillian’s face. ANNIE What happened? Lillian has been crying, and continues to. LILLIAN This whole wedding is fucked up. Helen took over everything. Everything’s gotten out of control. My dad can’t afford the wedding. 102. (MORE)Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library (beat) This has been really hard to do without you. It’s been shitty. ANNIE I’m sorry. LILLIAN Nope, I’m sorry. I’m sorry I kicked you out of my wedding. It’s my fault. ANNIE No it’s my fault. (beat) I think I’m the one with the mental problems. LILLIAN Yeah, wasn’t it my turn to be crazy? The bride is supposed to be crazy. ANNIE Yes, technically. LILLIAN You kind of stole all the crazy. ANNIE I out-crazied you. Everything is going to be okay. LILLIAN How do you know that? At the rehearsal dinner last night I told Dougie I had to get Q-Tips and all of a sudden I was driving here. I came here. I realize this is the last time I’m going to be here. With that couch and this bed. Taking a bath in my bathtub. You know how much I love my bathtub. ANNIE (humoring her kindly) It’s a good tub. I slept in there on my 30th birthday. LILLIAN I remember. Everything is going to change. (tearfully)103. LILLIAN (CONT'D) (MORE)Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library I’m not going to get to live five minutes away from you. That makes me so sad. Annie soaks this in, and although sad, sees this is her time to be there for Lillian. ANNIE Don’t be sad. Things are going to change, but they’ll be better. You’re gonna take this huge, great, beautiful step. And Dougie loves you more than anything and so do I. LILLIAN But what about you? What’s going to happen to you? Annie realizes she’s going to be okay. ANNIE I’ll be fine. Don’t worry. I am fine. Besides, you need to blaze the trail for me and then report back and tell me what’s coming. LILLIAN Whatever you say, boss. They smile and hug. ANNIE C’mon, put on your dress and let’s go to your wedding. LILLIAN Mmm. That’s the other problem. CUT TO:",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LILLIAN’S APARTMENT - SAME Lillian entering in THE MOST OVER-THE-TOP COUTURE WEDDING DRESS EVER IMAGINED. Annie IMMEDIATLEY starts to laugh. LILLIAN Don’t you dare laugh. Annie cracks up. Lillian joins her. It’s RIDICULOUS. LILLIAN (CONT’D) I cannot wear this dress.104. LILLIAN (CONT'D)Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library ANNIE Don’t panic. Lill, we’ll fix it. We’ll tweak it. I will not let you walk down that aisle unless you look perfect and beautiful, I promise. LILLIAN Do you have a chain saw? And a blow torch? I think this whole wedding is going to be a disaster. ANNIE Don’t say that. If Helen had anything to do with this wedding it is going to be perfect and tasteful. Lillian nods and gives Annie a grateful smile. They’re both happy to be friends again.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. OUTDOOR WEDDING - NIGHT DRAMATIC LIGHTING AND MUSIC. A minister is giving the vows to Lillian and Dougie in front of a wall of fog. MINISTER Do you, Douglas Anthony Hastings, take Lillian ... As the minister continues, PULL BACK to see the bridesmaids and groomsmen are standing on ornate platforms that are sticking up out of a reflecting pool. Megan has one of her dogs on a leash. It has a ring bearer’s pillow on it’s back and wears a dog tuxedo. DOUGIE I do. MINISTER And do you, Lillian Grace Donovan, take Douglas ... LILLIAN I do. PULL BACK MORE to see that Lillian and Dougie are actually standing ON THE WATER as a laser light show is spelling out “THEY DO” inside a beating heart on the fog behind them.105.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library MINISTER By the powers invested in me, I now declare you man and wife. You may now kiss the bride. Lillian and Dougie kiss. BOOM! FIREWORKS start to go off as the LASER LIGHT SHOW goes into overdrive. It’s nuts. Lillian looks over at Annie. They exchange a smile that says, “We were wrong. This is crazy.” Helen is looking around at it all, beaming. She couldn’t be happier. Once again she pulls a mic out of no where. HELEN And now ladies and gentlemen, here with us tonight is Lillian’s favorite band, playing her favorite song. Put it together for Wilson Phillips! WILSON PHILLIPS walks out singing. As fireworks continue and MUSIC starts ... Annie is floored. ANNIE (to Helen) Really? HELEN This is the last one, I promise. A133 A133 Megan looks into the crowd, winking. JON the Air Marshal winks back!",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. WEDDING RECEPTION - HUNT CLUB - NIGHT The doors fly open. The bride and groom run down the stairs everyone is throwing flower petals and cheering. They say goodbye to people, hug etc. Lill hugs Helen and thanks her. Before she gets in the car she looks for someone. It’s Annie, who couldn’t get close to the front. They find each other, share a smile, Lillian mouths “Thank You,” and waves goodbye. Annie watches as the car drives away. Lillian’s gone. Megan comes up next to Annie laughing. ANNIE What’s so funny? MEGAN I put a loaded gun in Dougie’s carry on. TSA is gonna rip his ass apart. 106.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HUNT CLUB PARKING LOT - NIGHT Annie and Helen are saying goodbye. HELEN Did you have a nice evening? ANNIE It was beautiful, yes. HELEN What did you think of the wedding? ANNIE It was great. HELEN It was great, right? ANNIE It was perfect. Helen is relieved, followed by an awkward pause. HELEN It was really nice meeting you. ANNIE Helen, it was really nice meeting you too. (beat) Hey maybe one night the three of us can go to Rockin’ Sushi together. HELEN Thank you Annie, I would love that. Helen’s eyes light up, touched. She then glances out to the parking lot, then smiles. HELEN (CONT’D) (then) Annie, your ride is here. Annie looks out, happiness comes over her. Reveal Officer Rhodes standing next to his squad car, like Jake Ryan in ‘Sixteen Candles’. Annie gives Helen a look of “How?” Helen just smiles and nods for Annie to head over. She does. RHODES How did it all work out? ANNIE Strangely well.107.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library RHODES Good. (beat) I ate your cake that you left. ANNIE You did? RHODES Yup. I had to fight some raccoons off but that’s okay. I’m pretty strong and tough so it wasn’t much of a contest. I’m just gonna kiss you now rather than -- They kiss. POLICE RADIO (O.S.) Officer Rhodes, please report to North Brook Street -- RHODES Whoops. I’m on duty. And I need to put my uniform on. If I drive like this, they’re going to think I stole the car. Care to ride along? ANNIE Sure, alright. Annie walks around the car and starts to get into the front passenger seat. RHODES Where you goin? You’ll have to sit in the back seat. Yeah, it’s against regulation for you to sit in the front. ANNIE What?! Rhodes opens the car’s BACK door for her. ANNIE (CONT’D) You’re gonna make me sit in the back seat? RHODES Yes, c’mon. She goes around to the other side and as she’s getting in Rhodes pushes her head down like she’s under arrest.108.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library RHODES (CONT’D) Sorry, force of habit. He closes the door and jumps in the driver’s seat. As the car pulls away we continue to hear their conversation. ANNIE (O.S.) Can I please get in the front seat? RHODES (O.S.) Actually I’m afraid there is a warrant out for your arrest. ANNIE (O.S.) What!? Why? RHODES (O.S.) Reckless driving, littering, texting, consuming alcohol while operating a vehicle. You didn’t think I was gonna let you get away with that, did you? ANNIE (O.S.) Can you at least put the siren on? Rhodes flips on the siren as they drive off. ANNIE (O.S.) (CONT’D) (smiling) Thank you. THE END109.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HANNAH'S APARTMENT - NIGHT A full face of Lee, wearing a gray sweater and leaning against the dining room doorway. She gazes into the camera with a half-smile on her face as Elliot speaks over the screen. ELLIOT (V.O.) God, she's beautiful. Lee glances over her shoulder, then turns from the doorway and walks away. The camera follows her, moving across a book-and-photograph-filled bookshelf that obscures her from view as she walks into a crowded, comfortable vestibule. People, some holding drinks, some just entering the apartment, surround her. Everyone is talking at once, carrying on easy, familiar conversation. ELLIOT (V.O.) She's got the prettiest eyes, and she looks so sexy in that sweater. Lee smiles at the various people, exchanging greetings. LEE Hi, how are you? Two more guests enter the apartment; the vestibule is full now. Still walking, Lee lightly hugs one of the children as she continues on her way towards the living room. Elliot's voice, as well as the jazzy music, is heard. ELLIOT (V.O.) I just want to be alone with her and hold her and kiss her... Lee walks into the living room, turning her head back for a moment to talk to the child she has just hugged. ELLIOT (V.O.) ...and tell her how much I love her and take care of her. Stop it, you idiot. She's your wife's sister. But I can't help it. 2. The camera is still moving with Lee as she smiles and stops to chat with her mother. Elliot's voice, as well as the music, continues over the low din of warm conversation. ELLIOT (V.O.) I'm consumed by her. It's been months now. I dream about her. I- I, I think about her at the office. Oh, Lee. (sighing) What am I gonna do? Lee starts to walk off again, finishing her conversation with her mother. She passes several other guests, then turns to greet April, giving her a warm, brief hug. ELLIOT (V.O.) I hear myself mooning over you, and it's disgusting. Before, when she... Elliot's voice-over continues as he is actually seen, standing in a doorway having a conversation with a gesturing, rotund man. Both are holding drinks as Lee, carrying a tray of hors d'oeuvres and two drinks, walks between them. The space is very tight; the men hold up their drinks to make room for her. ELLIOT (V.O.) ...squeezed past me in the doorway, and I smelled that perfume on the back of her neck... Elliot watches Lee walk off; the other man, oblivious, continues to talk. Elliot reluctantly returns to the conversation, but he can't help turning his head to gaze at the offscreen Lee as the other man chatters on. ELLIOT (V.O.) ...Jesus, I, I thought I was gonna swoon! Easy... The camera resumes following a smiling Lee. She has just put down the tray and drinks near April, and briskly and obliviously, she walks past a doorway where Elliot, still ruminating, watches her, entranced. ELLIOT (V.O.) You're a dignified financial advisor. It doesn't look good for you to swoon. The camera stays with Elliot, who is still watching the offscreen Lee. In the background, guests continue to chatter warmly with each other. 3. Hannah, carrying a tray of hors d'oeuvres, walks up behind the distracted Elliot. HANNAH (nibbling on an hors d'oeuvre) Elliot? Elliot? (rubbing his shoulder) Sweetheart? Elliot returns from his reveries with a start. ELLIOT (turning to Hannah) Mm-hm? HANNAH (pointing to the tray) Have you tried these? These are wonderful. (nibbling, swallowing) Holly and her friend made them. Elliot, taking one of the hors d'oeuvres, starts nibbling as well as he and Hannah walk past the bookshelf into the living room. ELLIOT (swallowing) They're fantastic. HANNAH (overlapping, still eating) Aren't they great? ELLIOT Your sister is an unbelievable cook. HANNAH (swallowing) I know! I know! Elliot and Hannah, eating and talking, walk past a hallway and offscreen as Holly appears, walking down the hallway. She holds a drink and a plate of hors d'oeuvres; she stands at the entrance to the hallway, eating and looking at the offscreen guests. HANNAH (walking offscreen) She has all the cooking talent. 4. ELLIOT (walking offscreen swallowing) No, she doesn't, either. You've got tons as well. HANNAH (offscreen) Ohhh, but I've eaten five of these. Holly, standing in the hallway onscreen, swallows loudly. ELLIOT (offscreen, overlapping Holly) Holly, why don't you open your own restaurant? HOLLY (turning to the offscreen Elliot and Hannah, trying to swallow) Mmm, we practically are. Well... (holding her hand to her mouth) not a restaurant, but... (swallowing) April and I are going to do some catering! HANNAH (offscreen) What? You're kidding! HOLLY (nodding) No, no, we decided! Holly takes a sip of her drink as Hannah and Elliot walk over to her. HANNAH Perfect! HOLLY (nodding and swallowing) Mmm...I mean, we love to cook for our friends, so (gesturing) we thought until an acting job comes through, we could just make some extra money, you know, doing a few private parties. 5. ELLIOT (nodding) Great idea. HANNAH (agreeing) I know. ELLIOT (overlapping Hannah) That's where your talent lies. HOLLY (swallowing and nodding) I know. Holly and Hannah begin to laugh. HOLLY (gesturing to Elliot, still laughing) Get outta here. (to Hannah) Could I speak to you privately? HANNAH Oh, sure. Holly and Hannah walk off; Elliot watches them leave. ELLIOT (calling after them as he nibbles on an hors d'oeuvre) I'm her husband! She tells me anything! CUT TO:",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HANNAH'S KITCHEN - NIGHT Hannah, licking her fingers, walks past a memo-cluttered refrigerator to the stove as Holly, behind her, begins to speak. The faint sounds of music are still heard. HOLLY Hannah, I have to borrow some more money. (sipping her drink) Don't get upset. 6. HANNAH (stirring some food in a saucepan on the stove) Mmm, I never get upset over that. Mmm? HOLLY This is the last time, I promise. And I'm keeping strict accounts. As Holly talks, sipping her drink, Hannah busily works in the kitchen, which contains a large center table stacked with bowls and plates of food, hanging pots and pans, and general party clutter. She walks on-and-offscreen as she talks and listens to her sister. HANNAH Holly, please. Don't insult me. HOLLY (putting her empty glass and plate down on the table) Someday, I'll pay it all back. HANNAH I know. H-how much do you need? HOLLY Two thousand dollars. Hannah, who'd been mashing some food in a bowl on a nearby counter, hesitates momentarily. She turns to Holly. HANNAH (trying to nod her head casually) Uh-huh. HOLLY (gesturing, her back to the camera) Hannah, I know it's a lot, but my friend April and I, we have this catering idea I think's going to be great. Hannah, licking her fingers, walks past Holly. HOLLY (turning to face Hannah) You admit that we're great cooks, right? 7. HANNAH (nodding, back at the stove now, stirring in a pot) Yeah. HOLLY (putting her hands in her pockets) Well, in order to get started, there's just a few things I have to buy... (gesturing) and some old debts I have outstanding. HANNAH (looking at her sister) Will you just tell me one thing? HOLLY (nodding) Okay. HANNAH Are we talking about cocaine again? HOLLY (shaking her head no) I swear. I swear. We've already got some requests to do a few dinner parties. A timer goes off. Hannah walks past Holly to attend to some food on a different stove. Holly turns to face her. Only Holly is seen as she talks to the offscreen Hannah, the camera moving in closer on her face. As Holly speaks, she distractedly nibbles an hors d'oeuvre. In the background, her parents can be heard singing in the living room. HOLLY I mean, obviously, I'm not going to be a caterer forever, you know. We both still go to auditions. Something could turn up at any moment. But the parties are at night, days are free, I can still take my acting class. I haven't done drugs on a year. Holly pops another hors d'oeuvre into her mouth as the background singing gets louder and the film cuts to: 8.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HANNAH'S LIVING ROOM - NIGHT The living room is crowded with family and guests sitting comfortably on chairs near the piano, where Evan, Hannah's father, plays ""Bewitched"" as Hannah's mother, Norma, sits nearby, accompanying him in their duet. A child is sprawled out under a blanket on a sofa; some guests chatter quietly; others drink and eat, listening. EVAN & NORMA (singing) ""A whimpering, simpering Child again Bewitched, bothered, and bewildered Am I..."" As they continue to sing, the film cuts back to the kitchen, where Lee, carrying some glasses, enters through the doorway. LEE Mom and Dad are floating down memory lane again! Lee walks over to her sisters, putting the glasses down on a counter. Hannah is scooping seeds out of a cantaloupe. Holly, leaning on the table, sips her drink. The music from the living room is softly heard as the three sisters chat comfortably and easily with each other. HANNAH (smiling and turning to Lee) Aah... Hey, have you tried Holly and her friend's shrimp puffs? LEE (nodding to Holly, touching her arm) I think they're fantastic. HANNAH (to Holly) You've outdone yourself. HOLLY (overlapping her sisters, shrugging and smiling) Oh, my God. Thank you. LEE (interrupting, to Hannah) I need an antihistamine. Mom thinks she's feeling her asthma, and so... 9. HANNAH (overlapping) Ohh? HOLLY (overlapping, lighting a cigarette) Uh-oh. LEE (continuing) ...before she starts turning into Camille... (laughing) HOLLY (overlapping) Yeah, Mom's Camille when she gets up in the morning. LEE (turning to Holly) At least she isn't drinking. Did you notice? HOLLY (nodding) Mm-hm. HANNAH (turning to look at her sisters, laughing) Doesn't she look great in that new dress? HOLLY (nodding) Yeah. LEE (nodding) Yeah. The sisters all talk at once; Hannah is still working at the sink. HANNAH Don't you think she does? HOLLY She really does, though. 10. LEE (turning towards the sink) Yeah, she knows it, too, 'cause she's flirting with all the men here. HOLLY (puffing on her cigarette) God. HANNAH (scooping out some cantaloupe seeds) Maybe when she's eighty, she'll stop straightening her garter belt when there's a guy around. HOLLY (to Lee, laughing) I should get a garter belt. LEE (laughing) Yeah. HOLLY (looking down at herself) Get a garter belt... (sipping her drink) Get a garter belt and flirt. LEE (laughing, to Hannah) Where are the antihistamines? HANNAH Oh, I don-- Ask Elliot for that. Uh, he's got them somewhere. LEE (nodding) Okay. Lee leaves the kitchen. Holly, puffing on her cigarette, watches her go. HOLLY (sighing) Frederick didn't come with her. 11. HANNAH (turning to Holly, still working at the sink) When does Frederick ever come with her? HOLLY (whispering intently) Tch. He's such an angry...he's such a depressive. I thought she was moving out! Hannah shakes her head in disapproval while Holly angrily takes another sip of her drink. And the film cuts briefly back to the living room, where Evan is still playing the piano and singing. The camera moves past him and a few guests to Norma, who is enthusiastically singing along, looking at Evan and moving her hands. EVAN & NORMA (singing) ""A pill he is But still he is All mine and I'll Keep him until he is Bewitched, a'both--"" CUT TO:",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HANNAH'S DINING ROOM - NIGHT The table is beautifully set for Thanksgiving dinner, complete with candles, flowers, cut crystal, china, and silver. Hannah's children are playing in the room as Hannah enters, carrying a huge roast turkey. Behind her is Holly, carrying a casserole. Hannah's parents can still be heard singing in the background. HANNAH (to the children) Watch out, you guys. Beep-beep! HOLLY (overlapping) Oh, your kids are so adorable. CHILDREN (walking through the doorway) Bye! Bye! 12. HOLLY (putting down her bowl on the table) God, it gets so lonely on the holidays. HANNAH (setting down the turkey on the opposite end of the table) Oh, gosh. Well, you know, that's why I invited Phil Gammage tonight. As the sisters talk, the piano music stops. There's the sound of light applause as Evan begins a new song, faintly heard in the dining room. HOLLY (grimacing, reacting to Hannah) Oh, Hannah! HANNAH (overlapping) It's, uh, you never know-- HOLLY (interrupting, gesturing) He's such a loser! HANNAH He's not a loser at all! HOLLY (shaking her head) Oh, he's such a loser! HANNAH (overlapping, lighting a set of candles on the table) He's the headmaster of Daisy's school. HOLLY Oh, perfect! He reminds me of Ichabod Crane. (moving her hand up and down her throat) His Adam's apple keeps jumping up and down whenever he gets excited. 13. HANNAH (laughing) Listen. He's a lot better than your ex-husband. He's got a good job. (handing a pack of matches to Holly) Would you light those, please? He's-he's-he's not a dope addict or anything. HOLLY (striking a match to light another set of candles) Give me a break. APRIL (offscreen) Am I interrupting... The film cuts to April, standing in the doorway of the dining room and holding a drink. APRIL (continuing) ...any sister talk? HANNAH (offscreen) Mm-mm! HOLLY (offscreen) Come in. The camera moves with April as she walks over to the table, where Hannah and Holly are lighting candles. APRIL Oh, good... HANNAH (overlapping, still offscreen) Come in, come in. APRIL (gesturing) ...because there are no interesting single men at this party! HANNAH (now onscreen) Oh, listen... 14. HOLLY (interrupting, waving out her match) I know. It's terrible! APRIL (shaking her head) I mean, I've looked everywhere. HANNAH (picking at the turkey and gesturing) Maybe April would like Phil. Phil Gammage, the tall guy in there by the piano. Holly groans, looking at her sister, while April sips her drink and nods. APRIL (pointing to herself) Hm-mm. Oh, yeah. I met Phil. HANNAH (looking at April, nodding) Mmm? APRIL He's the--He looks like Ichabod Crane? Hannah screams with laughter as she walks toward the end of the table, past a gleeful Holly, who points her finger at Hannah as she passes. Hannah, still laughing, playfully pushes the accusing finger away. APRIL (laughing with the sisters, gesturing) I love that. That's my type. HANNAH (shaking her head, laughing) I can't believe it! She walks over to a nearby china cabinet. APRIL (nodding and looking at Hannah) No, really, I really like him a lot. 15. HOLLY (overlapping, laughing and gesturing) No, really, we mustn't get discouraged. As Holly continues to tease her sister, Hannah opens a drawer in the cabinet. She takes out two apples decorated with paper turkey heads and tails and hands them to April. HOLLY (fussing at the table) Hannah will invite some men over who don't look like Ichabod Crane. APRIL (overlapping) Mmm. April starts to put the turkey apples on the table. A bemused Hannah takes two more out of the cabinet and places one of them on the table as well. HOLLY (straightening a table setting) Not this Thanksgiving, you know. HANNAH (overlapping, to April, who has just set down her apples) Here. Be careful with those. HOLLY (continuing her teasing, gesturing) Maybe at Christmas, New Year's. If not this New Year's, maybe next New Year's. While Holly is talking, Hannah hands her the last turkey apple, accidentally sticking her with one of the toothpicks that keeps the decorations in place. HOLLY (reacting) Ouch! HANNAH (turning to her sister in surprise) Oh! 16. The film cuts to a short hallway leading to a bathroom in Hannah's apartment. In the foreground is a standing lamp. In the background, Elliot is seen walking inside the bathroom, looking around the room. Light piano music is dimly heard. ELLIOT (searching) Must be here someplace. He walks out of the bathroom, moving down the hallway towards the camera. LEE (offscreen) Oh, you know, I, I love that book you lent me. The Easter Parade? You were right. It had very special meaning for me. ELLIOT How's Frederick? He didn't come. Elliot walks into the bedroom as Lee continues to talk offscreen. The camera, leaving Elliot, moves across the room, past a wall of framed paintings, a headboard and bed, a night table and lamp, revealing Lee. She is flipping through a book by a curtained window. LEE (offscreen) Oh, well, you know Frederick. One of his moods. Although it wasn't a bad week. He (onscreen) uh, sold a picture. ELLIOT (offscreen) Oh, great. The camera stays with Lee as she walks around the room, past another curtained window, a television set, and a rolltop desk. She absently flips through the book as she talks to the offscreen Elliot. LEE Yeah, it was, it was one of his better drawings, a very beautiful nude study. Actually, it was of me. (laughing) It's funny, you know, it's a funny feeling to know you're being hung naked in some stranger's living room. 17. Lee puts the book she's been holding down on the desk, only to pick up another one. She looks at the offscreen Elliot. LEE Well, you can't tell it's me, although-- (pausing) You're turning all red, Elliot. She reacts. The camera moves to a blushing Elliot, following him now as he walks across the room. ELLIOT (laughing self- consciously) Really? So, so, what else? Wh- what are you up to? LEE (offscreen) Oh, I don't know. My unemployment checks are running out. Um, I was thinking of taking some courses at Columbia with the last of my savings. As Lee speaks, Elliot parts a hanging curtain against the wall to reveal a stereo and some records. He looks at the offscreen Lee. ELLIOT Like, uh...? LEE (offscreen) I don't know exactly. As Elliot reaches inside the stereo shelf, grabbing a bottle of antihistamines, the camera moves back to Lee, who sits down on the bed. She is still holding a book. LEE Uh, sociology, psychology maybe. I always thought I might like to work with children. Elliot walks over to Lee; he sits down on a footstool in front of her. ELLIOT (gesturing with the bottle of pills gripped in his hand) Incidentally, I-I always have clients who are furnishing places. (MORE) 18. ELLIOT (CONT'D) Some of them might-might be interested in buying art. Shall I, shall I call you? (chuckling self- consciously) LEE Yeah, sure. (taking the bottle of pills Elliot hands her) You know, uh, Frederick would really by grateful for a sale. She chuckles; Elliot smiles and chuckles with her. HANNAH (offscreen) Hey, you guys? Elliot turns in the direction of his wife's voice. HANNAH (offscreen) Dinner's ready. Hannah, eating a carrot stick, enters the bedroom. The camera stays with her momentarily as she walks towards Elliot and Lee. LEE (offscreen) Oh, great. HANNAH (overlapping) You look so beautiful. LEE (offscreen) Come on. HANNAH (standing by Elliot and Lee) Doesn't she look pretty? LEE I bumped into your... ELLIOT (overlapping, agreeing with Hannah) Yeah. 19. LEE (continuing) ...ex-husband on the street the other day. HANNAH (biting her carrot) Oh, yeah? LEE (gesturing) He was, he's just as crazy as ever. He was on his way to get a blood test. (laughing, Elliot joining in) HANNAH (reacting) God, Mickey's such a hypochondriac. I wonder how he'd handle it if there was ever anything really wrong with him? ELLIOT (standing up) Let's go have dinner, shall we? HANNAH (overlapping) Mmm. LEE (standing up, overlapping) Good idea. CUT TO:",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DINING ROOM - NIGHT Everyone is seated around the table for Thanksgiving dinner. Facing the camera are Holly, Lee, Norma, and Hannah. She sits to the left of Elliot, who's at the head of the table. On his right is Evan; April sits next to him. She and the other guests sit with their backs to the screen. The table overflows with food, floral decorations, and candles. In the background, the children sit at a separate table; a maid serves them turkey. The guests chatter comfortably among themselves as they eat. 20. EVAN (clanking a piece of silverware against his water glass) Now, ladies and gentlemen... HOLLY (making a face) Dad. Evan continues to clank his glass to get everyone's attention. HOLLY Dad... LEE (reacting, to Holly) Oh... HOLLY Dad! EVAN (still clanking) No, now... HOLLY I'm starving! Resigned, Holly puts down her silverware. Lee smothers a laugh. Norma, reacting, glances at Holly and Lee. Everyone knows what's coming. EVAN (clanking away) ...this is a toast! This is a toast. HANNAH (reaching across the table for Evan's wine glass, laughing) Get his wine away. EVAN This is a toast. You know this beautiful Thanksgiving dinner was all... Holly laughs. Lee glances over to her, reacting. Hannah, embarrassed, reacts and sits with her hands on her face. Lee and the rest of the guests put down their silverware. They look at Evan, listening. 21. EVAN ...prepared...by Hannah. Hannah, embarrassed, makes a victory sign. HANNAH (modestly pointing to the maid) Uh, and a little help... Lee and Holly try to suppress their laughter. Norma glares at them. NORMA (to her daughters) Hey! HANNAH (continuing) ...from Mavis, also. Elliot wraps his arm around Hannah; he pulls her towards him affectionately and kisses her on the cheek. She hugs him back. ELLIOT (hugging Hannah) You bet. HANNAH (overlapping, looking down the table while still in Elliot's embrace) Holly and April, thanks for helping. Mavis the maid exits, carrying some trays, as the group starts to cheer and applaud. Holly waves her napkin at April, then holds up her wine glass. EVAN (overlapping the noise) No, you did it. HOLLY (overlapping, toasting her friend) April, April! HANNAH (overlapping, gesturing) I am... I did slave all day. 22. EVAN (overlapping, holding out his wine glass) And we drink to her, and we all congratulate her on her wonderful accomplishment during this last year...her great success in A Doll's House! The group continues to cheer as they all toast Hannah. She reacts, smiling but embarrassed. NORMA (overlapping, laughing) Ya-a-a-a-y! (laughing) I played Nora. I hate to tell you what year... The guests, sipping their wine, quiet down as Norma continues to speak. Lee and Holly unsuccessfully try to contain their laughter. Mavis reenters the dining room to serve more food to the children. NORMA (continuing) And it's very difficult to behave like Torvald's little chipmunk without making a perfect ass out of yourself! (pausing while the guests laugh heartily) Now I think that Ibsen would have been damn proud of our Hannah! Norma toasts her daughter; everyone follows her. The applause and cheers begin anew. Hannah, reacting, chuckles. APRIL (overlapping the applause and clapping loudly) Speech! Speech! Speech! NORMA (overlapping) Yea-a-a-a-ah! A few guests sip their wine. They all quiet down as Hannah starts her speech, glancing around the table and gesturing. HANNAH (reacting) I don't know about that. (MORE) 23. HANNAH (CONT'D) Oh, no, I just, see, I-I've been very, very lucky. W-when I had the kids, I decided to stop working and just, you know, devote myself to having the family, and I've been very, very happy (banging her fists lightly on the table) but...I've always secretly hoped that maybe some little gem would come along and tempt me back on the stage... EVAN (nodding) Yeah. HANNAH (overlapping) ...just for a second. So, now I got that out of my system and I can go back to the thing that makes me happiest. Hannah tenderly takes Elliot's hand as she looks around the table. He, in turn, kneads her shoulder, chuckling with equal tenderness. EVAN (chuckling) Oh, bravo! Bravo! Hannah, still embarrassed, looks down at a plate. The group applauds once more, toasting and drinking, and warmly sounding their approval. CUT TO: ""We all had a terrific time."" Classical string music plays as the film cuts to:",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MANHATTAN STREET - NIGHT A taxi moves down Broadway towards the camera, passing a truck on the right, the Winter Garden marquee advertising Cats, and several buildings, and as the taxi moves offscreen, the classical music still playing, the movie cuts to the taxi's backseat. Lee sits by the window, leaning her head in her hand, a reflective look on her face. Her voice is heard over the screen. 24. LEE (V.O.) Is it my imagination, or does Elliot have a little crush on me? (chuckling slightly) It's funny. I've had that thought before. He pays a lot of attention to me all the time, and he blushed tonight when we were alone in the bedroom. I wonder if he and Hannah are happy? It's funny, I...I still feel a little buzz from his flirting. CUT TO:",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FREDERICK'S LOFT - NIGHT Lee stirs a cup of coffee on the counter of the loft's modern kitchen area; a nearby vase hold flowers. She walks across the loft, with its high ceilings and beige walls, holding her coffee. LEE (to an offscreen Frederick) Want some coffee or tea? FREDERICK (offscreen) No, thank you. Lee continues to walk, past a modern chaise, a bookcase, some sofas, two columns. Lamps hang down from the ceiling. The classical music still plays in the background. Lee stops at a plastic-enclosed work area. Frederick can be seen working at a drawing board on the other side of the clear plastic screen. LEE (stirring her coffee) How about something to eat? FREDERICK No, nothing. The background music stops. LEE Are you sure? FREDERICK Absolutely. 25. LEE (walking around the screen to Frederick) Mmm, what am I gonna do with you? (laughing) As Lee walks over to the drawing board where Frederick is sitting, he is seen intently cleaning some paintbrushes with a rag. Lee stands by him, leaning over the board, and looks directly at him. The table is filled with cans of brushes and artist's equipment. LEE God! (sniffing) And why didn't you come tonight? We all had a terrific time. I really think you would have enjoyed yourself. FREDERICK (not looking at Lee) I'm going through a period of my life where I just can't be around people. (putting down the brushes and wiping his hands with the same rag) I didn't want to wind up abusing anyone. LEE You're not going to abuse them. They're all so sweet. FREDERICK (taking off his glasses) Lee... (pausing, reaching for Lee's hand) you are the only person I can be with...who I really look forward to being with. (pulling Lee to him, around the board) LEE (compliantly) You're too harsh with everyone. You know that, don't you? Frederick and Lee embrace; Lee sighs. 26. FREDERICK (looking into Lee's eyes) Isn't it enough that I can love you? LEE (sighing) Mmm... FREDERICK Hmm? LEE (overlapping) ...you're such a puzzle. (chuckling) So sweet with me and so...contemptuous of everyone else. (sighing) FREDERICK (sniffing) Well, there was a time (sniffing again) when you were very happy to be only with me. You wanted to learn everything about poetry, about music. LEE (nodding) Mm-hm. FREDERICK Have I really taught you everything I have to give? (shakes his head) I don't think so. Lee kisses Frederick twice, then releases him and walks out of the work area. LEE (turning her head in Frederick's direction) Oh, Elliot said he might have a couple of clients for you. Lee walks over to the loft's stereo area, pulling up the sleeves of her sweater as Frederick talks. FREDERICK (offscreen) I'm sure all those morons he handles have a deep feeling for art. 27. Lee picks up a book from the stereo shelf. She leans back against the unit, glancing through its pages. LEE (flipping through the book) MMM (chuckling) you never know. They might. He's just trying to do the nice thing. FREDERICK (offscreen) Because he likes you. LEE (looking up from the book) Me? FREDERICK Yeah. Frederick, leaving his work area, walks past Lee; his hands are in his pockets. FREDERICK (looking at Lee as he goes by) Elliot lusts after you. LEE Based on what? You never even see him. The camera stays with Frederick as he walks into the loft's bedroom area. FREDERICK Based on...whenever you see him, you always come home full of books he's recommended... He sits down at the foot of the bed and starts taking off his shoes. FREDERICK (continuing) ...or films you must see or... (shrugging) 28. LEE (walking over to him) Oh, no, no, no. He's my sister's husband. And I think if you gave him half a chance, you'd like him. He's very intelligent. Lee sits down next to Frederick; he takes her hand. FREDERICK He's a glorified accountant, and he's after you. (kissing Lee's hand) And I prefer to sell my work to people who appreciate it, not to rock stars. (kissing Lee's face) You understand? Lee kisses Frederick back on the cheek. They embrace. Frederick laughs; their embrace gets tighter. LEE (sighing) Ohhh! CUT TO: The hypochondriac. Upbeat jazz plays in the background and continues as the FILM CUTS TO:",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TV STUDIO CORRIDOR - NIGHT Metal elevator doors open and Mickey Sachs, a high-powered television producer, walks out, deep in conversation with his assistants, Paul and Larry. As the elevator operator begins to reclose the door with his passengers, Mickey, his assistants fast behind, walks down an office corridor past busy groups of studio personnel. Indistinct conversation, as well as the jazz, is heard in the background as the trio talk. MICKEY (gesturing) What do you mean, they won't let us do the sketch? PAUL Talk to Standards and Practices. They think it's too dirty. 29. The trio pass Mary, another assistant, in conversation with two other co-workers. She holds a clipboard. MICKEY But we showed it to them in rehearsal! Without missing a beat, he takes Mary's wrist and continues walking. MICKEY (to Paul) You know, what'd they do, figure out what the words mean? A foursome now, they briskly walk past a man and a woman going over a script. Mary and Mickey lead; Paul and Larry follow. MARY Mickey, we got a half hour to air! As the group walks through a large doorway, Larry catches up to Mickey. LARRY We're short! The show is five minutes short! The group turns right into a new corridor, briefly off the screen. As they scurry off, their voices are heard. MICKEY How could it be short? We timed everything (offscreen) long. PAUL (offscreen) If we have to... They are all now seen walking down the new corridor towards the camera. The corridor is crowded with busy TV personnel. The group continues to talk frantically as people hurry past them. One man pushes rudely past Mary as he walks; she looks back at him briefly. PAUL (continuing) ...pull out the sketch, then we'll be ten minutes short! 30. MICKEY (gesturing) I don't know how they can do that to us. That's-- We go on in thirty minutes, right? Mary checks her wristwatch as they rush down the corridor. LARRY (squeezing past several passersby) They're doing it because our ratings are low. MICKEY (nervously rubbing his forehead) I got such a migraine. As the group briskly walks past an open door, Gail, another assistant, runs out, brandishing her glasses. GAIL (offscreen) Hey, Mickey! Gail runs in front of the group. Without missing a step, she faces Mickey and walks backwards, gesturing and talking frantically. GAIL Mickey! Listen, we better go right to Ronny's dressing room. This kid must have taken sixteen hundred Quaaludes. I don't think he's going to be able to do the show! The fast-tracking group turns the corner. Gail pats Mickey's back; she gestures in exasperation. MICKEY (gesturing towards heaven) Why me, Lord? What did I-- He is interrupted by Ed Smythe, an official from the Standards and Practices Department, who's been standing in the corridor waiting for Mickey. Mickey stops and shakes Ed's hand as if he'd known the official would be there. Gail stops by his side while the others walk into a background studio doorway that is busy with scurrying personnel. 31. MICKEY You-- (pointing) Standards and Practices? ED Ed Smythe, yes. MICKEY Okay. Why, all of a sudden, is the sketch dirty? (putting his hands on his hips) ED (gesturing) Child molestation is a touchy subject... MICKEY (overlapping, looking at Gail) Could you-- ED (continuing) ...with the affiliates. MICKEY (overlapping and grunting) Read the papers! Half the country's doing it! ED (pointing at Mickey) Yes, but you name names. MICKEY (gesturing) We nev-- We don't name names! (turning to Gail for support, briefly touching her shoulders, then looking back at Ed) We say the Pope. GAIL (gesturing emphatically) We always say the Pope! ED That sketch... 32. MICKEY (overlapping) We-- ED (continuing) ...cannot go on the air. A writer, holding a script, walks out of the background studio, looking around. MICKEY Oh, Je-- WRITER (interrupting, shouting) Hey! Mickey, Gail, and Ed turn towards the writer. WRITER (angrily, slapping his script) Who changed my sketch about the PLO? Mickey and Gail walk over to the angry writer, Ed forgotten with this new crisis. MICKEY (gesturing) I had to make some cuts. It's four lousy lines! WRITER The whole premise is ruined! Mickey, Gail, and the writer start walking down a corridor adjacent to the studio. MICKEY (gesturing, trying to calm the writer down) Oh, you're crazy! It's not so delicate. Everybody's married to every line. The writer reacts angrily. Gail tries to get Mickey's attention as they walk. GAIL (tapping Mickey's shoulder) Mickey, I can-- 33. WRITER (interrupting, angrily gesturing) I don't care! I don't want anyone tampering with my goddamn work without telling me! MICKEY (shrugging) Okay. WRITER (pointing angrily) You want 'em cut?! I'll cut 'em myself! Mickey, still in surprised shock, turns away from the angry writer. He stands by an open dressing room, where Ron, an actor, slouches, dazed, in a chair facing a makeup mirror. People mill in the background behind the actor. MICKEY (shrugging, distracted) All right, all right. (muttering) GAIL (overlapping, trying to get Mickey's attention and gesturing) Mickey, Mickey, listen, listen. MICKEY (distractedly, his mind still on the writer) You know... (muttering as the writer passes him and walks away) GAIL (overlapping, gesturing) In-in-in-instead of the child molestation sketch, why don't we repeat the Cardinal Spellman Ronald Reagan homosexual dance number? MICKEY (still distracted, looking off) No-- 34. RON (overlapping) I don't feel good, Mickey. Mickey, remembering Ron, runs into the dressing room. Gail follows him. Inside, a man and a woman talk, ignoring Ron. They share a drink in a paper cup. The woman looks back at Ron; she gestures with disgust. MICKEY (gesturing) Yeah, wh-- Yeah, what did you do? Swallow a drugstore?! Ron coughs. MICKEY (to Gail) Look at this guy. GAIL (overlapping, touching Ron's chair) Yeah? RON (groaning) I lost my voice. Gail walks around the chair. The camera shows she and Mickey talking to Ron through the reflection in the cluttered makeup mirror. MICKEY (reacting) Oh, Jesus! GAIL (gesturing) Ron...Ronny, you know you do have to go on in twenty-five minutes. Ron sighs. MICKEY (looking around, touching his stomach) Hey, does anybody got a Tagamet? My, my ulcer's starting to kill me! RON (sighing) You want a Quaalude? 35. Mickey, as reflected in the mirror, starts to pace as the MOVIE CUTS TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BEVERLY HILLS BOULEVARD - DAY Norman, a Los Angeles TV producer and Mickey's former partner, is driving down a peaceful street lined with palm trees. He's wearing sunglasses and headphones. He clicks his fingers in time to the music only he hears on his Walkman. He's smiling contentedly while Mickey talks over the sun-filled scene. The continuous background jazz plays louder. MICKEY (V.O.) Christ, this show is ruining my health! Meanwhile, my ex-partner moves to California and every stupid show he produces turns out to be a big hit. Brother, what am I gonna do with my life? Speaking of that, I-I...gotta remember to see my ex- wife tomorrow. Tch. CUT TO:",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HANNAH'S APARTMENT FOYER - DAY As Mickey finishes his ruminations, Hannah is seen walking towards her front door. She opens it, her back to the camera. Mickey stands there holding two boxed gifts. The jazz stops. HANNAH Hi! Hi! MICKEY (overlapping, sniffing) I know...I know. HANNAH Glad you could put in an appearance. MICKEY (gesturing) I got two minutes. HANNAH (overlapping) Very good. Hannah nods as Mickey comes inside. She closes the door behind him. 36. MICKEY (overlapping) I got two minutes. 'Cause, God, the show is killing me. I got a million appointments today. It just so happens it fell this way. Hannah continues to nod patiently, patting Mickey on the back, as they make their way across the foyer into the den, where the twins are playing. Mickey wears his coat. MICKEY I gotta see new comedians later, I've gotta-- HANNAH (interrupting) Two minutes on your sons' birthday. You know, it's not going to kill you. Her voice trails off as Mickey walks over to the twins. MICKEY Happy Birthday, fellas! Happy Birthday! Hannah's twins greet Mickey with cries of ""Hi, Daddy!"" and indistinct chatter. HANNAH (overlapping their chatter, bending down to talk to her sons) Guys, look what Daddy brought. Presents! Mickey hands a gift to each twin. They grow quiet, suddenly shy. MICKEY (to his sons) Yeah, aren't you like, you know... HANNAH (overlapping) Huh? MICKEY (continuing, holding out his arms) ...a little, uh, hey! A little hug! What is this? Now how 'bout a little action from the kids? 37. The twins put down their gifts, one on the sofa, one on the coffee table, and hug their father. MICKEY (turning to Hannah) How is everything? HANNAH (picking up the gift on the sofa and nodding) Everything's good. Everything's fine. MICKEY (nodding, overlapping) Yeah? Yeah? (pointing) Okay, kids, you can open the presents now. HANNAH (overlapping) Here, you guys. Open them up. Hannah makes room on the coffee table for the gift she is holding; she places it next to the other one. The boys start opening them. MICKEY Let me get a little reaction here. (to Hannah, putting his hands in his pockets) How's Elliot? HANNAH He's fine. MICKEY Yeah? HANNAH (overlapping) Oh, you know what? I'm trying to convince him to produce a play. MICKEY Oh! HANNAH I think he'll find that satisfying. 38. MICKEY (nodding) Really? That'll be terrific for him, I think. HANNAH I think so. MICKEY I like him. I think he's a sweet guy. HANNAH (stroking one of the twins' backs) Yeah. MICKEY The few times that I've met him... (pointing to the baseball mitt twin #1, has taken out of his box) Isn't that a great mitt? TWIN #1 Thank you, Daddy. MICKEY (overlapping to Hannah) 'Cause he's a loser. HANNAH (overlapping, to Twin #1) Ohh! MICKEY (overlapping, gesturing) H-he's so awkward and he's clumsy like me... HANNAH (overlapping, chuckling) I know, I know. MICKEY (overlapping) ...so I, so I like that. I always like an underconfident person... HANNAH (overlapping, touching the mitt and reacting) That's really nice! 39. MICKEY (still rambling on, gesturing to Hannah) ...you know? I, uh... HANNAH (overlapping) You know, he's been wanting a mitt. She helps Twin #2 open his present. It's a football. MICKEY You've always had good taste in husbands, so... HANNAH (chuckling and nodding) Thanks, thanks. MICKEY Mh-hm. HANNAH (leaning down to look at the football) That's a beauty! MICKEY Isn't that great? HANNAH Oh! MICKEY (pointing, to Twin #2) Go right over there. HANNAH Football! Twin #2, panting, runs offscreen to catch the football. MICKEY (to the offscreen twin) Come on! Hurry up! Let's go! HANNAH (looking offscreen at twin #2) Wow! 40. MICKEY (still pointing, gearing up for the pass) Go out, go out by the Sung vase and, and catch this. Mickey throws the football. MICKEY See? (whistling) HANNAH (pointing offscreen) Hey, d-- Watch, watch the picture. There's a sound of breaking glass. Hannah and Mickey react. CUT TO:",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. NEW YORK CITY STREET - DAY Mickey is walking up a West Side street, his hands in his coat pockets. Jazz plays in the background as he talks over the screen. MICKEY (V.O.) Gee, Hannah's sweet. Although, sometimes I still do get angry when I think of things. Oh, what the hell. At least, I'm not paying child support. (sighing) Oh, God, I hope there's nothing physically wrong with me, either. Mickey pushes open the outside door of Dr. Abel's office, as the movie cuts to the doctor's consultation room. The doctor is framed in the doorway, looking through a file cabinet. DR. ABEL (taking out Mickey's file) So what's the, uh, problem this time? MICKEY (offscreen) This time I really think I have something. While Mickey answers him offscreen, Dr. Abel turns and walks toward him. The camera follows the doctor's movements from the other side of the wall, obscuring him briefly. 41. It moves across a dark examining-room wall to a second doorway, where Mickey sits on a stool, continuing to talk to the offscreen Dr. Abel. MICKEY (onscreen) I mean, I'm absolutely convinced that-that-- You know, I mean, it's not like that adenoidal thing, you know, where I didn't realize I had them out. Dr. Abel walks back onscreen. Both he and Mickey are now seen through the second doorway. Dr. Abel sniffs and stands directly in front of the sitting Mickey. He stares down at him as Mickey talks. MICKEY (continuing, gesturing) So, so, but it was when I was younger, so-- DR. ABEL (overlapping, interrupting) You know, I saw your father this week about his sinus... MICKEY (folding his arms on his chest) Mm-hm. DR. ABEL (continuing) ...and, uh, he complained of chest pains. MICKEY Well, this guy's the real hypochondriac of the family. I mean, he's, you know, he's-- DR. ABEL (interrupting) You mentioned on the phone that you'd had some dizziness. MICKEY (rubbing his hands on his knees) Yes, a little dizziness, and I think, I think I'm developing a hearing loss in my right ear (MORE) 42. MICKEY (CONT'D) (poking at his ears and gesturing) ...or my left ear, my, my left...oh, n-n-n-no. No, I'm sorry. It was my right, my right, my right or my left ear. Dr. Abel chuckles. MICKEY (nodding and gesturing) Now I ca-can't remember. DR. ABEL Let's take a look. An uptempo big-band sound is heard as the movie cuts to Mickey's examination, beginning with a close-up of Dr. Abel using an otoscope to examine the ear of a nervous Mickey. Next is a hearing test. The film shows the doctors's hands turning the dials on a sonometer. Mickey sits on a nearby high stool, large earphones on his head. He listens with such concentration that he squints his eyes. He holds up a finger in response to the sounds he hears in his headset. Finally, the film shows Dr. Abel hitting a large turning fork with his finger. He puts the vibrating fork to Mickey's ear. Mickey, looking up at the offscreen doctor's face, nods. The music stops as the film cuts back to Dr. Abel's consultation room. Dr. Abel walks from the examining room, through the consultation room, to a second examining room across the way. He talks to the offscreen Mickey as he walks. DR. ABEL Well, I'm sorry to say you have had a significant drop in the high- decibel range of your right ear. MICKEY (offscreen) Really?! Dr. Abel moves offscreen in the second examining room. The camera stays focused on the doorway to this room as the doctor and Mickey talk offscreen. DR. ABEL (offscreen) Have you been exposed to a loud noise recently, or did you have a virus? 43. MICKEY (offscreen) No, I-I've been perfectly healthy. You know me. Dr. Abel briefly passes by the doorway. MICKEY (offscreen) I always, I-I always imagine that I have things. DR. ABEL (offscreen) When did you first notice this? MICKEY (offscreen) Oh, uh, about a month ago. Wha- what do I have? Looking preoccupied, Dr. Abel walks back into the consultation room, holding Mickey's open file. He strides over to his desk, revealing a frightened Mickey, sitting in a chair opposite it. Still standing, the doctor leans over the desk, his back to the camera, and makes a few notes in the file. DR. ABEL You've had some dizzy spells. (sighing) What about ringing and buzzing? Have you, uh, noticed any of that? MICKEY (gesturing) Yes, now-now that you mention it, uh, I-I-I have, uh, buzzing and also ringing. Ringing and buzzing. Um, am I going deaf, or something? DR. ABEL (making more notes in the file) And it's just in one ear? MICKEY (picking at his fingers) Yes, is it, is it, uh, healthier to have problems in both ears? Dr. Abel chuckles as he closes Mickey's file and straightens up. The camera looks past his back and shoulders to the anxious Mickey. 44. DR. ABEL (his face offscreen) What I'd like to do, is to make an appointment for you at the hospital. I'd like to have them run some tests. MICKEY The hospital? What kind of tests? Dr. Abel lays his pen across Mickey's closed file. He walks around his desk and sits on its edge close to Mickey. DR. ABEL (sighing) Now, don't get alarmed. These are just more sophisticated audiometry tests than I can run here. (gesturing) I mean, it's, it's nothing. MICKEY (gesturing) Well, if it's nothing, then why do I have to go into the hospital at all? I mean, uh, I hear perfectly fine, so I'm, so I'm a little weak on the, on the high decibels. So I, you know, I won't go to the opera. DR. ABEL (sniffing) You know, there's no reason for panic. I just want to rule out some things. MICKEY Like what? DR. ABEL (shaking his head) It's nothing. Will you trust me? CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. STREET CORNER - DAY Mickey stands in a telephone booth on a corner near Dr. Abel's office; he talks on the phone. It is raining. A man and a woman holding an umbrella pass by; traffic moves across a nearby intersection. MICKEY (into the telephone) Huh, uh, hello, Dr. Wilkes? Dr. 45. Wilkes, this is Mickey Sachs. You have a minute? I want to ask you a question. The film cuts to Dr. Wilkes, on the telephone at his end. He is in his office; he leans back in his chair, dangling his stethoscope as he speaks. Behind him, a chest X-ray is mounted on a light panel. DR. WILKES (into the telephone) Sure, Mickey. What's up? The movie cuts back and forth between Mickey in his phone booth asking questions and Dr. Wilkes in his office answering them. MICKEY (into the telephone, gesturing) I-if you have, i-if you have a hearing loss in one ear, and-and it's not from a, uh, virus or a loud noise or anything, wh-what are the possibilities? DR. WILKES (into his telephone) Anything. Uh, often it's hereditary. Flu, uh, even a small noise will do it. MICKEY (into the telephone) Uh, right, but-but nothing worse? DR. WILKES (into the telephone) Well, yes, I guess the, uh, dark side of the spectrum is a brain tumor. MICKEY (into the telephone, reacting with a blank stare) Really? CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MICKEY'S OFFICE - NIGHT Gail, wearing her glasses, stands behind a crowded but well- ordered desk. Two assistants, a man and a woman, stand around her. 46. GAIL (handing them each some pages of script) Okay, so here's the new pages. WOMAN (looking over the pages) Say, did cards get these? GAIL (scratching her head) No, not yet. No. MAN (looking over his pages) Well, let's hope it's good. GAIL Yeah, really. Really. The assistants walk off. As they leave, Gail calls out after them. GAIL Eh, we'll be down in a minute, okay? The telephone starts to ring, Gail pauses, looking offscreen. She takes off her glasses and squints. GAIL Mickey, what's the matter with you? You're all white! The film cuts to Mickey, who is pacing and wringing his hands. He walks over to Gail. The phone continues to ring. MICKEY I feel dizzy. Sshh, you know, I don't feel well. He starts to pant, looking worriedly around the room. He continues to wring his hands as Gail stares at him, concerned. MICKEY Do you hear a ringing? Is there, is there a, is there a ringing sound? (sighing) GAIL (gesturing) Yeah. Yeah, yeah. I hear, I hear it. 47. She sits down and picks up the phone. MICKEY (shaking his head) N-n-no, not that. GAIL (overlapping, into the telephone) Hello? MICKEY (covering first one ear, then the other, continuing) Like-- (putting a finger into his ear, closing his eyes and listening) GAIL (into the telephone) Uh, yeah, yeah. We're going to be working late tonight. N-no, we'll order out. It's all right. Yeah. Gail hangs up the phone. MICKEY (turning to Gail, gesturing nervously) Sssss, if I have a brain tumor, I don't know what I'm gonna do. (sighing) GAIL You don't have a brain tumor. He didn't say you had a brain tumor. MICKEY (sighing) NO, NATURALLY (gesturing) they're not gonna tell you, because, well, you know, th--, sometimes the weaker ones will panic if you tell 'em. GAIL (pointing a finger at Mickey) But not you. 48. MICKEY (flinging up his arms, sighing) Oh, God! (looking around worriedly and touching Gail's shoulder) Do you hear a buzzing? Is there a buzzing? He pants and begins to pace around the room. The camera follows him as he walks away from Gail. GAIL (impatiently) Mickey, come on, we got a show to do! MICKEY (pacing) I can't keep my mind on the show. GAIL (offscreen) But there's nothing wrong with you. MICKEY (sighing and gesturing) If there's nothing wrong with me (pacing back to the desk and Gail) then why does he want me to come back for tests?! GAIL (gesturing) Well, he has to rule out certain things. (sighing) MICKEY Like what?! What? GAIL (shrugging) I don't know. Cancer, I-- MICKEY (interrupting) Don't say that! I don't want to hear that word! (gesturing) Don't mention that while I'm in the building. 49. GAIL (gesturing) But you don't have any symptoms! MICKEY (gesturing) You--I got the classic symptoms of a brain tumor! Mickey sighs. GAIL Two months ago, you thought you had a malignant melanoma. MICKEY (gesturing) Naturally, I, I--Do you know I--The sudden appearance of a black spot on my back! GAIL It was on your shirt! MICKEY (sighing) I--How was I to know?! (pointing to his back) Everyone was pointing back here. He sighs again as Gail, frustrated, gestures impatiently to the papers on the desk. GAIL Come on, we've got to make some booking decisions. Mickey begins pacing around the room again. He wrings his hands and blows on them. MICKEY I can't. I can't think of it. This morning, I was so happy, you know. Now I, I don't know what went wrong. (sighing) GAIL Eh, you were miserable this morning! We got bad reviews, terrible ratings, the sponsors are furious... 50. MICKEY (pacing back to the desk, still wringing his hands) No, I was happy, but I just didn't realize I was happy. CUT TO: The Stanislavski Catering Company in action. Sophisticated pop music plays as the film cuts to:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LOFT - DAY An abstract painting on a wall fills the screen. Light laughter is heard, as well as the sophisticated music; offscreen brunch guests chatter indistinctly. FEMALE BRUNCH GUEST (offscreen) These things are delicious! What in the world are they? Holly walks onto the screen in front of the painting. She holds an almost empty tray of hors d'oeuvres; she wears a uniform. HOLLY Oh, um, those are quail eggs. FEMALE BRUNCH GUEST (offscreen) Oh, they're very good. Holly walks past the painting towards the female brunch guest. A man walks in front of her. Chatter, light laughter, and music are still heard; a party is in progress. HOLLY (nodding) Yeah, my friend April makes those. (holding out the tray) Here, try the shrimp puffs. These are delicious. FEMALE BRUNCH GUEST (taking one from the tray) Oh, thank you. That looks great. HOLLY I make those. 51. FEMALE BRUNCH GUEST Mmm. Thanks. Holly laughs lightly as she walks away from the woman. Holding her tray, she passes a large oval loft window and several clusters of brunch guests. They are eating and drinking. No one pays any attention to her. HOLLY (to two male guests in her way) Excuse me. One of the men, murmuring his thanks, takes a last shrimp puff as Holly passes. HOLLY (to the man) Thank you. Holly finally makes her way into the cluttered loft kitchen. Her tray is empty. APRIL (offscreen) The Stroganoff is ready. Holly, excited, runs over to April, who is busy taking the Stroganoff out of the oven. She wears the same uniform as Holly: black skirt, white shirt, and black bowtie. HOLLY (animatedly) We're a big hit. APRIL Oh, in this we're a big hit. Yesterday I auditioned for Come Back Little Sheba. That, I wasn't such a big hit. April, holding the Stroganoff, dashes out of the kitchen to serve the party guests. Holly calls after her, offscreen, as David walks past the hurrying April into the kitchen. HOLLY (offscreen) You will be. You will be. You'll get five jobs next week. David walks over to Holly, who is busy at the pot-and-pan- covered stove. 52. DAVID (to Holly) Excuse me, are there any more claims? HOLLY (gesturing at some canaps warming on the stove) Only a few. A few. (chuckling as David takes one) Do you like 'em? DAVID I can't resist. HOLLY (busily working at the stove) Really? How flattering! Did you try the shrimp puffs? DAVID (eating a canap and pointing at Holly) Listen, you guys are too attractive to be caterers. Something's wrong. HOLLY We're actresses. DAVID Is this your first job? HOLLY (grabbing a quiche from an overhead stove) Really? Is the food that bad? DAVID (shaking his head) Oh no. Not at all. As Holly carries the quiche outside to the party, April comes back into the kitchen from another doorway. Music, as well as the chatter of mingling guests, is heard in the background. APRIL We need more bread and some baked lasa-- (MORE) 53. APRIL (CONT'D) (realizing Holly isn't there and, at the same time, noticing David) uh, lasagne. (turning to David) Hi. DAVID (standing by the sink as he wipes his hands and mouth with a napkin) I know. You're an actress with a great flair for shrimp puffs. APRIL (working at the stove, pointing a finger for emphasis) Uh, no, the shrimp puffs are Holly's. I do the, uh, crpes caviar. She walks past David to a counter where she begins to fold napkins. David leans back against the sink. DAVID And the quail is responsible for the quail eggs. APRIL (turning to David and chuckling) Well, let's hope so. Holly enters the kitchen holding out a plate of clams. She walks over to David. HOLLY Here, I stole you a couple of extra clams. DAVID (taking the plate) Ah! HOLLY (looking busily around the room) Now. DAVID (overlapping, gesturing) Incidentally, I'm David Tolchin. 54. APRIL (turning to David) Oh, uh, April Knox. Hi. They shake hands. DAVID (looking at her) Hi. APRIL (leaving the counter and squeezing past David and Holly) Oh. HOLLY (overlapping, moving out of April's way) I'm sorry. April walks offscreen to another area of the kitchen. Holly picks up a napkin from the crowded table. DAVID (overlapping Holly's apology, turning to her) You're Holly. HOLLY (nodding, looking at David as she wipes her hands with the napkin) Yeah, we're the Stanislavski Catering Company. DAVID (chewing on a clam canap Now I'm going to tell you the truth. I really came in here because I was bored stiff by the party. HOLLY (laughing, still wiping her hands) What makes you think we're more interesting? David walks around the table, putting the plate of clams down on the already crowded surface. Holly follows him, chuckling, throwing her napkin into an offscreen garbage can as David stops at a small television set near the doorway. 55. Guests in the other room can be seen chatting together in clusters. DAVID (turning on the set) Actually, I'm going to listen to Aida, if I'm not getting in your way. Canned laughter and miscellaneous chatter is heard from the television set. David watches the set, still munching on a clam, while Holly and April reassure him offscreen. APRIL (offscreen) No...no. No-- (sniffing) HOLLY (offscreen, overlapping) Not at all. David checks his wristwatch as Holly walks over to him. HOLLY (gesturing, fiddling with another napkin) We saw, um, Pavarotti, eh, uh, in Ernani at the Met, and I cried... DAVID (nodding, his hand still on his watch as he looks at Holly) I cry at the opera. APRIL (offscreen) Oh, I-I-I go limp in the last scene in La Traviata. Limp. Holly chuckles as David, listening to April, impressed, walks over to her. She is standing by the table. DAVID (nodding, to April) Me, too. I have a private box at the Met. (gesturing) I bring my little bottle of wine, I open it, I sit there and I watch and (glancing over to the offscreen Holly) I cry. It's disgusting. 56. April chuckles as Holly walks back onscreen; she is busy preparing another tray of hors d'oeuvres. HOLLY (gesturing) Oh, what, what do you do? DAVID (nodding) I'm an architect. APRIL Wha-- (turning to glance at Holly) What kind of things do you build? DAVID Are you really interested? APRIL Yeah. HOLLY (nodding) Yeah. DAVID What time do you get off? The three exchange glances. Holly shrugs. CUT TO:",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MANHATTAN STREET - DAY A contemporary red building, designed by David, is seen, squeezed in between two older buildings. Holly, April, and David talk offscreen. HOLLY (offscreen) Wow, it's the red one? APRIL (offscreen) Oh, it's magnificent! DAVID (offscreen) Yeah. HOLLY (offscreen) It's terrific! 57. The film moves down from the buildings to reveal the trio sitting in David's Jaguar across the street. David and April sit in the front seat; Holly sits scrunched up in back, her head slightly forward. DAVID (gesturing, looking back and forth from the buildings to Holly and April) The design's deliberately noncontextural. But I wanted to... keep the atmosphere of the street, you know, and the proportions. HOLLY (nodding) Uh-huh. DAVID And in the material. That's...that's unpolished red granite. (pausing as he watches Holly and April's reaction) HOLLY Oh! APRIL (overlapping) Oh, is that what it is? HOLLY (starting to speak) Uh-- APRIL (interrupting, nodding at Holly) I-i-it has an o-organic quality, you know. HOLLY (nodding, overlapping) Right. 58. APRIL (looking back at the building with reverence) It's almost...almost, uhhh, entirely wholly interdependent, if you know what I mean. I-I... I can't put it into words. The important thing is- is-is it-it breathes. DAVID (turning to April, emphatically) You know, April, people pass by vital structures in this city all the time, and they never take the time to appreciate them. I get the feeling you tune in to your environment. APRIL (shaking her head) Oh-- HOLLY (interrupting, gesturing and nodding) Oh, it's really important. David turns and briefly glances at Holly; he then turns back to April. APRIL (looking only at David) What are your favorite buildings, David? DAVID You want to see some? APRIL (nodding) Oh, yeah. DAVID Well, let's do it. APRIL (looking at David) Great. David starts the car and the movie cuts to an unfolding visual excursion through New York City's landmark buildings, as seen from the trio's point of view in the moving Jaguar. Inspiring classical music plays in the background. 59. The series of shots includes the Dakota, complete with surrounding winter trees, the Graybar building on Lexington Avenue, an incredibly ornate building on Seventh Avenue and Fifty-eighth Street, a red-stone church, an old building with embellished, bulging windows on West Forty-fourth Street, the Art Deco Chrysler Building, a red-brick building, Abigail Adams's old stone house, and the Pomander Walk nestled off Broadway on the Upper West Side. The group can be seen walking down the path between the old-fashioned row houses and shrubbery. A lamppost sits in the foreground. It is now dark. The music continues to play as the film cuts to the faade of a rococo-style building, complete with French doors and ornate windows. The admiring group is heard offscreen. HOLLY (offscreen) Oh, it's just so romantic. I just want to put on a long gown... DAVID (offscreen, overlapping) Yes. HOLLY (offscreen, continuing) ...and open the French doors and go on the balcony -- APRIL (offscreen, interrupting) It's French, though. It really is. HOLLY (offscreen) Yeah. APRIL (offscreen, overlapping) It feels like you're in France. DAVID (offscreen, overlapping) It-it is. It's romantic. The music stops. The screen, which has been exploring the rococo building's faade, now shows the equally elegant building alongside it. DAVID (offscreen) And it's got a handsome partner sitting right beside it. 60. HOLLY (offscreen) Yeah. DAVID (offscreen, overlapping) They fit right in together. And your eye goes along, lulled into complacency, and then... The film moves from the two elegant faade to show an ugly, ultra-modern structure covered with tiny, diamond-shaped motifs. APRIL (offscreen) That's just -- DAVID (offscreen, interrupting) Look at this. HOLLY (offscreen) That's disgusting! APRIL (offscreen, continuing) ...a monstrosity! Who would do that? HOLLY (offscreen, overlapping) It's really terrible. DAVID (offscreen, emphatically) It's really sad. HOLLY (offscreen) And it ruins everything else. DAVID (offscreen, agreeing) It does. The film moves from the ugly faade to the building's equally ugly entrance. A large car is parked right in front of the building. 61. APRIL (offscreen) Well...we have seen a lot of stuff today, though. HOLLY (offscreen, chuckling) Yeah. DAVID (offscreen, overlapping) Yeah. APRIL (offscreen, overlapping) A lot of works. The group is now seen walking down the canopied entrance stairs of an apartment house on the other side of the street, where they'd been gazing at both the lovely and ugly ades across the way. David is in the lead; the women follow, Holly slightly behind April. HOLLY (nodding) Yeah. DAVID (glancing at his watch) Maybe we should start thinking about going home, huh? HOLLY Fast. APRIL Oh, geez, yeah. HOLLY (overlapped) Okay. They walk towards the car. DAVID (looking back at the women as he walks around the car to the driver's side) Uh, who gets dropped first? APRIL Uh -- 62. HOLLY (overlapping, looking at April) Oh, gee, I don't know. Um... DAVID (offscreen, overlapping) Well... APRIL (overlapping) Well, I live downtown. HOLLY (glancing at April) Yeah, I, we both live downtown. David leans over the roof of the car, looking at the women, waiting for their decision. APRIL (gesturing) Uh... HOLLY (to David) It depends on what way you want to go. APRIL (overlapping) Well, wait. You know what? I know. HOLLY Uh... APRIL (to Holly, gesturing) If...well, if we took the, if we took Fifth, then-then-then we'd get to your house first, yeah? DAVID (overlapping, nodding) We could...we could do that. HOLLY (nodding) Right. Yeah, but Fifth is so jammed, isn't it? She looks at David. 63. APRIL (overlapping, to Holly) Well, sometimes, some, uh... HOLLY (interrupting) I mean, it's jammed. If we went... um... Both she and April mumble awkwardly. DAVID (pointing to Holly, interrupting their chatter) Y-you live in Chelsea, don't you? HOLLY (nodding at David) Yes. DAVID Well, I-I guess if you live in Chelsea, that's probably first. HOLLY (nodding nervously) Oh, okay. APRIL Yeah. DAVID And then, uh, April...huh? APRIL (overlapping, nodding) Great. They get into the car. Once again Holly's in the backseat. The classical music begins anew. The movie cuts briefly to cut to the traffic and lights of a Manhattan avenue as seen from the moving Jaguar. It then moves to a close-up of Holly, sitting in the backseat, her head near the window. She is staring straight ahead. HOLLY (V.O.) Naturally I get taken home first. Well, obviously he prefers April. Of course I was so tongue-tied all night. I can't believe I said that about the Guggenheim. (MORE) 64. HOLLY (V.O.) (CONT'D) My stupid little roller-skating joke. I should never tell jokes. Mom can tell 'em and Hannah, but I kill 'em. (glaring at the offscreen April's back) Where did April come up with that stuff about Adolph Loos and terms like ""organic form""? (looking out the side window, pausing for a moment) Well, naturally. She went to Brandies. The movie cuts to Holly's point of view: the front seat where David and April sit, the Jaguar's windshield, and the passing lights and traffic of the street. Holly continues her ruminations as April leans over to say something to David. HOLLY (V.O.) But I don't think she knows what she's talking about. Could you believe the way she was calling him David? ""Yes, David. I feel that way, too, David. What a marvelous space, David."" (emphatically) I hate April. She's pushy. The film moves back to Holly in the backseat, still lost in thought. HOLLY (V.O.) Now they'll dump me and she'll invite him up. I blew it. (sighing, looking out the side window) And I really like him a lot. Oh, screw it. I'm not gonna get all upset. I've got reading to do tonight. You know, maybe I'll get into bed early. I'll turn to a movie and take an extra Seconal. The classical music stops and some uptempo jazz begins. The screen cuts to black and a title appears. ""...nobody, not even the rain, has such small hands."" CUT TO: 65.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. STREET OUTSIDE FREDERICK'S LOFT - DAY The movie briefly holds on a ripped, red, paint-splattered door as Elliot, wearing a raincoat, appears nearby. He looks down the street and the film cuts to his point of view: Frederick's loft building. The movie goes back to the impatient Elliot; he's looking around him. He glances at his watch as the film cuts back once again to the loft building, where Lee finally appears, walking down the street away from Elliot. A truck passes down the street. Lee doesn't see him. She walks further and further away; she turns a corner. Elliot frantically looks around again; then, in a burst of decision, he runs around a garbage dump, crossing the street, and still running, he moves down an adjacent street, past The Canal Lumber Company and several other buildings, as the film cuts back to Lee, walking down a different street, oblivious. The jazz plays on as the movie cuts back and forth between the fast-moving Elliot, rushing down the SoHo streets, past a truck waiting for a light to change, past some pedestrians, some garbage cans, turning corners, and the strolling Lee, walking up different streets, past different buildings. Lee eventually crosses a street, lost in thought, looking right and left, as Elliot, pretending nonchalance, waits on the corner, looking at his watch. She looks up in surprise; the music stops. ELLIOT (trying not to sound out of breath) Oh, my goodness! LEE (overlapping, smiling in surprise) Oh, Elliot! ELLIOT Hi. LEE (smiling) What are you doing here? ELLIOT (looking around, gesturing) Well, I'm-I'm looking for a bookstore. 66. LEE (shaking her head) Oh, what, in this section of town? ELLIOT Yes. Yeah, I-I'm kill-- LEE (overlapping) You're out looking here? ELLIOT (glancing at his watch again) Well, yes, I'm killing time. I have a client near here and I...I'm quite early. LEE (laughing) Ohhhh! ELLIOT (gesturing) How about you? LEE Oh. Well, I live-- ELLIOT (interrupting, chuckling) Oh, yes! You live near here, don't you? LEE (overlapping, chuckling) Yes, I do. ELLIOT (putting his hands behind his back) Where are you headed? LEE Oh, I was just going to my AA meeting. ELLIOT Oh, my goodness. Well, why do you still go to those? You never tough alcohol. They begin to walk down the street. 67. LEE (laughing) Well, listen, you didn't know me before Frederick. I'd...I'd start with a beer at about ten in the morning, and...go on. ELLIOT (looking at Lee) Oh. You must have been, uh, very unhappy. LEE Yeah, unhappy and fat. (chuckling) And I still find the meetings very comforting, you know. She shrugs. ELLIOT I'll never understand it. You're so bright and charming and beautiful. LEE (laughing) Oh, God. ELLIOT (overlapping, chuckling) I think to myself (laughing) what problems could she possibly have? LEE (gesturing, laughing) Don't let me get started on my childhood. (stopping in her tracks, remembering) Oh, you know what? There is a bookstore. ELLIOT (stopping alongside her) Yes? LEE (overlapping, pointing) A couple of blocks from here. If you don't know about it, you should. You'd really love it. 68. ELLIOT Yes? LEE (nodding) Yeah, you would. ELLIOT (looking around for a moment, then gesturing to Lee) Well, i-if-if you have some free time... LEE (nodding) Yeah, sure. (chuckling) ELLIOT Thank you. They begin to walk again as the movie cuts to the interior of the Pageant Book & Print Shop, an old, serious bookstore. A nude print hangs at the end of one of the library shelf- like bookcases, which are packed, row after row, with books. An unseen Elliot and Lee carry on a conversation as the camera moves down an aisle, past the rows of books. A piano playing ""Bewitched"" is heard. Pictures hang on the aisle ends of the shelves. LEE (offscreen) Isn't this great? (chuckling) They have everything here. ELLIOT (offscreen, distracted) Yes, it's-it's wonderful. LEE (offscreen) What book did you want to buy? ELLIOT (offscreen) What? Book? LEE (offscreen) Your book? You wanted to buy a book? 69. The camera moves past another aisle of books to reveal Lee, browsing through a shelf. ELLIOT (offscreen) Oh, book? Oh, no, I... (laughing) I'm killing time. I...I-I just, uh, w-want to browse, uh... LEE (looking up at a row of books) Well, you sure picked the right place. I mean, you can stay here all afternoon, not buy anything and just read. She walks down a center aisle, the camera still in its parallel aisle, following her. ELLIOT (offscreen) Unless, of course, if-if you had some time, I mean, we could get some coffee. LEE No, I don't have time. Lee stops at the row where Elliot has been browsing. She is hidden by a shelf; only Elliot is seen as he talks to the offscreen Lee. ELLIOT (gesturing) No, no. I-I-I understand completely. No problem. Y-you're busy. I-I-I... LEE (offscreen, chuckling) You seem tense. Is everything all right? You feel okay? ELLIOT (overlapping) No! No... LEE (offscreen) No? 70. ELLIOT (gesturing, looking at books) Uh, yes! LEE (offscreen) Yes? Elliot starts walking down the center aisle, in the same direction Lee had walked up. He continues to talk to her as she remains offscreen in a nearby row. ELLIOT (offscreen momentarily, hidden by a shelf as he talks) Yes. LEE (offscreen) Everything's okay? (chuckling) ELLIOT Yeah. How are you? LEE (offscreen) I'm...all right. ELLIOT (offscreen momentarily, hidden by another shelf as he walks) How-how's Frederick? Elliot stops walking to browse through some books. ""Bewitched"" still plays. LEE (offscreen) Fine. Oh, we went to the Caravaggio exhibition at the Met. It's such a treat to go through a museum with Frederick. I mean...you learn so much. Do you like Caravaggio? ELLIOT (turning to talk to the offscreen Lee) Oh, yes. Who doesn't? (pointing) Look! 71. Elliot turns and walks back down the center aisle to a row of books he'd already passed. ELLIOT (pointing to a book on a shelf, continuing) e.e. cummings. I'd like to get you this. LEE (offscreen, laughing) Oh, no, I can't let you get me that. That's too much. ELLIOT (pulling the book off the shelf and browsing through it) Oh, oh, yes. I-I-I-'d like to, uh, uh, very much. LEE (offscreen) No, I don't think so. ELLIOT (gesturing with the book, looking at the offscreen Lee) I-I read a poem of you and thought of his last week. (nervously laughing, trying to correct his mistake) A POEM OF (laughing) his and thought of you last-- (laughing) You'll be fine, though. (chuckling) Lee walks over to Elliot in the center aisle. She looks at the book. LEE (overlapping) Uh, uh, this is great. I mean, I love e.e. cummings, but I can't let you get this. ELLIOT (overlapping, patting the book) Yes, I'd...I-I-I'd love, I'd love to get you this. 72. LEE (looking down at the book) Well, sure. ELLIOT (overlapping) And-and maybe, um...maybe we could discuss it sometime. He hands Lee the book. She thumbs through it, as the movie CUTS TO: The street outside the bookstore. Lee, holding the book in a brown bag, and Elliot are walking out. LEE (laughing, holding up the bag) Well, thanks a lot. ELLIOT (pointing to the bookstore) Thanks for showing me the bookstore. Perhaps you could, uh, take me to an AA meeting sometime. Uh...uh, I'd love to see what goes on. LEE (nodding) Well, yeah, yeah. You'd love it. It's really entertaining. You'd have a good time. (stepping closer to the curb and hailing a cab) I know you would. ELLIOT (pointing to the book) And, uh, d-don't forget the poem on page a hundred and twelve. It reminded me of you. A taxi pulls over to the curb; they walk over to it. LEE (laughing) Really? Well... Elliot opens the rear door for Lee. She laughs as she gets in. 73. ELLIOT (leaning down to talk to Lee in the cab) Page a hundred and twelve. LEE Bye. ELLIOT (closing the taxi door for Lee) Bye. He watches the taxi pull away. CUT TO:",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FREDERICK'S LOFT BEDROOM - NIGHT Lee, in slacks and shirt, is curled up on the bed, her back to the camera, as she reads the e.e. cummings poem in the glow of a night-table lamp. The piano music is still heard. LEE (V.O.) (reading) ""your slightest look easily will unclose me though I have closed myself as fingers, you open always petal by petal myself... As Lee continues to read aloud, the movie cuts to Elliot's darkened den, lit by a light in the hallway. Elliot enters, wearing a robe, crossing the room in the dark. LEE (V.O.) (continuing reading) ""...as Spring opens (touching skillfully, mysteriously) her first rose [i do not know what it is about you that closes and opens; only something in me understands the voice of your eyes is deeper than all roses]... Elliot turns on a light. The camera stays on his face as he looks off into the distance, mouthing indistinctly the line of poetry Lee next reads. LEE (V.O.) (continuing reading) ""nobody, not even the rain, has such small hands."" 74. The film leaves Elliot's face and cuts back to the loft, where Lee, having finished the poem, sits up in the bed, staring pensively, lost in her thoughts. CUT TO: The anxiety of the man in the booth. Upbeat jazz begins to play and the film cuts to: The faade of Mount Sinai Hospital. It is day. A few cars whiz by as the film moves inside, to various scenes depicting Mickey's comprehensive exam. First is a hearing test, and the movie cuts to a darkened hearing-test room. A light goes on, revealing a slouched- over Mickey sitting in a glass booth. He is wearing a set of headphones. The camera moves back, revealing a technician at the console on the other side of the booth. Mickey signals with his finger when he hears a sound on his headset. The jazz continues. Next is an electronystagmography (ENG). Graph paper rolls out of a machine, and after a brief glimpse of the rolling paper, the camera moves over to show Mickey lying terrified, without his glasses, on a couch, with electrodes stuck all over his head. The film then cuts to a BSER test room, where Mickey, sitting in a corner chair, wears another set of headphones. An electrode is attached to his forehead; a nearby technician sits at a computer video screen, looking at a monitoring graph. Last but not least is the tomography. Over the shoulders of a technician in a booth, a large window displays a huge, white rotating machine. It makes a whooshing noise as it turns. The camera moves down the giant cranelike device to reveal Mickey, once again lying down, this time on a table, his eyes closed, underneath it. CUT TO:",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DR. GREY'S OFFICE - DAY A sitting Dr. Grey, his back to the camera, is examining a group of X-rays clipped to the light board behind his desk. DR. GREY I wasn't too happy with the results of your ENG or your BSER either. 75. The doctor turns his chair around to face a tense Mickey sitting on the other side of his desk. DR. GREY Uh, which is why I sent you to Tomography, which was all that stuff you saw rolling around. (pointing to a spot on one of the X-rays) You see this little gray area here? Mickey stares at the X-ray, horrified. DR. GREY That gray area's what I had hoped that we wouldn't run into. I'd like you to come in Monday morning for, uh, a CAT scan. MICKEY (reacting) A brain scan? DR. GREY (gesturing) Mr. Sachs, let's take one step at a time. We won't make any decisions until we have all the information in front of us, all right? CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MOUNT SINAI HOSPITAL - DAY Mickey is seen leaving the hospital. He strides slowly, his shoulders slouched, his hands in his pockets. His voice is heard over the screen as he crosses the street, continuing his self-absorbed walk on the opposite side. Occasional traffic goes by. MICKEY (V.O.) Okay...take it easy. He didn't say you had anything. He just doesn't like the spot on your X-ray, that's all. It doesn't mean you have anything. Don't jump to conclusions. (sighing) Nothing's gonna happen to you. You're in the middle of New York City. This is your town. You're surrounded by people and traffic and restaurants. 76. Mickey brushes against a heavyset man who gives him a nasty look. Mickey is so dazed, he doesn't even notice. MICKEY (V.O.) I mean, God, how can you, how can you just one day...vanish? Keep calm. You're gonna be okay. Don't panic. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MICKEY'S APARTMENT/BEDROOM LOFT - NIGHT The dark bedroom is abruptly lit as Mickey, lying in his bed, wakes up with a start and turns on his night-table lamp. MICKEY (V.O.) I'm dying! I'm dying! I know it! There's a spot on my lungs! (sitting up, putting on his glasses) All right now, take it easy, will you? It's not on your lungs. It's on your ear. No, it's the same thing, isn't it? (pulling the sheets off and sitting on the edge of his bed) Oh, jeez, I can't sleep! Oh, God, there's a tumor in my head the size of a basketball! (putting on his slippers) N-now I keep thinking I can feel it every time I blink! Oh, Jesus! He-he-he wants me to do a brain scan to confirm what he already suspects. Mickey, still ruminating, stands up. Fixing his pants, he walks out of his bedroom loft into a dark upper hallway. MICKEY (V.O.) (running his hand along a banister) Look...I'll make a deal with God. Let it just be my ear, okay? I'll go deaf. I'll go deaf and blind in one eye maybe. But I don't want a brain operation! Once they go into my skull, I'll-I'll wind up like the guy with the, with the wool cap who delivers for the florist! He walks down a spiral staircase into the dark living room. 77. MICKEY (V.O.) Oh, relax, will ya? Your whole life you run to doctors. The news is always fine. (pausing at the bottom of the stairs) That's not true. What about years ago? The film cuts to a flashback of Mickey's past. Dr. Smith, sitting behind his desk, faces the camera. Rows of periodicals line the wall behind him. DR. SMITH (gesturing with one hand) I'm sorry to say, Mr. Sachs, that you cannot have children. The camera moves to Dr. Smith's point of view: Hannah and Mickey, sitting on the opposite side of the desk. They look stunned. MICKEY (reacting, putting his hands across his chest) Gee. HANNAH (reacting) Is there no chance? DR. SMITH (getting up from his desk) Well, naturally, this doesn't mean that you can't have a normal sex life. (walking over to the opened office door and closing it) But Mr. Sachs's tests indicate that he is infertile. Small sperm volume and infertile. The camera moves back to the stunned Mickey and Hannah, following Dr. Smith with their eyes. MICKEY (gesturing, looking up at an offscreen Dr. Smith) Isn't there anything I can do? Push-ups or hormones? 78. DR. SMITH (offscreen) I'm afraid not. MICKEY Well, I gotta get a second opinion. HANNAH (turning to Mickey) This is the second opinion. MICKEY (shrugging) Well, then a third opinion. Dr. Smith walks back to his high-backed leather chair behind the desk and sits down. As he talks, the camera moves closer and closer to his face. DR. SMITH I realize this is a blow. My experience is that many very fine marriages become unstable and are destroyed by an inability to deal with this sort of problem. I hope you won't make too much of it. One can adopt children, and there are various artificial methods of fertilization. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. GROVE STREET IN GREENWICH VILLAGE - DAY Mickey and Hannah walk on the sidewalk, oblivious of the passing pedestrians. Hannah, crying, blows her nose. MICKEY (gesturing) I'm so humiliated. I don't know what to say. I mean-- HANNAH (interrupting, wiping her eyes with her tissue) Could you have ruined yourself somehow? MICKEY (gesturing) How could I ruin myself? What do you mean, ruin myself? 79. HANNAH (overlapping, looking at Mickey) I don't know. Excessive masturbation? MICKEY Hey, you gonna start knocking my hobbies? Jesus! Hannah sobs, clutching her tissue to her face. MICKEY Maybe, maybe we can adopt a child. He said you could adopt one-- HANNAH (interrupting) Well, what about artificial insemination? MICKEY (gesturing) What are you talking about? HANNAH (overlapping) You know, where I-I-I would get implanted from a-a donor. MICKEY (reacting) What, by a st-stranger? Deep in conversation, they cross a tree-lined street. They pass a yellow wood-frame house bordered by a wrought-iron fence. HANNAH Yeah, they have these banks, you know, where they keep them frozen. MICKEY (gesturing) Fro--? You want a-a defrosted kid? Is that your idea? HANNAH I want to experience childbirth. MICKEY With a, with a stranger? With a-- 80. HANNAH (interrupting, sniffing) Just think about it. That's all I ask. They walk offscreen and the film cuts to Hannah and Mickey's living room. The room is brightly lit; it's cluttered with pillows and plants. Norman and Carol, his wife, sit on the couch drinking coffee. CAROL (putting down her cup) Oh, that was a wonderful show. I think that's the best show you two ever wrote. NORMAN (holding his cup, pointing emphatically) No, the funniest show that Mickey and I ever did was the one we won the Emmy for. Mickey walks from the kitchen into the living room, holding a half-eaten chocolate cake on a serving plate. The sun pours through the windows he passes. Hannah is briefly seen in the background, preparing more coffee in the kitchen. MICKEY Yeah...I-I think as, I think as far as laughs, I mean just plain laughs, you know, that was probably the best thing that we ever did. Mickey puts the cake down on the coffee table, which is already crowded with assorted plants, plates, and a bamboo tray holding utensils and napkins. NORMAN (agreeing) Mm-hm. CAROL (overlapping, her hands over her crossed knees and nodding) Yeah, it was funny, it was very funny. But the show was about the two Frenchmen, now that was funny and it was warm. Mickey sighs and flops down on an adjoining couch. He rubs his forehead. 81. NORMAN (to Carol, gesturing with his cup) We got that idea on that trip to Paris. CAROL (nodding) Right. NORMAN (smiling) Hmm? CAROL (to the offscreen Hannah) Do you remember that summer in France? Hannah, you had jet lag for six straight weeks. Norman chuckles. MICKEY (sighing, almost mumbling) Yeah, but it was, you know, I guess we had fun when we were there and, you know, it's just, I-- NORMAN (overlapping, nodding) Mm-hm. Hannah walks over to the group, holding a pot of coffee. She awkwardly steps past Mickey to pour coffee for Norman and Carol. HANNAH (to Mickey) Sorry. (to Norman and Carol) Coffee? Listen, you guys, we were-- You want some more? NORMAN (holding out his cup) Mmm. HANNAH (refilling Norman's cup) We-we...we had something we-we really wanted to discuss with you. 82. MICKEY (overlapping, coughing) Yeah... Hannah refills Carol's cup. She puts the pot down on the coffee table and sits down next to Mickey. MICKEY (standing up and gesturing) Jeez, this is, this is, this is very delicate and-and I only bring this up amongst friends, you know. He starts to pace. Hannah, her hands clasped near her face, glances briefly at Carol. MICKEY (turning to the group as he paces behind the couch) I mean... (grunting) this is, uh... this should not go any further than this room. NORMAN (sipping his coffee) I'm all ears. Hannah sighs. Mickey pauses for a moment, collecting his thoughts. MICKEY (gesturing and pacing) Hannah and I...can't have any children. Now I-I-I don't want to get into whose fault it-- (gesturing) It's my fault that we can't and- and-and the details are too embarrassing to-- HANNAH (interrupting, nervously picking at her fingers) W-w-we-we've decided after a lot of discussion that we-we'd try with artificial insemination. Mickey stops his pacing and looks at the group. 83. MICKEY (putting his hands on his hips) Yeah, I'm not so sure that I, that I like that idea myself, anyway-- He starts to pace behind the couch anew. HANNAH (overlapping) Um, I-I didn't really want to, you know, go to a sperm bank or something, have some anonymous donor. (gesturing at Norman and Carol) I-I just, you know, I-I-I wouldn't want that. MICKEY (pacing) Right. We felt that if we were gonna do it, that we would like somebody who we knew and who we liked and who was warm and bright and... Norman and Carol remain silent. HANNAH And you can say no... you know. Feel free to say no. W-we realize it has all kinds of implications. Mickey stops pacing and leans on the couch behind Norman. MICKEY Yeah, but the-the point that, uh, that we're making here is that we need some sperm. Mickey, rubbing his hands on his knees, leans back against the wall. Norman and Carol turn to each other, reacting. NORMAN (sighing) Gee. (chuckling) Well... My first reaction after the initial shock is, uh, flattered that you would ask me. (chuckling nervously) Carol glances at Norman. 84. MICKEY (pointing at himself) Yeah, well, I would be the father. (pointing to Norman) You would just have to masturbate into a little cup. NORMAN (shrugging) I can handle that. HANNAH (scooting closer to Carol and Norman on the couch, gesturing) Obviously we wou-wouldn't have intercourse. She chuckles nervously. CAROL (to Hannah, chuckling nervously briefly) Gosh, listen. (rubbing her nose) I've gotta tell you the truth here. I'm a little uneasy about this. HANNAH (putting her hand on Carol's shoulder) Carol, I know it's a lot to ask. CAROL (gesturing) Well...I feel for you. I do. I...I'm gonna cry. You want my husband to have a child with you? HANNAH (gesturing) Ye-- D-d-d-don't answer now. Just, you know, take it home and think about it for a while. NORMAN (holding his coffee cup, thoughtful) I gave blood before and, uh... clothing to the poor. 85. CAROL (to Norman, scratching her ear) Okay, Norman, listen, I really want to talk about this at home. (nodding as Hannah looks briefly offscreen at Mickey) I think it's a matter for your analyst...and mine. NORMAN (emphatically) And maybe my lawyer. He takes a sip of coffee. HANNAH (gesturing) You know, we-we understand completely if, you know, if you feel you'd-you'd rather not. (chuckling nervously) I didn't mean to spoil the evening. (rubbing her hands) Now let's move on to another topic. Hannah reaches for the cake as Carol and Norman exchange glances, reacting. The flashback ends. Mickey is back in the present in his darkened living room, illuminated by a glow from a window behind the couch. A coffee table sits in front of the couch. Papers are scattered on the floor. Mickey gets up from the couch where he'd been sitting. He paces back and forth as he talks over the screen. MICKEY (V.O.) So you had my ex-partner's baby. Twins. Maybe that did cause some trouble, but-- (sighing) I think we were drifting apart anyhow. Now instead of man and wife we're just good friends. Boy, love is really unpredictable. CUT TO: 86.",SENTI +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. METROPOLITAN OPERA HOUSE - NIGHT Manon Lescaut is being performed. Onstage, the soprano in the title role sings a mournful aria as she kneels by the ruins of a wagon. The background is dark. The film moves up to the private boxes in the upper loge. David and Holly can be seen from a distance sitting in one of the boxes. David glances at her; he reaches down for a bottle of wine. The movie briefly cuts back to the stage. The soprano is leaning on a wagon wheel; her voice soars. Then it's back to a closer look at Holly and David in their box. The aria continues as David hands a smiling Holly a glass. He uncorks the wine and pours some in both their glasses. Holly mouths a thank you, glancing around. They look at each other and raise their glasses in a toast. CUT TO: Dusty bought this huge house in Southampton. The opera audience is heard cheering, applauding, and sounding their ""Bravos."" The clapping stops as the movie cuts to Frederick's loft. It is day. Lee, wearing a baggy plaid shirt and jeans, has opened the door for Elliot and his client, wealthy rock star Dusty Frye. ELLIOT (leading the way into the loft, gesturing) Lee, Frederick...say hello to Dusty Frye. Lee closes the door behind the men and walks over to Dusty. LEE (shaking Dusty's hand) Hi, Dusty. DUSTY Hi. Lee chuckles as she looks at him; he is wearing sunglasses, a red-imprinted T-shirt, and a baggy coat. She turns and walks with Frederick, Elliot, and Dusty farther into the loft, her hands clasped behind her back. 87. ELLIOT (as he walks) Dusty's just bought a huge house in Southampton and he's in the process of decorating it. DUSTY Yeah. It's kind of a weird place, actually. A lotta wall space. (chuckling) LEE Oh. They walk into the living room area of the loft, where Frederick, his hands in his pockets, neatly attired in vest sweater and white shirt, stands, waiting. DUSTY (to Frederick, giving him a ""hip"" handshake) How ya doin', man? ELLIOT (to a less than enthusiastic Frederick) I told him about your work, and he's very excited. DUSTY Yeah, I got an Andy Warhol. And I got a Frank Stella, too. Oh, it's very beautiful. (gesturing) Big, weird...you know. (chuckling as he crosses his arms on his chest) If you stare at that Stella too long, the colors just seem to float. It's kinda weird. Frederick covers his face to hide his disgust. LEE (chuckling, her arms crossed) Are you excited about becoming a collector? DUSTY Yeah. 88. LEE (nodding) Yeah? DUSTY (shrugging) I got a lot more to learn, though. I really wasn't into art when I was a kid. LEE (nodding) Uh-huh. FREDERICK (addressing but not looking at Dusty) Do you appreciate drawings? DUSTY (shrugging) Yeah. (chuckling as he notices and points to some offscreen drawings Frederick has set up) Oh! Hey! Wow! (pointing to an offscreen nude drawing) She's beautiful. But, uh, really, I- I-I-I need something... I'm looking for something big. As Dusty talks, the camera follows Elliot, who walks past the others to examine the drawings more closely. Two framed nude drawings of Lee are propped up on an easel. Elliot glances admiringly at the drawings, then surreptitiously at Lee, admiring her body as she converses with an offscreen Dusty and Frederick. LEE (looking at an offscreen Frederick, gesturing) Big. Frederick, show him the oils. FREDERICK (offscreen) They're in the basement. The camera leaves Elliot to follow the enthusiastic Lee as she takes Dusty by the arm and starts leading him to the door. Frederick follows at a distance. 89. LEE (to Dusty) Frederick's done this whole new series that I'm sure you would really love. DUSTY (overlapping, muttering) Well, are...are they big? LEE Yeah. Some of them...yeah, some of them are very big. DUSTY 'Cause I got a lot of wall space there. (chuckling) FREDERICK (angrily stopping in his tracks) I don't sell my work by the yard! LEE (chuckling, reacting) Oh, Frederick! The camera now moves back to Elliot, still staring at the nude drawings, as the sounds of Frederick's and Dusty's footsteps are heard leaving the loft. He turns and hesitantly smiles to an offscreen Lee. ELLIOT (chuckling softly) How's everything? LEE (walking onscreen towards Elliot) Oh, you know...I talked to Hannah this morning on the phone, and she said that you two might be going to the country for the weekend. ELLIOT Yeah, she loves to go out in the woods. LEE (nodding, her arms clasped around her chest) Oh, yeah. 90. ELLIOT (chuckling) But I go nuts. It's a conflict. He laughs. Lee, uneasy, looks down. LEE I have to get my teeth cleaned this week. ELLIOT Oh, that's nice. There's an awkward moment of silence. ELLIOT (breaking the silence, pointing in the direction of the door) I figured I'd get, uh, Frederick and Dusty together. LEE (looking in the same direction, gesturing) Oh, yeah, that's really nice of you. ELLIOT Yes. This kid, he's earned a trillion dollars. LEE (nodding, wrapping her arms around her chest again) Oh. ELLIOT He's got like six gold records. LEE (gesturing, relieved that she's found something to say) Oh, speaking of records...I bought that Mozart Trio you recommended... The camera follows Lee as she walks quickly to the stereo unit, pulling a record off the shelf. 91. LEE (continuing) ...and the man in the record shop showed me another one that I think you'd love. It's a... another Bach, second movement. She pulls the record out of its jacket and puts it on the turntable. ELLIOT (offscreen) Oh, you-you have that one? LEE (working at the stereo, turning her head towards Elliot) Yeah. ELLIOT (offscreen) Oh, I would love to hear it. Bach's Concerto for Harpsichord fills the room. LEE (putting the turntable cover in place) Oh, and Holly met a wonderful man who loves opera. An architect. ELLIOT (offscreen) Oh, that's nice. I'd love to see her wind up settled. She's a tense one. (chuckling) The record in place, Lee turns and leans back against the stereo unit. She listens to the music, her eyes closed. The record plays for a few moments in the quiet room, as Elliot walks over to Lee and leans against the shelf near her. LEE (intently) Isn't that beautiful? 92. ELLIOT (looking at Lee, his hands clasped in front of him) I know this. Bach. F Minor Concerto. It's one of my favorites. Lee, smiling, continues to listen to the music, her head down; Elliot stares at her. ELLIOT (after a pause) Uh...did you ever get around to e.e. cummings? LEE (wrapping her arms around her chest and looking away from Elliot for a moment) Yes, he's just adorable. Elliot nods. LEE (awkwardly) They have a very large gay clientele, you know, where I get my teeth cleaned, and...all the hygienists now wear gloves because they're afraid of AIDS. ELLIOT (taking a breath) Oh, right. There is another moment of silence. Elliot stares at Lee, who continues to look down, her arms around her chest. The harpsichord plays on. ELLIOT (softly) Did you ever get around to the poem on page a hundred and twelve? LEE Yes, it made me cry (tentatively looking at Elliot) it was so beautiful...so romantic. Lee looks down again; the music plays softly and Elliot continues to stare at her, thinking. 93. ELLIOT (V.O.) I want so badly to kiss her. Not here, you idiot. You've got to get her alone someplace. As Elliot's thoughts are heard over the scene, Lee glances around the loft, then begins to walk away. The camera follows her as she goes past the nude drawings, which become the focus of attention as Lee walks offscreen. ELLIOT (V.O.) But I've got to proceed cautiously. This is a very delicate situation. Okay, uh...ask her if you can see her for lunch or a drink tomorrow. Lee walks back onscreen, to the bookshelf behind the drawings. She takes the e.e. cummings book from the shelf and flips through it as she walks back to Elliot, who is still leaning by the stereo, still ruminating. ELLIOT (V.O.) And be ready to make light of the offer if she's unresponsive. This has to be done very skillfully, very diplomatically. LEE (showing Elliot a poem in her book) Did you ever read this one--? Elliot leaps up, grabs Lee, and kisses her passionately. Lee, surprised, pushes him away. LEE Elliot! Don't! ELLIOT Lee! Lee! Lee, I'm in love with you. He kisses Lee again. He clumsily turns around; she humps against the stereo unit. As Lee pulls away, she smashes into the turntable. The needle scratches loudly. Lee, shocked, is gasping. The record, pushed to a different part of the concerto, now plays a more complicated, faster fugue. ELLIOT (breathing hard) Oh! 94. LEE (gasping) What are you doing?! ELLIOT (frantically) I...I'm-I'm-I'm-I'm sorry. I have to talk to you for... There's so much that I want to tell you. Lee stares at Elliot in shock. LEE (still gasping) Elliot! ELLIOT (gesturing desperately) I have been in love with you for so long. Frederick and Dusty's indistinct voices, raised in argument, are suddenly heard. Elliot quickly turns away from Lee. She tries to compose herself and the film cuts to the loft entranceway. Frederick enters the loft first, followed by a confused Dusty. They stride across the loft past Lee, who is standing by the stereo. Elliot, standing near the nude drawings, is looking through a book. FREDERICK (angrily) Please forget it! I don't have any interest in selling anything! DUSTY (gesturing) I ask you if you have something with a little puce in it, you gotta fly off the handle! LEE (in a slightly higher- pitched voice) What's the problem? FREDERICK (pulling the nude drawings off his easel angrily) I'm not interested in what your interior decorator would think, okay?! 95. DUSTY (overlapping, gesturing) Well, I can't commit to anything without consulting her first. That's what I have her for, okay? FREDERICK (carrying the drawings off) This is degrading! You don't buy paintings to blend in with the sofa! DUSTY (looking after Frederick) It's not a sofa, it's an ottoman! (touching his forehead, turning to Elliot) God, forget it! Let's just get outta here, Elliot. ELLIOT (putting down the book) We'll go. The film moves outside the loft building. Dusty and Elliot emerge and walk to Dusty's waiting limousine. Elliot is rubbing his forehead, anguished. DUSTY (angrily, getting into the car) What a weirdo that guy is! Paranoid. (noticing Elliot's anguished face) What's the matter with you? ELLIOT (gesturing) Look I-I-I'll be okay. I'll be okay. DUSTY (overlapping) It's not that big a deal. We just didn't hit it off. ELLIOT (gesturing) Now, look, you-you-you go on ahead. DUSTY Are you okay? You look-- You're sweatin'. 96. ELLIOT (overlapping, nervously) Yeah. Yeah, I just-just need so- some-some fresh air. It's probably something I ate. I'll-I'll walk. You go ahead. Dusty settles down in the backseat and closes the door. Elliot leans down to the chauffeur's window, signaling for him to start driving. ELLIOT (continuing, gesturing) You go. Go on. Go. The limousine drives off. Elliot runs to a phone booth across the street. He picks up the phone and dials. The film cuts to Frederick in his loft, standing near the phone. It rings. Frederick picks it up. FREDERICK (into the telephone) Hello? Hello? Hello? When no one answers, Frederick, reacting, hangs up, and the film moves back outside to the phone booth, where Elliot, the phone receiver to his ear, listens for a moment, then hangs up. He walks out of the booth, reacting, then walks down the sidewalk, where he bumps into a frantic Lee, just turning the corner. LEE (gesturing in relief) Oh! There you are! Elliot mumbles, relieved and confused. LEE I was looking for you. ELLIOT (gesturing) I, I must apologize. I-I'm, I-I'm sorry. I'm so mixed up. LEE (gesturing) Well, how do you expect me to react to such a thing? Elliot, uneasy, glances up in the direction of Frederick's loft. He leads Lee a few yards up the street, away from any prying eyes. 97. ELLIOT (taking Lee's arm) Wh--, uh, I know, I know but, I am in love with you. LEE Oh, don't say those words! ELLIOT (overlapping, shaking his head) I-I, I'm sorry. I know it's terrible. LEE (pushing back her hair, shaking her head hopelessly) Why, you know the situation. She sighs. ELLIOT (looking away for a moment) I know! I-I-I-I, I realize. LEE What do you expect me to say? ELLIOT Hannah and I are in the last stages. LEE (shaking her head) Wh-- She's never said anything, and we're very close. She'd tell me such a thing. ELLIOT Wh--, it-it-it-it, it's so sad. She's crazy about me, but somewhere on the, along the line, I've fallen out of love with her. LEE Not because of me, I hope. ELLIOT Oh, no, no. (nodding) Well, yes! I love you. LEE Oh, I can't be the cause of anything between you and Hannah. I jus-- 98. ELLIOT (overlapping, shaking his head) Oh, no, no, no. It, uh, it-it-it- it was i-inevitable that Hannah and I part, anyway. LEE Why? ELLIOT Tch, w-well, for a million reasons. LEE (gesturing) But not over me? ELLIOT Tch, no! We were, we were both going in different directions. LEE (looking down) Poor Hannah. ELLIOT But-but, but how about you? Do you, do you share any of my feelings? Or is this just an unpleasant embarrassment to you? LEE (reacting uneasily) I can't say anything! ELLIOT W-well, please be candid. I, I-I don't want you to feel bad. LEE (putting her hand to her head) Yes! But I...I have certain feelings for you, but don't make me say anything more, all right? Lee looks at him. ELLIOT (gesturing) O-o-o-okay, Lee. Okay, okay. You, you, y-you've said enough. It's my responsibility now. I will work things out. 99. LEE Look, don't do anything on my behalf. (shaking her head) I live with Frederick, and Hannah and I are close. ELLIOT Yes, but you, you do care about me. LEE (reacting) Oh, Elliot, please! I can't be a party to this! I'm suddenly wracked with guilt just standing her talking to you on the street! She sighs. ELLIOT (emphatically) Your guilt is because you feel the same. LEE (reacting) Oh, please, I have to go. I have to get my teeth cleaned. She walks off. Elliot stares after her, grinning. ELLIOT (happily) I have my answer. I have my answer! I'm walking on air! He laughs. CUT TO:",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. STREET CORNER OUTSIDE EVAN AND NORMA'S APARTMENT BUILDING - DAY A taxi turns a West Side street corner and stops in front of Evan and Norma's building, which is decorated with a long metal awning. It's an overcast day. A station wagon on the opposite side of the street pulls away as Hannah, a white scarf fluttering over her shoulder, gets out of the cab. She runs into the building; the taxi drives away. A piano plays ""Bewitched"" over the screen. CUT TO: 100.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. EVAN AND NORMA'S APARTMENT - DAY Evan, his back to the camera, walks to the front door and opens it to Hannah. HANNAH (distracted) Hi. How's she doing? EVAN (overlapping) I am glad to see you. Hannah takes off her shoulder bag and her coat as her aggravated father walks past her towards the kitchen. He passes a wall with an ornate mirror and some framed photographs. EVAN She's in the kitchen there. It's the same thing. Same thing. She promises, promises. (gesturing) But it's all lies. Through a doorway, Norma can be seen sitting on a chair in the kitchen. She wears a robe over a slip and stockings; she's drinking. Evan stands in the doorway looking at her; he doesn't go in. HANNAH (offscreen, patiently) Don't make it worse, Dad. EVAN (overlapping) Always. Hannah hurriedly passes her father and enters the kitchen; her mother takes a sip of her drink. HANNAH Hi, Mom. How you doing? Here, let me get you some coffee. That's enough of that. (taking away her mother's drink, to Evan) What triggered it? 101. EVAN (gesturing, as Norma turns her head and watches him) We were making a commercial down at the mayor's office, and there was this young, good-looking salesman... Norma reacts, turning to her daughter. Hannah, however, has her back turned. She is busy taking charge in the kitchen as Evan speaks. She takes some pills out of a cupboard and hands them to her mother with a glass of water. EVAN (continuing) ...and your mother was throwing herself at him in a disgusting way, and when she found she was too old to seduce him, that he was just embarrassed by her-- NORMA (angrily interrupting, turning her head) Liar! Liar! The camera moves to Evan, who continues to tell his story, ignoring his wife's outburst, as he walks away from the kitchen doorway into the den. EVAN Then at lunch she got drunker and drunker (shouting over his shoulder) and finally she became Joan Collins! Evan walks over to the piano, where several framed family photographs sit in a line on its top. He picks one up as Norma speaks offscreen in the kitchen. NORMA (offscreen) All my life I've had to put up with insults... The camera moves back to the kitchen as Norma talks. She is still glaring offscreen at the doorway where Evan stood moments before. She holds the water glass and the pills. 102. NORMA (continuing, dramatically) from this non-person, this, th-th- this haircut that passes for a man. (turning to look at the offscreen Hannah) He could never support us. It's a good thing we had a talented daughter! Evan is back in the doorway, listening to Norma, getting more and more angry. As he makes a retort, he starts to walk back to the den and his piano. EVAN I can only hope that she was mine. With you as her mother (gesturing, his voice getting louder) her father could be anybody in Actors' Equity! NORMA She's talented...so it's not likely she's yours! (taking a sip of water) HANNAH (walking over to the doorway to speak to Evan, who's already fuming in the den) Dad, could you just please stay in the other room and let me take care of her? Hannah goes back to Norma; she takes the glass of water away. EVAN (offscreen, choosing to ignore Hannah's suggestion) You never know when she's going to fall off the wagon and humiliate everybody. Hannah, choosing to ignore Evan's remark, hands her mother a cup of coffee; she puts her mother's hands on the cup. HANNAH Here, Mom. Drink this. (leaning against a kitchen counter) You know, you're awful. You probably were flirting. 103. NORMA (sipping her coffee) No! I like to joke around and have fun, and he gets angry because I get the attention. He's gotten sourer as he's gotten older, and I've tried to stay young...at heart. HANNAH You promised to stay on the wagon. NORMA (shaking her head) The sacrifices I've made because of that man. (inhaling) He's ruined me with his ego, his philandering, his-- (gesturing) his-his-his-his mediocrity! HANNAH Okay, stop being so dramatic. NORMA (shouting to the offscreen Evan) He's the one that's made every ingenue in stock! HANNAH (quietly) Okay, okay. NORMA (touching Hannah's arm, gasping) Th-th-they, they wanted me for a screen test. HANNAH (patiently) Yeah, I know, Mom. NORMA (gesturing) But I, I knew that he'd get up there and he'd flounder around with his expensive haircuts and hairdos and clothes. He's all show! (touching Hannah's arm again, then touching her chest) Now how can you act when there's nothing inside to come out?! 104. Norma sips her coffee, softly sobbing. Hannah, reacting, walks away from the counter and, capping the bottle of pills, puts them back in the cupboard. Evan plays the piano offscreen. The camera moves in on Hannah's face as she reflects, her voice heard over the screen. HANNAH (V.O.) She was so beautiful at one time, and he was so dashing. Both of them just full of promise and hopes that never materialized. The camera leaves Hannah's face as she continues to reflect; it moves to the den, to the row of family photos on the piano: one of a present-day Evan and Norma, others where both Norma and Evan are young, beautiful, hopeful. The music plays on. HANNAH (V.O.) And the fights and the constant infidelities to prove themselves...and blaming each other. It's s-sad. They loved the idea of having us kids, but raising us didn't interest them much. But it's impossible to hold it against them. They didn't know anything else. The film cuts back to the kitchen. Norma stands up; Hannah takes her coffee cup and sets it on the counter. NORMA You know, of all of us in the family, you were the one blessed with the true gift. She puts her arm around Hannah's shoulder. Mother and daughter walk out of the kitchen. HANNAH (holding the hand her mother had placed on her shoulder) Ohhh, my true gift is luck, Mom. Norma chuckles. HANNAH (overlapping) I just had a lot of luck...from my first show, you know? I've always thought Lee was the one destined for great things. 105. NORMA Yes, she's lovely, but she doesn't have your spark. (gesturing and chuckling) She knows it. She worships you. She wouldn't dare get up there on the stage. HANNAH (looking at her mother) Now, Holly's not shy. They stop at the entrance to the den. Evan can be seen playing the piano as they continue their conversation. NORMA No, Holly's game for anything. Holly takes after me. HANNAH True. NORMA (shaking her head) I'd have been a great dope addict. Norma chortles. Hannah laughs, touching her mother. They walk over to Evan at the piano. EVAN (looking up) Remember this, Hannah? Evan plays a few bars of ""You Are Too Beautiful"" as mother and daughter, their backs to the camera, listen. Norma leans over the piano; Hannah looks off into the distance, deep in reflection. The piano music continues in the background as the movie cuts to: Lee walking along a wharf by the waterfront. The wind blows her hair; she hugs the e.e. cummings book to her chest. She, too, is deep in thought. She stops at the edge of the wharf; the camera continues to move, to a group of wooden pilings nearby, lapped by the water. CUT TO: The abyss. The piano piece ends and the film is quiet. CUT TO: 106.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOSPITAL CAT-SCAN ROOM - DAY The quiet continues as the film cuts to a close-up of a large, circular CAT-scan module in an antiseptic hospital room. A slowly moving stretcher, bearing Mickey's strapped prone body, begins to enter the round opening of the module. As the camera pulls back from Mickey, his taped head under the scan, two technicians can be seen through the window separating the scanner from the control room. One of them, sitting down, taps information into a computer while the other technician stands nearby, looking from Mickey to the computer screen. The movie then cuts briefly to the computer screen, showing an image of Mickey's skull. Scan lines bleep over the skull. The camera moves up from the screen to reveal Mickey once again, as seen through the window, silent and serious under the CAT-scan module. From Mickey's prone form, the film moves to the two technicians, as seen through the window in the scanner room. They examine the computer screen and talk indistinctly to each other. One of the men, nodding, taps more information into the computer. While they're studying the CAT-scan picture, the camera cuts to a back view of Mickey under the module. There is a science- fiction feel to this scene, as if Mickey is lying in the center of a huge, white, futuristic circle. The stretcher, bearing Mickey, slowly moves out of the module. CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DR. BROOK'S OFFICE - DAY Dr. Brooks, holding Mickey's X-rays, walks past a row of bookshelves to his light panel. He props up the X-rays. DR. BROOKS Mr. Sachs, (sighing) I'm afraid the news is not good. Dr. Brooks turns to an offscreen Mickey. DR. BROOKS (continuing, taking a pencil out of his pocket) If I can show you exactly where the tumor is, and why we feel that surgery would be of no use. 107. The film quickly cuts to a close-up of Mickey's face, reacting in total despair. He closes his eyes; he covers his face with his hand. MICKEY (V.O.) It's over. I'm face-to-face with eternity. DR. BROOKS (offscreen) ...grown quite large without being detected... (trailing off indistinctly as Mickey continues his anguished ramblings) MICKEY (V.O.) Not later, but now. I'm so frightened I can't move, speak, or breathe. As Mickey finishes his speech, the ""real"" Dr. Brooks is seen walking into the office. The previous scene had been a figment of Mickey's imagination, a nightmare fantasy only. Holding Mickey's X-rays, the ""real"" Dr. Brooks walks past the same row of books to the light panel. DR. BROOKS Well, you're just fine. There's absolutely nothing here at all. And your tests are all fine. (switching on the light on the panel and propping up the X-rays) I must admit, I was concerned, given your symptoms. (turning to look at the offscreen Mickey) What caused this hearing loss in one ear, I guess we'll never really know for sure. But whatever it was, it's certainly not anything serious at all. (nodding) I'm very relieved. CUT TO: 108.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MOUNT SINAI HOSPITAL - DAY Once again, Mickey is seen leaving the building, but this time he bounds down the steps, jumping for joy. He runs swirling down the street, clapping his hands, happy with relief. Upbeat, uptempo jazz plays in the background. Several cars pass as Mickey joyfully runs. Suddenly he stops, his hand to his mouth, reflecting. CUT TO:",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MICKEY'S OFFICE - DAY Gail sits in a chair in front of a bookshelf. A sofa, a coffee table holding periodicals, and an endtable with a lamp complete the tableau. Gail's hands are clasped on her lap. GAIL What do you mean you're quitting? Why? The news is good! You don't have canc--the thing. Mickey, standing behind his desk, his back to the camera, his coat still on, looks out at the Manhattan skyline. MICKEY Do you realize what a thread we're all hanging by? GAIL (offscreen) Mickey, you're off the hook. You should be celebrating. MICKEY (walking around to the front of his desk, gesturing) Can you understand how meaningless everything is? Everything! I'm talking about nnnn--our lives, the show...the whole world, it's meaningless. GAIL (gesturing) Yeah...but you're not dying! MICKEY No, I'm not dying now, but, but (MORE) 109. MICKEY (CONT'D) (gesturing) you know, when I ran out of the hospital, I, I was so thrilled because they told me I was going to be all right. And I'm running down the street, and suddenly I stop, 'cause it hit me, all right, so, you know, I'm not going to go today. I'm okay. I'm not going to go tomorrow. (pointing) But eventually, I'm going to be in that position. Gail gets up from her chair. She walks past Mickey to a nearby cabinet. She opens a drawer, rummaging around for something. The camera follows her, leaving Mickey briefly. GAIL You're just realizing this now? MICKEY (offscreen) Well, I don't realize it now, I know it all the time, but, but I managed to stick it in the back of my mind... As Mickey continues to talk offscreen, Gail closes the cabinet drawer and walks to a file cabinet behind Mickey's desk. MICKEY ...because it-it's a very horrible thing to... think about! Gail opens the file cabinet and takes out a pack of gum. She slams it closed, distracted. GAIL (muttering) Yeah. What? MICKEY (turning to Gail) Can I tell you something? Can I tell you a secret? GAIL (nodding impatiently as she walks around the desk) Yes, please. 110. MICKEY (pointing) A week ago, I bought a rifle. GAIL (sitting on the arm of a chair near Mickey) No. MICKEY (overlapping, nodding and gesturing) I went into a store, I bought a rifle. I was gonna... You know, if they told me that I had a tumor, I was going to kill myself. The only thing that mighta stopped me, might've, is my parents would be devastated. I would, I woulda had to shoot them, also, first. And then, I have an aunt and uncle, I would have... You know, it would have been a bloodbath. GAIL (shrugging, unwrapping a stick of gum) Tch, well, you know, eventually it, it is going to happen to all of us. MICKEY Yes, but doesn't that ruin everything for you? That makes everything... Gail sighs. She pops a piece of gum into her mouth as Mickey continues to speak. MICKEY (continuing) ...you know it, it just takes the pleasure out of everything. (gesturing, pointing) I mean, you're gonna die, I'm gonna die, the audience is gonna die, the network's gonna-- The sponsor. Everything! GAIL (chewing) I know, I know, and your hamster. MICKEY (nodding emphatically) Yes! 111. GAIL (chewing and pointing to Mickey) Listen, kid, I think you snapped your cap. Mickey sighs. GAIL (continuing, chewing loudly) Maybe you need a few weeks in Bermuda, or something. Or go to a whorehouse! No? MICKEY (shaking his head, his hand to his chest) I can't stay on this show. I gotta get some answers. Otherwise (pausing and holding his head) I'm telling you, I'm going to do something drastic. CUT TO: The entrance to the St. Regis Hotel, elegant and warmly lit in the night. Pedestrians pass. Baroque harpsichord music plays over the scene. The camera moves up the hotel's ade, past its welcoming flags, to its ornate windows several floors up. As the harpsichord continues to play, the film moves inside, to one of the hotel rooms. Elliot, his back to the camera, is opening the door to Lee. Elliot closes the door behind her as she enters. They stand very close to each other, framed by the door and a stark, subtly striped wallpapered wall. ELLIOT (looking intensely at Lee, his hands in his pockets) I thought you weren't coming. LEE I almost didn't. ELLIOT (putting his hand on her shoulder, wanting to kiss her) Lee... uh... 112. LEE I didn't sleep all night. ELLIOT (taking his hand away, gesturing to the room) No, no-no-no, I'm sure. They walk towards the camera, further into the room. Elliot puts his arm around Lee. LEE What are we doing, meeting in a hotel room? It's terrible, isn't it? The music stops. The camera follows Lee as she walks towards the curtained windows, past a fireplace, a mirror, some innocuous pictures, a delicate table holding a lamp, the foot of the bed. ELLIOT (offscreen) I-I couldn't think where to invite you without taking risks. LEE I promised myself I wouldn't let this happen till you were living alone. I was so torn when you called. She parts a corner of the curtains, looking out the window, turning when Elliot speaks. ELLIOT (offscreen) I've wanted to call you everyday since I first told you how I felt. He walks over to Lee by the curtained windows. ELLIOT I resisted so many times. (pausing) Don't think badly of me. He takes Lee into his arms. ELLIOT This is not an easy situation. LEE (whispering) I know it isn't. 113. They kiss, their figures almost silhouetted in the warm glow of the room. Elliot takes Lee's coat off without breaking the kiss. They embrace. They kiss each other lightly, then stronger, more passionately, their embrace much tighter. And it's later that night. The harpsichord music begins to play again as the camera moves over the bed covers to reveal Lee, lying contentedly under the sheets, her hair fanned out on the pillows, one arm near her head. LEE That was just perfect. You've ruined me for anyone else. ELLIOT (offscreen) I don't want anyone else ever to have you. LEE (sighing) I was so worried I wouldn't compare with Hannah. ELLIOT (offscreen, laughing) Oh, my God. He enters the screen, sitting down on the edge of the bed next to Lee. He holds a cigarette. ELLIOT You really do have those thoughts, don't you? LEE (chuckling, touching Elliot's arm) Oh, all the time. Elliot chuckles; they hold hands. LEE I know she must be a really passionate person. ELLIOT (looking at their clasped hands) Yes, she's, she's very warm, but, but it-it's me that wants to be giving to you. I-I-I want to do things for you. Hannah doesn't need me as much. (MORE) 114. ELLIOT (CONT'D) (chuckling as Lee laughs) I'm being presumptuous. Not that you need me. LEE (nodding) I want you to take care of me... And I love when you do things to me. Elliot leans down to Lee; they begin to kiss passionately. CUT TO:",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. STREET OUTSIDE FREDERICK'S LOFT - NIGHT Lee walks along the sidewalk in the rain; she's bareheaded. The streets are dark. A car drives by; a pedestrian passes holding an umbrella. Lee passes a restaurant well lit inside by hanging lamps. The baroque music continues as she enters the loft, her head soaked. She closes the door, touching her soaking hair. FREDERICK (offscreen) You're late. Lee walks through the loft's living room area, unbelting her coat, towards the bathroom. She passes Frederick, who sits at a table in the kitchen area, drinking a cup of coffee and reading the paper. A plate with a half-eaten sandwich sits in front of him. The music stops. LEE (opening the bathroom door) Lucy and I kept talking, and I didn't realize how late it had gotten. FREDERICK (barely glancing up from his paper) You missed a very dull TV show about Auschwitz. More gruesome film clips...and more puzzled intellectuals declaring their mystification over the systematic murder of millions. As he talks, Lee is seen turning on the bathroom light. She takes off her coat, hanging it on a hook, then begins to dry her hair with a towel. 115. FREDERICK (turning his head slightly in Lee's direction and gesturing) The reason why they could never answer the question ""How could it possibly happen?"" is that it's the wrong question. Given what people are, the question is (swallowing) ""Why doesn't it happen more often?"" Of course it does, in subtler forms. Frederick takes a bite of his sandwich and another sip of coffee as Lee walks out of the bathroom, tossing the towel down on the counter. LEE (moving her fingers through her wet hair) I have a little headache from this weather. She takes a kettle and fills it with water. FREDERICK (grunting, sipping his coffee) It's been ages since I sat in front of the TV... just changing channels to find something. As Frederick continues his monologue, Lee is busy in the background: striking a wooden match and lighting a burner on the stove for the kettle, taking a glass out of the cupboard, walking into the bathroom for some pills, filling the glass with water in the kitchen sink, and taking her pills. FREDERICK You see the whole culture...Nazis, deodorant salesman, wrestlers...beauty contests, the talk show... Can you imagine the level of a mind that watches wrestling? (gesturing) Hmm? But the worst are the fundamentalist preachers...third- rate con men, telling the poor suckers that watch them that they speak for Jesus...and to please send in money. (picking up his sandwich) Money, money, money! (MORE) 116. FREDERICK (CONT'D) If Jesus came back, and saw what's going on in his name, he'd never stop throwing up. He takes a bite of his sandwich and a sip of coffee. Lee sets her glass on the kitchen counter and walks towards the bedroom area. LEE (impatiently, her hands in her hair) Oh, God, Frederick, could you please lighten up?! I'm really not in the mood to hear a review of contemporary society again. She starts to take off her wet clothes by the bed. Frederick takes off his glasses. He turns and looks at Lee in surprise. FREDERICK (standing up from the table) You know, you've been very nervous lately. LEE (sighing) I can't take this anymore. FREDERICK (walking over to the bed) I'm just trying to complete an education I started on you five years ago. LEE (unbuttoning her blouse) I'm not your pupil. (sighing, her hands at her side) I was, but I'm not. FREDERICK (sitting down on the edge of the bed) When you leave the nest, I just want you to be ready to face the real world. He pulls Lee down next to him on the bed. 117. LEE (putting her hand on Frederick's leg) Frederick, we're going to have to make some changes. She sighs. FREDERICK (quickly looking at Lee, alarmed) Like what? LEE Oh, you know what. I'm suffocating! FREDERICK (turning away, his hands clasped in front of him) Oh! Are we going to have this conversation again? LEE Yes, we're going to have this conversation again. I...I have to leave. I have to move out. FREDERICK (shaking his clasped hands intensely) Why? LEE (sighing) Because I have to! FREDERICK (emotionally) What are you going to use for money?! LEE I don't know. I thought, maybe I'd move in with my parents for a while. FREDERICK Tch, oh. I always told you you would leave me. (looking at Lee) But...does it have to be now? 118. LEE (hugging her arm with her other hand) Well, maybe it'll only be temporary, but I ha--I have to try. FREDERICK (taking Lee's head in his hands and looking at her) Oh...Lee, you are my whole world. (pausing) Good God! Have you been kissed tonight?! LEE (reacting, pushing Frederick's hands from her face) No. FREDERICK (reacting) Oh, yes, you have! LEE (quickly standing up, defensively) No. FREDERICK (raising his voice) You've been with someone! LEE (overlapping, running away from the bed) Stop accusing me! Lee runs into the kitchen, her hands tight around her chest. FREDERICK (offscreen) I'm too smart, Lee! You can't fool me! You're turning all red! Lee, fraught with emotion, briefly puts her outstretched hands on the refrigerator door, then turns around and leans against it, hugging herself, her blouse still unbuttoned, her hair still wet and bedraggled. LEE Leave me alone! 119. Frederick enters the kitchen area and leans against the counter. FREDERICK (angrily) Oh, Christ! What's wrong with you?! LEE (leaning against the refrigerator, sighing) I'm sorry. FREDERICK Oh, couldn't you say something? You have to slither around behind my back! LEE (overlapping, her voice emotionally raised) I'm saying it now! FREDERICK So you met somebody else? LEE (sighing, nodding) Yeah. Frederick cringes, reacting. He puts his hand to his forehead; he sighs. LEE (walking into the bathroom) But you, God, you knew that was going to happen sooner or later. I can't live like this! FREDERICK (turning to face Lee in the bathroom, his arms crossed) Who is it? LEE (frantically putting things in her purse, glaring at Frederick) What's the difference?! It's just somebody I met! FREDERICK But who? Where did you meet him? 120. LEE It doesn't make a difference! I have to move out! FREDERICK You are, you are my only connection to the world! Lee turns and faces Frederick in the bathroom doorway. LEE (gesturing emotionally) Oh, God, that's too much responsibility for me. It's not fair! I want a less complicated life, Frederick. I want a husband, maybe even a child before it's too late. FREDERICK (reacting, his face in his hand) Jesus...Jesus! LEE (gesturing, moving closer to Frederick) Oh, God, I don't even know what I want. FREDERICK (sighing heavily, reacting) Oh... LEE (rubbing Frederick's shoulder tenderly) Tch, oh, what do you get out of me, anyway? I mean... (laying her head against his shoulder, sighing deeply) it's not sexual anymore. It's certainly not intellectual. I mean, you're so superior to me in every way that-- Frederick furiously shakes Lee away. He pounds his fist against a cupboard. Lee, gasping, moves away. FREDERICK Please, don't patronize me! 121. He puts his hand on his forehead, then turns to the offscreen Lee. FREDERICK God! I should have married you years ago when you wanted to! I should have agreed. He walks over to Lee in another area of the kitchen. LEE (sighing) Oh, God, don't you know it never would have worked? Frederick turns away from Lee. He begins to pace near the counter. FREDERICK I told you, one day you would leave me... (leaning on the counter) for a younger man. I-- He loudly pounds his fist on the counter in despair and frustration, then covers his eyes with his hands in sorrow. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HANNAH'S BEDROOM - NIGHT Hannah, wearing a plaid shirt, sits up in bed, a book propped up on her knees. A cupboard with some bric-a-brac is mounted behind the night table, which holds a small, white, warm- glowing lamp and some photographs. She turns the page as Elliot, in pajamas and silk bathrobe, enters. She continues to read her book as he sits down at the edge of the bed and muses. His voice is heard over the screen. ELLIOT (V.O.) What passion today with Lee. She's a volcano. It was a totally fulfilling experience... Just as I dreamed it would be. (nodding slightly as he takes off his slippers) That's what it was. It was like living out a dream...a great dream. (taking off his bathrobe) Now I feel very good and cozy being here next to Hannah. (MORE) 122. ELLIOT (V.O.) (CONT'D) There's something very lovely and real about Hannah. (tossing his bathrobe aside and lying down on the bed next to Hannah, his hands crossed over his stomach) She gives me a very deep feeling of being part of something. She's a wonderful woman...and I betrayed her. She came into my empty life and changed it...and I paid her back by banging her sister in a hotel room. God, I'm despicable. What a cruel and shallow thing to do. (sitting up) I have to call her now and tell her what we did was crazy. (anxiously) It can't ever happen again. I'm not that kind of man...and I value Hannah too much. I love my wife. Now I've betrayed her. Oh, God! Elliot frantically stands up and leaves the room. HANNAH (reading, not looking up) Where're you going? ELLIOT (offscreen) I've, uh...gotta find, gotta get a phone number in my desk. I forgot to phone Mel Kaufman. HANNAH (still reading) It's so late. ELLIOT (offscreen) Yeah, I know. I-I can't believe I forgot. Elliot walks quickly into the darkened hallway. 123. ELLIOT (muttering) What if he answers? (turning into the doorway leading to the living room) I'll hang up. (walking into the darkened living room) I'll tell her we can't communicate until I terminate my marriage. (whispering) It's immoral. Elliot switches on the light. He paces back and forth in front of the piano and an accompanying music stand. The top of the piano is filled with family photos; the lamp he turned on illuminates some framed pictures on the wall and the piece of sheet music open on the piano. ELLIOT (gesturing and whispering) Then, time will pass. I won't call, and she'll get the idea. I gotta stop this before I get in too deep. I'd rather hurt Lee a little, than destroy Hannah. Elliot stops pacing and checks his wristwatch. ELLIOT (whispering, rubbing his hands) It's one-thirty. She...she can't have a conversation with me...with him around. I'm getting hysterical. (putting his hands on his hips) I'll call her first thing in the morning. I'll call her at six. (pointing) Frederick goes jogging at six, yeah, she'll be alone. And I'll, I'll call her and nip it in the bud. The phone rings. Elliot jumps. ELLIOT (loudly, to the offscreen Hannah, gasping) I've got it! I've got it! I've got it! (MORE) 124. ELLIOT (CONT'D) (picking up the phone, into the telephone) Hello? (loudly, for the offscreen Hannah's benefit) Mel! The movie cuts to Lee, standing in the dark in Frederick's loft. She talks softly into the telephone. LEE (into the telephone) I would have hung up if you hadn't answered and I promise I won't ever do this again, but I just had to tell you, I feel very close to you tonight. Very, very close. (pausing) Good night. Lee hangs up the phone and the movie cuts back to Elliot, standing in his living room. Stunned, he slowly lowers the phone receiver. CUT TO: ""The only absolute knowledge attainable by man is that life is meaningless."" - Tolstoy Jazz is heard as the movie cuts to the outside of a university library, the camera focused on a huge replica of Rodin's Thinker before moving to the front entrance. Mickey can be seen emerging from its depths. He wears his raincoat, his hands are in his pockets. He ponders the scene as he walks past the statue and a small front garden and down the sidewalk. Passersby, some holding books, are seen. MICKEY (V.O.) Millions of books written on every conceivable subject by all these great minds, and, and in the end, none of 'em knows anything more about the big questions of life than I do. Ss--I read Socrates. You know, n-n- n--, this guy used to kn-knock off little Greek boys. What the hell's he got to teach me? And, and Nietzsche with his, with his Theory of Eternal Recurrence. He said that the life we live, we're gonna live over and over again the exact same way for eternity. Great. (MORE) 125. MICKEY (V.O.) (CONT'D) That means I, uh, I'll have to sit through the Ice Capades again. Tch. It's not worth it. The movie next cuts to a sunny day in Central Park. A male jogger, seen through some tree branches, runs by. The camera moves past him, revealing a pondering Mickey walking by the reservoir. He continues to talk over the screen. MICKEY (V.O.) And, and Freud, another great pessimist. Jeez, I was in analysis for years. Nothing happened. My poor analyst got so frustrated. The guy finally put in a salad bar. Several joggers pass Mickey; he continues to ruminate. MICKEY (V.O.) Oh! Look at all these people jogging...trying to stave off the inevitable decay of the body. Boy (smacking his lips) it's so sad what people go through with their-their stationary bike and their exercise and their... (glancing at a fat woman jogger in a red sweatsuit who runs by) ...Oh! Look at this one! Poor thing. My God, she has to tote all that fat around. Maybe the poets are right. Maybe love is the only answer. Mickey goes over to the chain-link fence encircling the reservoir. He stops walking and looks out over the water. MICKEY (V.O.) Shh--Of course, I was in love with Hannah. That didn't work out too well. (sighing) I even took her sister out. Remember that? Mickey continues to look through the fence at the water and the distant skyline. A jogger crosses in front of him. It's very quiet; the soft jazz continues. 126. MICKEY (V.O.) Remember years ago when Hannah and I got divorced and she fixed me up with her sister Holly? The film cuts abruptly to Mickey's flashback of his date with Holly, beginning with a rock club performance. The soft jazz becomes loud, pulsating rock. Three punkers--a girl with pink hair, a girl with a spiked mohawk, and a guy with Stevie Wonder braids and sunglasses--watch and bop their heads to the sounds of the offscreen rock band, The 39 Steps. The camera moves to the stage, revealing a sleazy-looking rock band in the midst of their number. THE 39 STEPS (singing) ""I want to be like you I said I'm going to fit into your group..."" As the band loudly plays on, the camera moves across the spellbound audience, sitting at crowded, smoky, small tables, to reveal a stricken Mickey and a mesmerized Holly squeezed together at one of them. A nearby member of the audience swills beer from a bottle. Holly, beating time to the music and enjoying herself, takes a puff of her cigarette. She wears a wristful of silver bracelets. She glances at Mickey impatiently. He's the only one in the place wearing a suit. THE 39 STEPS (singing) ""I don't wanna be different Said I'm gonna be just like you Because I'm gonna buy the records That they play on radio... Holly turns back to the band, who are still in full swing. The camera moves down the body of the lead singer, singing into a microphone, from his longish, curly red hair, through his cut-off red shirt and sweaty torso, to his guitar. He wears several silver bracelets on his wrists and gold bracelets on his upper arm. The microphone screeches feedback. THE 39 STEPS (singing) ""I'm gonna dance at clubs Gonna do just what I'm told Because I'm bleedin' now And I'm bleedin' now I wanna slip, slip, slip, slip, slip Into the crowd I wanna slip, slip, slip, slip, slip Into the crowd..."" 127. The camera moves back to Holly and the even more stricken- looking Mickey. They are crowded in with people. In the background, a waitress holds up a tray. A man drinks from a glass mug; people chatter indistinctly over the loud band. The club is noisy, smoky, and thick with people. Holly glances at Mickey once again, this time unable to contain her annoyance. HOLLY Oh, why are you making those faces? MICKEY (leaning over to Holly, gesturing) I can't hear you. I can't hear anything. I'm, I'm, I'm, I'm gonna lose hearing in my ear! I'm-- HOLLY (interrupting, gesturing to the offscreen band) Listen, you are witnessing genius! MICKEY (pointing to his ears) I, I, my ears are experiencing a meltdown! I can't hear anything. HOLLY (overlapping, gesturing dramatically) Look, can't you feel the energy? It's tangible energy! The room's alive with positive vibrations! She opens a vial of cocaine. MICKEY (gesturing, trying to talk over the band) Holly, I'm frightened! I'm--After they sing... they're gonna take hostages! Now let's-- Holly holds a short metal straw of cocaine to her nose and sniffs it. MICKEY (panicking) Don't, no, please. Will you-- No, don't... 128. HOLLY (holding the straw towards Mickey) You want some? THE 39 STEPS (singing in the background while Holly and Mickey talk) ""I want to dress like you Say, I'll buy all the clothes I want to fuck like you Yeah, I'm sure it shows Because I'm..."" MICKEY (shaking his head) I don't. No. No. HOLLY (overlapping, sniffing) Come on, Mickey. Come on. MICKEY (overlapping, gesturing) But, no, you've been doing that all night! You're gonna...you're gonna burn a hole in your... You're gonna develop a third nostril! Really, (putting his hand on Holly's shoulder) don't, please. While Mickey pleads with her, Holly puts her cocaine vial into her purse. She holds a finger against one nostril and sniffs. She then picks up her lit cigarette and continues to smoke. MICKEY Can we, can we go? HOLLY (looking at the offscreen hand, bopping her head to the music and smoking) No! MICKEY (touching his ear in pain) My--uh... 129. The camera leaves the crowded tables and moves back to the band. The lead singers continues to sing with his band, swaying his body to the music... THE 39 STEPS (singing) ""...Gonna buy the records That they play on the radio..."" ...as the film cuts abruptly to outside the rock club. The music has stopped. Mickey and Holly, almost in dark silhouette, are walking at a fast clip along the sidewalk, arguing. They pass some lighted clothing store windows; a few cars go by in the dark street. HOLLY (enthusiastically) I love songs about extraterrestrial life, don't you? MICKEY Not when they're sung by extraterrestrials. HOLLY (impatiently, with annoyance) Oh, well, I cannot communicate with you! I, you know, I never realized you were such a tightass. MICKEY I can't understand you. Your sisters, both sisters have such good taste in music. I don't know where you went, went wrong. HOLLY (gesturing) Do you mind? I'm-I'm my own person. MICKEY Can I take you someplace to hear something nice? HOLLY (touching the hat on her head) Eh, Mickey, it's getting late. MICKEY Now come on, you're be--, 'cause you're being angry at me. 130. They stop briefly at a street corner and look for oncoming cars before crossing. Mickey takes Holly's arm as they walk across the street towards the camera. HOLLY (angrily) I'm not angry! You know, you, well, you don't believe in ESP, you don't like rock music, you won't get high... It's like I'm dating Cardinal Cooke! CUT TO:",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. THE CARLYLE CLUB - NIGHT Bobby Short is playing ""I'm In Love Again"" on the piano, accompanied by a bass player. An Art Deco mural fills the wall behind him... BOBBY SHORT (singing) ""Why am I Just as reckless as a child? Why am I Like a racehorse running wild? Why am I In a state of ecstasy? The reason is 'cause something's Happened to me I'm in love again And the spring is comin'..."" ...as the camera leaves the musicians and moves to the conversatively dressed audience. A far cry from the rock club atmosphere, the Carlyle is quiet except for Bobby Short's singing. The audience at their tables watch him, some with smiles of pleasure. A man has his arm around a woman. Jewels sparkle in another woman's hair. The men wear suits. Mickey and Holly sit at one of the tables; a candle burns in its holder on the tabletop. Holly takes a cigarette from her purse as she holds her hand to her nose, sniffing. Mickey keeps shooting glances at Holly; she can't sit still. Bobby Short continues to sing... BOBBY SHORT (singing) ""I'm in love again Hear my heart strings strummin' I'm in love again And the hymn they're hummin' Is those cuddle-up huddle-up blues I'm in love again And I can't rise above it..."" 131. ...as Holly lights her cigarette, dropping her matchbook on the floor. She bends down to pick it up, then starts to fidget in her chair. She gulps her wine; she sniffs. Mickey tries to watch the offscreen Bobby Short; he crosses his arms across his chest. The film cuts back briefly to Bobby Short playing the piano... BOBBY SHORT (singing, continuing) ""I'm in love again And I love, love, love it."" THEN ABRUPTLY CUTS TO:",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. THE CARLYLE HOTEL - NIGHT A taxi pulls away from the curb as Mickey and Holly walk out of the hotel through its revolving doors. Holly stays under the awning; Mickey walks to the curb and looks angrily back at her. People pass by as Mickey walks back and forth from the curb to Holly, growing angrier and angrier. HOLLY Thanks for a swell time. MICKEY (gesturing) Well, if you didn't like it, you didn't like it, but you didn't have to talk while the guy was singing. HOLLY I was so bored! MICKEY (gesturing) Yeah, that's tough! You don't deserve Cole Porter. You should stay with those groups that look like they're gonna stab their mother! HOLLY At least I'm open to new concepts! MICKEY And you don't have to snort cocaine at the table all the time! What do you, what do you do? Carry a kilo around in your purse? 132. HOLLY (gesturing) This crowd wouldn't know the difference! They're embalmed! MICKEY Jesus... (waving his arm and whistling for a taxi) I'm glad Hannah got us together. You know, she's got a great instinct for people. Really. A taxi pulls up to the curb. Mickey and Holly walk up to its rear door. HOLLY Oh, look, I'm sorry it didn't work out. MICKEY (overlapping) Yeah. Me, too. HOLLY (overlapping) You know, it's probably my fault. I've been a little depressed lately. MICKEY (overlapping) Right. Yeah. I had a... HOLLY (overlapping) God! MICKEY (continuing) ...I had a great time tonight, really. It was like the Nuremberg Trials. He holds the door open for Holly. She gets in. HOLLY (angrily) Oh, I'll see myself home! Holly slams the door. Mickey starts to walk along the sidewalk as the taxi drives off; he passes the hotel and several evening-lit store windows. ""I'm In Love Again"" begins to play in the background as Mickey's voice is heard. 133. MICKEY (V.O.) Yeah, it was quite an evening. Holly with her cocaine... (chuckling) She should have been wearing a gold shovel around her neck. Tch, she was polymorphously insensitive, I think. (smacking his lips) Too bad, too... 'cause, you know, I always had a little crush on her. Both a bus and a taxi drive down the street, blocking Mickey from view. The music stops and the film cuts to: Afternoons. A big-band rendition of ""You Made Me Love You"" begins as the film cuts to a hotel room. Elliot and Lee can be seen dancing cheek to cheek in the reflection of a mirror over a dresser. A TV sits in the corner. A lamp is on one side of the dresser; on the other side is a bucket with champagne. Two half-full glasses sit nearby. Elliot and Lee dance into view. Without missing a beat, Elliot picks up one of the glasses of champagne and hands it to Lee. She sips. Elliot sips, then puts it back down on the dresser. They embrace tightly, continuing to dance. CUT TO:",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HANNAH'S DINING ROOM - NIGHT Elliot, Hannah, and the twins sit at the dining room table. A Christmas tree stands in the corner of the room, next to a table holding a lamp; a picture hangs on the wall. The family has just finished eating; the table is cluttered with the remains of dinner, including a quart of milk, some chocolate syrup, and a bottle of ketchup. Hannah's two adopted children stand by her chair; she is showing them how a small camera works. The children watch her, fascinated, muttering among themselves. Elliot looks listless. He stares blankly at the table. HANNAH (to her adopted children, holding the camera) Oh, you just have to read the instructions. I mean, you just set one of these things and you can take, you can take pictures underwater. 134. CHILD 1 (overlapping) Can I try it? HANNAH (handing him the camera) Sure! Yeah. When we get to the country, we'll try it in the lake. The child takes the camera from Hannah, as well as picking up a second identical one from the table. CHILD 1 Okay. HANNAH (resting her chin in her hands) Okay? CHILD 2 (overlapping) Can I go? CHILD 1 (overlapping) Yeah. HANNAH (nodding) Yeah! Okay. The adopted children leave, the twins going off with them. When they're gone, Hannah takes a sip of her coffee and looks at Elliot. She puts down her cup, still watching him. HANNAH (after a beat) Are you in a bad mood? ELLIOT (shaking his head slightly) I don't know. Um...I'm just antsy. The camera moves in on their faces as they continue to speak. Family photos line the mantel behind Hannah's head. HANNAH (intensely) Yes. I know. The last few weeks, you haven't been yourself. (MORE) 135. HANNAH (CONT'D) And tonight at, tonight at dinner, you, you were kind of curt with me. ELLIOT (looking down at his hands) Was I? HANNAH Yes, you were. A-and when I, when I brought up the idea of having a baby, you just, you jumped down my throat. ELLIOT (shaking his head) Well, I-I don't think it's a very good idea. HANNAH Why not? ELLIOT (edgily) Because it's the last thing in the world we need right now. HANNAH Why do you say that? Is there something wrong? ELLIOT I don't know. HANNAH Well, tell me. Should I be worried? ELLIOT But, you got four children! HANNAH I want one with you. ELLIOT Well...I-I think we should wait till things settle. HANNAH But what do, what do you-- (stuttering) what's that mean? W-w-we've been, we've been married for four years. How settled can things get? 136. ELLIOT (gesturing) You know, y-you have some very set plans on how your life should be structured. A-a house, uh, kids, certain schools, a h--, a home in Connecticut. I-it's all very...preconceived. HANNAH (shaking her head) Yeah, but I...uh--I thought you needed that. When-when-when we met, you said your life was chaos. ELLIOT I-I-I know, but there's got to be some give and take. Hannah sighs. Elliot angrily throws his napkin on the table. He stands up and begins to pace behind Hannah. ELLIOT Oh, let's not--I, I don't know what the hell I'm talking about. HANNAH (reacting) Are you angry with me? ELLIOT No! HANNAH Do you feel, um...are you disenchanted with our marriage? ELLIOT (pointing at Hannah) I didn't say that. HANNAH Are you in love with someone else? ELLIOT (angrily) My God! Wha-what is this? The Gestapo? No. He sits down again, in a chair next to Hannah; the ketchup bottle sits in front of him. 137. HANNAH (turning to look at him) Well, what? What, wh-what are you not telling me? ELLIOT (gesturing and pointing) What kind of interrogation... Us- supposing I said yes? I-I-I am disenchanted. I am in love with someone else. HANNAH Are you? ELLIOT (staring at Hannah for a beat before answering her) No! (gesturing) But you keep asking these, these awful questions. My God, it's-it's like you want me to say yes! HANNAH (gesturing) What, you, of c-- What are you talking about? Of course not. I'd be destroyed! The camera moves in on Elliot's anguished face. He talks over the screen. ELLIOT (V.O.) For Chrissakes, stop torturing her. Tell her you want out and get it over with. You're in love with her sister. You didn't do it on purpose. Be honest. It's always the best way. He looks down. Hannah leans over and tenderly puts her hand on his shoulder. HANNAH (softly) Look, can I help you? If you're suffering over something, will you share it with me? She touches his hand; Elliot embraces her. 138. ELLIOT Hannah, you know how much I love you. (kissing her on the forehead) I ought to have my head examined. I don't deserve you. Elliot kisses Hannah again; they embrace tightly. She touches his hair. CUT TO: The audition. There is no music. CUT TO:",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SOHO CLOTHING BOUTIQUE - DAY The screen shows a metal staircase next to a large white column. Holly's voice can be heard as she and Hannah make their way up the stairs, moving into view. A man carrying a shopping bag walks down the steps; he passes them. Hannah and Holly talk as they climb. HOLLY (offscreen) You know, I just want to look so good, but I don't want to seem, you know, like I'm overdressed. (onscreen, walking up the stairs behind Hannah) You know what I'm saying? HANNAH (overlapping, turning to look at Holly) Oh, no, not at all. HOLLY (holding up a dress she's carrying on her arm) Well, how about this? HANNAH (looking at the dress) Well, I, I really like that. I think that's a pretty color on you. 139. HOLLY (overlapping) Oh, yeah. (laughing) Hannah and Holly reach the top of the stairs. They walk onto a cavernous, high-tech floor. Empty bleachers line one wall; the rest of the floor is filled with racks of clothes and empty space. HOLLY (continuing, smiling) Did you ever think you'd be helping me buy something to wear to the opera? (chuckling) HANNAH (playfully hitting Holly's arm) Nuh-uh...but I think it's great. I can't wait to meet him. Holly follows Hannah to a rack of blouses. HOLLY He's married... HANNAH (interrupting, looking through the rack) Oh-oh. HOLLY (overlapping) ...and his wife's, uh, in and out of institutions. She's schizophrenic. Holly continues to talk as she follows Hannah across the floor to a rack of dresses. Hannah's on one side, flipping through the hangers. Holly, on the other side of the same rack, talks to her sister, not looking at the clothes. HOLLY Sometimes she's terrific... HANNAH (overlapping) Oooo. HOLLY ...and then she just breaks down. (MORE) 140. HOLLY (CONT'D) (gesturing) And he has this sweet daughter...and when she goes to college next year, he's going to split permanently. I mean... HANNAH (overlapping, looking up at Holly) Oh? HOLLY ...he's really paid his dues, but...then she helped put him through architecture school, you know, so... Hannah takes a jacket on a hanger off the rack and looks at it. She holds it to her. HANNAH (interrupting, glancing at her sister for a moment with amazement) You found all this, all this out on one date? HOLLY (chuckling and nodding) Well, I think he was dying to open up. It's so sad. (finally looking back and forth along the rack) Now...what should I wear to my audition? Hannah turns to Holly with surprise. She puts the jacket back on the rack and stares at her; she inhales. HOLLY (explaining) I've got a singing audition for a Broadway musical. (chuckling) Of course, I'll never get it. HANNAH Singing? HOLLY (chuckling) Yeah, can you believe it? 141. HANNAH (walking around the rack to Holly, still surprised) Really? HOLLY (vulnerably) Well, I mean, why not? You know, wh- what have I got to lose? Uh... HANNAH (overlapping, shaking her head) Well, no...I-I know, I just, uh... No, I-I, eh, you know, I, I didn't, I didn't know you sung. Hannah begins to look at the rack of clothes on Holly's side, while her sister stares at her, frowning. HOLLY (defensively) Well, you think everybody in m- musicals sings so well? HANNAH (gesturing, shaking her head) No! No, I, eh, it's just that they sing. Holly is silent for a moment. Hannah takes a blouse off the rack and looks at it. HOLLY Well...you know, uh...I sing a little, I mean... (chuckling self- consciously) HANNAH (realizing she's hurt Holly, reacting) Ohh! HOLLY (overlapping, shaking her head) You know. 142. HANNAH (hanging the blouse back on the rack) I know, no-- (chuckling) I know. HOLLY (Overlapping, still chuckling self- consciously, gesturing) I mean, y-you know, don't say it that way, you know, because my confidence is not my strong point, I-- HANNAH (interrupting, touching her sister's shoulder) No, I'm sorry. No, I didn't mean that. No, I didn't mean that. The two sisters walk away from the rack, Hannah slightly in the lead. Behind them are some more racks of clothing and a large window with closed venetian blinds. HOLLY (gesturing) Uh, you know, I think I can fake my way through a song. HANNAH (nodding as she looks around the store, pulling up her shoulder bag strap) Uh-huh. HOLLY Easily. Holly pauses, looking at her sister. They continue to walk. HOLLY (looking at Hannah) W-why? You don't think it's realistic? HANNAH (putting her hand on Holly's shoulder) No, I didn't, I, that's no. No, I- I-I, no, I-I just... (MORE) 143. HANNAH (CONT'D) (gesturing) Hate to see you put yourself in a position where, where you get hurt, you know. You know, you know how you take... HOLLY (overlapping, nodding) Yeah. They walk over to a table laid out with colorful scarves and decorated with hurricane lamps bordering its edges. HANNAH (continuing, looking at some clothes hanging beneath the table) every, eh, single rejection as- as-as a...a confirmation that you have no talent, or something? HOLLY (overlapping, nodding) Yeah. Well, maybe I'll get it. (chuckling and gesturing) HANNAH (overlapping, looking at the clothes) I hope. Holly looks at her sister for a beat. HOLLY (sighing) Boy, you really know how to cut me down. HANNAH (looking at Holly, reacting) What? You don't, don't be so sensitive. Can't I say anything? HOLLY (gesturing) Tch, well, I sing! (suddenly shouting) For Chrissake, Hannah, you heard me sing! 144. A female customer, who'd come over to the table, browsing through the rack of clothes near Hannah, looks up, reacting. She walks away. HANNAH (overlapping, reacting to her sister's outburst) Okay! (looking at her sister) Okay. I-- What happened? You know, we were having a really nice time, a- and suddenly, everything went to bad feeling. She walks past Holly and briefly looks at a different rack of clothes beneath the table. HOLLY (shaking her head) Nobody but you can do that to me. I don't know why. HANNAH (gesturing) Look, everything's going your way. She walks offscreen to a nearby rack; the camera remains focused on Holly. HOLLY You're right. (pausing) I'm happy. (shrugging, looking at the offscreen Hannah) Why must I let my insecurities spoil everything? Holly chuckles and begins to look through the scarves on the table. CUT TO:",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. THEATER - DAY A group of theater executives, including the producer, the director, and two assistants, sit in a cluster in the empty audience, talking; they look up at the offscreen Holly, who is auditioning on the stage. She is singing ""I'm Old- Fashioned,"" accompanied by a piano. 145. HOLLY (offscreen, singing softly) ""This year's fancies Are passing fancies..."" The film moves from the audience to the stage where Holly, her hands clasped in front of her, continues to sing her song. A large group of other hopefuls are seen in the background behind her. HOLLY (continuing her singing, barely moving her body) ""But sighing sighs Holding hands This my heart Understands I'm old- fashioned And I don't mind it It's how I want to be As long as you agree To stay old-fashioned with me."" The camera moves from Holly back to the executives in the audience. As it passes the empty audience seats, they are heard offscreen. PRODUCER (offscreen) Thank you. DIRECTOR (offscreen) Thank you. PRODUCER (offscreen) It was very nice. ASSISTANT #1 (offscreen, overlapping) Terrific. The camera has reached the executives in the audience. They are now chattering among themselves, Holly forgotten. STAGE MANAGER (offscreen, overlapping the executives' chatter) April Knox? The film cuts back to the stage, where April, handling the audition pianist some sheet music, prepares herself to sing ""The Way You Look Tonight."" The stage is very black, stark, except for April and the pianist. 146. APRIL (singing) ""Someday When I'm awfully low When the world is cold I will get a glow Just thinking of you And the way you look Tonight..."" CUT TO:",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. A STREET OUTSIDE THE THEATER - DAY A theater marquee can be seen on the busy street as Holly and April walk down the street towards the camera, moving closer and closer as they talk. Workmen and various street noises can be heard indistinctly in the background. HOLLY I'm telling you, you sounded great. You, uh, you may be surprised. APRIL (sighing) Oh, I'm just glad we have a catering job this week. I'm real low on money. HOLLY Yeah, we have Mr. Morris Levine's eightieth birthday party on Riverside Drive...or Riverside Memorial Chapel, depending on his health. APRIL Oh, uh, listen, David called me up. HOLLY (reacting) What? APRIL (gesturing) Uh, David called me last night, and he wants to take me to the opera. (chuckling) I didn't know what to say. HOLLY (reacting) You're joking. APRIL No, he called late last night. HOLLY (sadly) I, uh, I'm very surprised. 147. APRIL (chuckling, gesturing) He wants to take me to see Rigoletto. HOLLY (looking briefly at April) And you, you-you're going? APRIL Well, I-I-I didn't know what to say. First I said no, but then, he pressed it. He said, uh, he'd taken you once and he really wanted to invite me. HOLLY (pausing) But I'm seeing him. APRIL (gesturing) I know. I said that, but... (shrugging) he said it was something he really felt like doing. HOLLY (stopping and facing April) Gee, um... (looking off, sniffing) I...I don't know what to say. APRIL Look, it's just an evening at the opera. Did I, I-I do wrong in accepting? Holly looks away sadly; she shakes her head. APRIL (continuing) Huh? CUT TO: The big leap. The film cuts to Father Flynn's rectory office. The Catholic priest looks out a simple stained-glass window, then turns to an offscreen Mickey. 148. FATHER FLYNN (gesturing) Now why do you think that you would like to convert to Catholicism? The camera moves back to reveal Mickey, his back to the camera, sitting in front of Father Flynn's desk. A lamp is lit in the background; the Father's desk is neat. The room is comfortably decorated in wood and leather. MICKEY Well, uh, because, y-you know, I gotta have something to believe in, otherwise life is just meaningless. FATHER FLYNN (pacing behind his desk and gesturing) I understand. But why did you make the decision to choose the Catholic faith? The movie cuts to Mickey's face. He's very neat in a tie, sweater, and sports jacket. MICKEY (gesturing) Tch. Well, y-you know...first of all, because it's a very beautiful religion. It's very well structured. Now I'm talking now, incidentally, about the-the, uh, against-school- prayer, pro-abortion, anti-nuclear wing. FATHER FLYNN (offscreen) So at the moment you don't believe in God. The camera cuts back to Father Flynn, who walks over to a leather armchair next to a table set for tea. He begins to pour the tea into china cups. MICKEY (offscreen) No. A-a-and I-I want to. You know, I'm-I'm willing to do anything. I'll, you know, I'll dye Easter eggs if it works. (MORE) 149. MICKEY (CONT'D) (walking over to Father Flynn and sitting down in an adjacent chair) I-I need some evidence. I gotta have some proof. Uh, you know, i- i-if I can't believe in God (gesturing, his raincoat in his lap) then I don't think life is worth living. FATHER FLYNN (stopping his tea pouring) It means making a very big leap. Father Flynn clasps his hands in his lap. MICKEY (nodding, fiddling with his raincoat) Yes, well, can-can you help me? The film abruptly cuts to the long hallway in Mickey's parents' apartment. In the foreground, a section of the living room can be seen, with a bureau holding a lamp and a framed photo. The hallway itself is crowded with pictures and a wall shelf. At the other end of the hallway, in the background, is another bureau, with candlesticks on top and a framed picture on the wall above. Mickey's mother stands in the front of this bureau at the hallway's end, screaming at the top of her lungs, holding her heart dramatically. MOTHER (crying) Why? Oh, my God! She sobs hysterically, staggering offscreen to the bathroom; she shuts the door. Mickey walks into view, in the living room, looking after his shocked mother, who continues to cry over the scene. MICKEY (overlapping and gesturing) I don't understand. (turning to his offscreen father) I thought that you would be happy. 150. FATHER (offscreen) How can we be happy? His father walks into view, carrying a teacup and a candy dish. He strides past Mickey towards the kitchen. MICKEY (following his father) Well, because I never thought of God in my life. Now I'm giving it serious thought. FATHER (offscreen, in the kitchen) But Catholicism? Why not your own people? MICKEY (gesturing at the kitchen door to his offscreen father) Because I got off to a wrong foot with my own thing, you know. B-b- b-but I need a dramatic change in my life. FATHER (offscreen) You're gonna believe in Jesus Christ? MICKEY (gesturing) I know it sounds funny, but I'm gonna try. FATHER (offscreen) But why? We raised you as a Jew. MICKEY (shrugging) So, just 'cause I was born that way... You know, I'm old enough to make a mature decision. Mickey's father walks into view; he stands by the stove near the kitchen doorway, picking up a dirty glass and some bowls to clean. FATHER But why Jesus Christ? Why, for instance, shouldn't you become a Buddhist? 151. Holding the dirty dishes in his hand, Mickey's father looks at his son. MICKEY (gesturing) A Bud--? That's totally alien to me. Look, you're getting on in years, right? Aren't you afraid of dying? Mickey's father walks offscreen again, to the kitchen sink. FATHER (offscreen) Why should I be afraid? MICKEY (loudly gesturing) Oh! 'Cause you won't exist! FATHER (offscreen) So? MICKEY (gesturing) That thought doesn't terrify you? Mickey's father walks out of the kitchen, past his son, to the living room. FATHER (waving his arm) Who thinks about such nonsense? Now I'm alive. When I'm dead, I'll be dead. MICKEY (following his father, gesturing) I don't understand. Aren't you frightened? FATHER (offscreen) Of what? I'll be unconscious. MICKEY (turning and walking down the hallway) Yeah, I know. But never to exist again! FATHER (offscreen) How do you know? 152. MICKEY Well, it certainly doesn't look promising. Mickey stops at the bathroom door at the other end of the hallway. He starts to pound it. FATHER (offscreen) Who knows what'll be? Mickey's father comes back on screen; he's carrying a plate of hors d'oeuvres and an empty glass towards the kitchen. He stops and looks down the hall at Mickey, who's now struggling to open the bathroom door. FATHER (gesturing with his hands full) I'll either be unconscious or I won't. If not, I'll deal with it then. I'm not gonna worry now about what's gonna be when I'm unconscious. MICKEY (pounding on the door) Mom, come out! MOTHER (offscreen in the bathroom) Of course there's a God, you idiot! You don't believe in God? MICKEY (sighing) But if there's a God, then wh-why is there so much evil in the world? (shrugging) What-- Just on a simplistic level. Why-why were there Nazis? MOTHER (offscreen in the bathroom) Tell him, Max. Mickey, reacting, hits his forehead. FATHER (offscreen) How the hell do I know why there were Nazis? I don't know how the can opener works. 153. Mickey starts pounding the door again as the movie cuts to: A beautiful snow-covered church downtown, complete with courtyard and wrought-iron fence. A pedestrian walks by with an umbrella. A church choir sings a soaring hymn over the scene. The music continues as the film moves inside, where the choir is seen singing behind an altar glowing warm gold. A fairly large congregation sits in darkened pews as the film cuts to the back, where Mickey, his arms crossed, stands underneath some stained-glass windows, watching and listening to the inspiring music. The choir continues to sing as the movie cuts to Father Flynn in his office. He picks up some large, heavy books from a shelf near his window and he walks over to Mickey, who's standing near his desk, already holding several tomes. Father Flynn puts the books on top of Mickey's pile; Mickey, flipping through the top one, awkwardly carries his bundle to the door. Next is seen a close-up of a painting of Jesus Christ on the cross, complete with crown of thorns and holy expression. His eyes, especially designed to blink as the lights hit them, open and close repeatedly. The hymn plays on, loudly, as the camera moves back, revealing Mickey, standing outside a barber shop window, looking at the Christ playing and shuffling from side to side to gets its eyes' 3-D effect. Smaller inspirational pictures border the bigger, blinking Christ. A barber pole with moving stripes stands nearby; passing traffic is reflected in the window. Mickey turns from the window, shrugging, and starts to walk down the street, past a fruit and vegetable store with open- air-displayed flowers, past several briskly moving pedestrians. With the hymn still playing, the screen goes black briefly. Mickey opens the door, the light from a hallway illuminating him. He's just entered his apartment. He closes the door and walks through his dark foyer; he carries a brown bag. 154. He switches on the light, and walking past his spiral staircase, past several framed pictures on the wall, he makes his way to his living room coffee table. Mickey pulls a crucifix out of the bag; he looks at it, then puts it on the table near a pile of books and some objets d'art. He then takes out a copy of the New Testament, putting it on top of the crucifix. Then out comes a framed picture of a sa",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",int. It too gets put on the growing pile. But the bag is not yet empty. Next comes a large loaf of Wonder Bread and a large jar of Hellman's mayonnaise. Mickey sets them on top of the sa,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",int. CUT TO:,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. COLUMBIA UNIVERSITY CAMPUS - DAY Lee, wearing jeans and carrying an armful of books, is running up a broad set of steps in the sunlight, greeting other students as she passes. Elliot continues to talk over the scene... ELLIOT (V.O.) Meanwhile...Lee has no direction. She's taking courses at Columbia...but just randomly. ...as Lee stops on a portico and turns to greet Doug, a professor, who is running over to her, calling her name. They mouth hello, smiling, and begin to walk off together. ELLIOT (V.O.) I try not to call her, but then she calls me and then...I call and...we try to resist meeting, but...once in a while we meet. Sometimes we argue because I can't break up my marriage. Sometimes we wind up making love and...we both feel terrible. The film cuts back to Elliot in his analyst's office. ELLIOT But it's my fault. Elliot takes a last drag on his cigarette. The camera follows his hand as he crushes it out in a nearby ashtray. ELLIOT (face offscreen) For all my education, accomplishments, and so-called wisdom...I can't fathom my own heart. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CENTRAL PARK - DAY Hare Krishna music is heard over a sunlit view of the Manhattan skyline and the green trees of Central Park. The camera moves down to reveal a large group of Hare Krishnas dancing on the broad green lawn among other New Yorkers enjoying the day. The leader, holding some pamphlets, stands by a chain-link fence, a few feet away from his group, talking to someone on the other side. It's Mickey, as the camera soon shows, wearing a short-sleeved shirt, a paper tucked under his arm. 167. KRISHNA LEADER What makes you interested in becoming a Hare Krishna? MICKEY (gesturing, walking onscreen) Well, I'm not saying that I want to join or anything, but...but I know you guys believe in reincarnation, you know, so it interests me. KRISHNA LEADER Yeah, well, what's your religion? MICKEY (gesturing) Well, I was born Jewish, you know, but, uh, but last winter I tried to become a Catholic and...it didn't work for me. I-I studied and I tried and I gave it everything, but, you know, Catholicism for me was die now, pay later, you know. And I just couldn't get with it. And I, and I wanted to, you know. I-- KRISHNA LEADER (interrupting) You're afraid of dying? MICKEY (gesturing) Well...yeah, naturally. Aren't you? I-- L-let me ask you, reincarnation, does that mean my soul would pass to another human being, or would I come back as a moose or an aardvark or something? KRISHNA LEADER (handing some Krishna literature over the fence to Mickey) Take our literature... MICKEY (nodding, taking the material) Uh-huh. KRISHNA LEADER ...read it over, and think about it. 168. MICKEY (looking down at the material he's just received) Well, okay. Thank you very much. KRISHNA LEADER You're welcome. Hare Krishna. Mickey walks off, the Hare Krishnas still dancing and singing on the other side of the fence. He flips through the literature as he walks, then looks straight ahead, pondering. His voice is heard over the screen. MICKEY (V.O.) Who are you kidding? You're gonna be a Krishna? You're gonna shave your head and put on robes and dance around at airports? You'll look like Jerry Lewis. Oh, God, I'm so depressed. Mickey puts his hand to his mouth as another title appears on a black screen. Autumn chill. Bach's Concerto for Harpsichord is heard as the film cuts to the waterfront at dusk. A bench faces some wharf pilings; the water gently laps against them as Lee walks into view, the wind blowing her hair. She stands and faces the water and the distant skyline across the bay. The view is contemplative, beautiful in the dim light. Lee is alone; her hands are in her pockets. Lee, thinking, is heard over the scene; the harpsichord music plays in the background. LEE (V.O.) The nights are really getting cooler. Summer went so quickly. Soon it'll be fall. (walking to the beach and sitting down) My literature professor really likes me. It was fun being out with him last night. (staring pensively at the water) Funny. I feel like I'm betraying Elliot...but that's ridiculous. Why shouldn't I see Doug? Elliot's not free. (MORE) 169. LEE (V.O.) (CONT'D) (pausing) Just go one step at a time. Let's see what the next few months bring. The concerto stops and the movie cuts to Holly, leaning into an open phone booth near a subway entrance. She wears a football jacket, jeans, and sneakers; she holds a manuscript in her arms. It's a busy corner. People rush past Holly towards the subway; others are walking up the station steps. Holly smokes a cigarette as she talks on the phone to Hannah. HOLLY (into the telephone) Hannah? Hi. Listen, um, you'll be happy to know that your money has not gone completely to waste... No, I have an actual first rough draft of something I wrote... Yeah. Yeah. Yeah, well, I showed it to Lee, and she gave me some good pointers. And, um, listen, I'm pretty near where you live. I wonder if I could just drop it off...and, you know, when you have time, some time, read it, an-and we'll talk when I come over at Thanksgiving. Okay? All right. Okay. Oh, wait, wait. (turning her body, still on the phone) Listen. Listen. I think Lee met an interesting guy at Columbia... Yeah. Yeah, well, he sounds really nice... (puffing on her cigarette) Yeah. Okay. All right. Well, we'll talk at Thanksgiving. Bye-bye. Holly hangs up the phone and takes a drag on her cigarette. She looks off in the distance, smiling, as the film cuts to:",DRAMA/SENTI +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HANNAH'S APARTMENT - THANKSGIVING - NIGHT It's Thanksgiving at Hannah's once again. Guests are crowded together in the living room, surrounding the piano, where Evan is sitting and flipping through some sheet music. Norma stands behind him, leaning against a book-laden wall. 170. The guests are chattering, enjoying themselves; a lamp glows on the corner of the piano. A little boy sitting in a chair next to Evan is talking animatedly with a girl who is leaning over the arm of the sofa. An adult guest talks to the little boy; another guest takes a sip of wine from a glass she'd placed on the bookshelf behind her as Evan turns and addresses the group. EVAN (gesturing) Now, here...here's a song that Norma sang on that trip we made up to the show in Buffalo. And, oh, was she beautiful that night! The guests laugh appreciatively. A woman comes over to Evan and hands him some wine. NORMA Come on. (laughing and touching Evan's shoulder) EVAN (overlapping, to the woman) Thank you, honey. (putting his drink down on the piano) Oh, yes, you were, dear. Don't you remember that night? (gesturing and pushing back some sheet music that was starting to fall) She was so beautiful...she was so beautiful that when men saw her walking along the streets, they'd drive their cars right up on the sidewalk. He laughs; the guests laugh with him. EVAN (looking back at Norma) Isn't that right, honey, eh? NORMA (tapping his shoulder) A slight exaggeration. The guest continue to laugh; they are charmed. 171. EVAN (overlapping Norma, laughing) I know. NORMA (gesturing) But only slight. Evan continues to laugh with everyone as he starts to play the piano. A nearby woman toasts him with her drink. The camera moves around the room as he plays, showing the various guests, chattering over the music. Some are in clusters, in private conversations; others listen and watch the offscreen Evan. A couple stands by the window; one man gets up from his chair and walks away. Some guests sip their drinks, smiling, as the camera moves back to the piano and the book- laden wall. Evan is playing the piano with exuberance. Norma, still standing behind him, has a poignant, wistful expression on her face. She mouths the words to the song Evan is playing, ""It Could Happen to You."" The woman next to her smiles, enjoying the music, as the camera continues its exploration, moving to a man standing in the doorway with a group of children. Mavis the maid walks by with a tray of hors d'oeuvres. The man takes one, mouthing his thanks, as the camera travels past the open bookshelf, past two boys in suits who are drinking soda and munching, to reveal Lee. She is leaning against another doorway, a faraway look on her face as she listens to the music. Mavis passes in the hall beyond the doorway. Several people, deep in conversation, stand nearby as Elliot, holding a drink, walks up behind her. ELLIOT (sipping his drink) You've been very cold to me tonight. LEE (glancing back at Elliot, then turning away) No. ELLIOT Is something wrong? LEE (turning) Oh, not here. (touching Elliot's arm) There are too many people around. 172. Lee slips past Elliot and walks away. Elliot looks back at her briefly, then, sipping his drink, he turns and looks offscreen at the crowd in the living room. CUT TO:",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HANNAH'S KITCHEN - NIGHT Holly is standing in the pantry, preparing some offscreen food. Near her is a restaurantlike swinging door with a glass porthole. In the foreground, the kitchen table is crowded with bowls and plates of food. An open cupboard separates Holly from the rest of the room. HOLLY (looking offscreen) Hey, Hannah? You know, I think Lee is really serious about her new boyfriend. Yeah, eh, from what I understand he sounds really nice. Hannah walks into view, headed for the refrigerator. She carries two tomatoes. HOLLY I'm so happy for her. I think she's in love. Hannah opens the refrigerator, totally ignoring Holly. HOLLY (reacting) Hey, what's the matter? HANNAH (taking a bunch of celery out and slamming the refrigerator door) I'm real upset about what you wrote. Hannah walks over to the table, gathering up more food. HOLLY My script? HANNAH It's obviously based on Elliot and me. HOLLY Oh, so loosely. 173. HANNAH (angrily) No, not ""Oh, so loosely""! Real specifically! Is that how you see us? HOLLY (shrugging, walking out of the pantry area) Well-- HANNAH (interrupting) Can I, can I not accept gestures and feelings from people? Do I, do I put people off? Holly walks over to the sink and washes her hands. HOLLY (reacting) Well, it's a made-up story. She dries her hands as Hannah, her arms laden with vegetables, strides over to her sister. HANNAH (yelling) No, it's real exact! The-the situations, the dialogue, everything. It's-it's full of intimate details between Elliot and me! Which I don't, I don't see how you could even possibly know about. A conversation we once had about adoption? Hannah storms out a nearby door as Holly turns away from the sink. HOLLY (gesturing, the towel still in her hand, as she speaks to her offscreen sister) Well, Lee mentioned that to me, so obviously you discussed it with her. You... (pacing around the table) I just took the essence and I blew it up into drama. Holly wipes her hand on the towel as Hannah reenters the kitchen, carrying even more vegetables. 174. HANNAH I don't see how Lee could know about these things. I don't! I don't tell her everything. Hannah strides into the pantry area and flops the vegetables down on the counter. Holly puts the dishtowel down and absently straightens some things on the food-laden table. HOLLY (reacting) Wow, I guess I hit a nerve. HANNAH (turning to look at Holly) You make it sound like, you know, I have no needs or something. You think I'm too self-sufficient? HOLLY (stopping her mindless straightening at the table, reacting) Now, Hannah, that's not what I meant, you know. (walking offscreen to the sink area) Uh, yeah, everybody relies on you for so much. ""You're so giving. It's not a criticism. We love you. We're grateful."" HANNAH (walking out of the pantry to the food- laden table) You're grateful, but you resent me. HOLLY (offscreen) Oh, wow! I don't want to have this conversation. I didn't do anything wrong. Hannah angrily gathers up some spices from the table; Holly walks back onscreen holding a silver ice bucket. She stops at the corner of the table and faces Hannah. HOLLY (onscreen) Y-you mentioned to me yourself that you and Elliot were having some problems. 175. HANNAH (gesturing) Yeah, we're having some problems, but problems that are my business...which I don't see how you could know about in such detail. How does Lee know about these things? How? They're private! Hannah picks up a large bowl and carries it, as well as her armload of spices, into the pantry area. HOLLY (turning to look at her sister as she walks past) Well, why don't you share them with us? HANNAH (with her back to the camera) I don't...I don't want to bother everyone. HOLLY (facing her sister's back) That's the po",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int. I'd like to be bothered. HANNAH (turning to look at Holly) I don't see how you could know about these things unless Elliot's been talking to you. HOLLY (shaking her head) No, he hasn't. If I offended you, I'm sorry. Hannah, reacting, puts the spices down on the pantry counter. Holly turns away. The film cuts to the dining room doorway. Guests can be seen mingling and talking and helping themselves at a buffet table in the living room. Lee and Elliot can be heard offscreen as the camera slowly moves from the doorway across the empty dining room to reveal them in the midst of an intense conversation. The piano, as well as soft chatter, is heard in the background. 176. LEE (offscreen) It's over, Elliot. I don't know how to make it any clearer. It's over. I can't see you anymore. ELLIOT (offscreen, overlapping) Uh... (onscreen, gesturing) I-I-I know. I deserve this. LEE (touching her chest) Look, I'm just as much at fault. ELLIOT (overlapping, gesturing) If-if-if you can believe I have such feelings for you! LEE I've got to be honest with you. I met someone else. I've met someone else. (turning and walking away from Elliot) I...I told you I wasn't going to wait forever. Lee goes over to an open door and closes it quickly. ELLIOT (offscreen) But it hasn't been forever. (walking over to Lee at the just-closed door) LEE (gesturing) It's been nearly a year since our first time and you're still married to my sister, which...I now realize is fine because you're probably much more in love with her than you know. ELLIOT (shaking his head) Yeah, but we-we made so many plans. LEE (overlapping, gesturing) Yeah. Uh, well, sure we did. (MORE) 177. LEE (CONT'D) An-an-and in a way you led me on, because I truly believed you were unhappy with Hannah. Otherwise, I would never have let myself be drawn in. I was very weak. So were you. Now I've met someone else. The door opens and Mavis appears, holding a set of candlesticks. She walks over to the dining room table, which is already decked out with a floral centerpiece, glassware, and china. She puts them down as Lee and Elliot stand awkwardly near the door, waiting for her to leave. LEE (to Mavis) Dinner soon? MAVIS About fifteen minutes. LEE (nodding) Uh-huh. Good. Mavis leaves. Both Lee and Elliot quickly close the door behind her and immediately pick up where they'd left off. ELLIOT And you're in love overnight? LEE I care a great deal about him, yes. ELLIOT (trying to put his arm around Lee) Lee... LEE (pulling back, flinging her hands) Ah, it's over! Elliot, I mean it. It's over! They look at each other, reacting, as the film cuts back to Hannah's kitchen. Norma's face can be seen in the porthole window on the other side of the pantry's swinging door. She looks around the kitchen, then opens the door and steps inside. Holly stands nearby, working in the pantry area. 178. NORMA (holding the door, half in and half out of the kitchen) Sweetheart, I loved your script. I thought it was so clever. HOLLY (turning to Norma, smiling, and holding a glass of wine) Well, you're my mother. Not everybody's gonna be such a sucker. NORMA (gesturing) I particularly liked the character of the mother. Just a boozy old flirt with a filthy mouth. Holly chuckles. NORMA I'm so proud! HOLLY Oh, Mom, thanks. Norma steps back out of the kitchen, the door swinging shut behind her. Holly looks at the door, sipping her wine, as the movie cuts back to Hannah's living room. A chubby, friendly uncle sits on a sofa, one child on his lap and several others gathered cross-legged around him on the floor. They lean on the coffee table, which is covered with glasses and a bowl of chips. Other guests mingle in the background; one couple enters the living room, smiling at the scene on the sofa. Mavis crosses the well-lit foyer in the background and opens the door to more guests. The piano plays on. UNCLE (raising his bottle of beer to the children) Now here's a toast to Thanksgiving, all right? The children mutter their enthusiastic agreement, picking up their ""illicit"" glasses of beer. UNCLE Are we supposed to have beer? Yeeeah! 179. The uncle pours more beer from his bottle into the kids' outstretched glasses. They cry indistinctly with excitement. UNCLE (overlapping the children's squeals of delight) Let me at it! (to one of the little boys) How's that, Fletcher? Laughing, he turns to the little girl sitting on his lap; he clinks his bottle against the bottle she is holding, which is almost as big as she is. UNCLE (to the little girl) Doll? To Thanksgiving. Here's a little toast, doll. (clinking glasses) Come on. Bottoms up. The uncle and the children happily drink their beer as the movie cuts to a wall with subtly patterned wallpaper in Hannah's bedroom. Her face moves on to the screen. HANNAH (to the offscreen Elliot) Have you been talking to Holly or Lee about us? About our-our personal life? ELLIOT (offscreen) Me? Of course not. HANNAH There's things Holly wrote about in her script about us that are so...personal they could only have come from you. ELLIOT (offscreen) Look, I've got a splitting headache and I don't like being accused. Hannah walks towards Elliot; he's in the bathroom standing over the sink. 180. HANNAH (gesturing) I'm not accusing. I'm asking. Do you...do you find me too...too giving? (closing the door of the bathroom slightly so only she is seen on the screen) Too-too-too competent? Too-too, I don't know, disgustingly perfect or something? ELLIOT No. Elliot walks from behind the partially closed door to an offscreen medicine cabinet. HANNAH (following Elliot and gesturing, talking to his back) Well, what is it then? What? Eh, what's come between us? How have I alienated you? ELLIOT (taking a bottle of aspirin from the cabinet and walking back to the sink, gesturing) Hannah, my head is throbbing. HANNAH (gesturing) You never want to talk about it. I-- Every time I bring it up, you- you change the subject. What is it? Do you-- We're communicating less and less. You sleep with me less and less. ELLIOT (angrily turning to Hannah and pointing as she shouts) Hannah, I am very mixed up! Now please! Elliot turns back to the sink, once again obscured by the partially closed door. 181. HANNAH (reacting, her voice trembling slightly, and gesturing) Do you talk to Holly or Lee behind my back? Do you? You must. They- they seem to know so much about us. ELLIOT (walking towards a towel rack and gesturing) Well, maybe I've asked advice once or twice or-or made a joke. He dries his hands as Hannah, standing behind him, continues to talk. HANNAH (gesturing) Well, what do you do? Do-do-do you talk to Holly, or Lee, or what? Do you, do you, do you phone them? ELLIOT (whirling around to face Hannah, snapping) Leave me alone, can you?! He closes the door, briefly obscuring Hannah and himself from view. ELLIOT (continuing in a lower tone) Jesus, I've told you. I need someone I can matter to. The camera moves behind the closed door, into the bathroom. HANNAH (reacting, near tears) You matter to me. Completely. ELLIOT (pausing, his voice rising again) It's hard to be around someone who gives so much and-and needs so little in return! He opens the medicine cabinet and puts the aspirin bottle back. 182. HANNAH (gesturing, pleading) But, look...I-I have enormous needs. Elliot slams the medicine cabinet shut. ELLIOT (shouting) Well, I can't see them, and neither can Lee or Holly! He leaves. Hannah watches him go, reacting. She is stunned. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HANNAH'S LIVING ROOM - ANOTHER NIGHT The dark hallway is illuminated by light coming from the offscreen foyer; pictures line the wall. Piano music is still heard very softly in the background as Hannah, hugging herself, walks slowly down the hallway into the living room. She briefly looks around, lost in thought. She sits down heavily, tiredly, on the arm of the couch as the movie cuts to several framed photographs on the mantel. One shows Hannah and Elliot on their wedding day. Another shows Elliot, obscured in the shadows. Yet another has captured Norma as a young girl. The camera, however, moves closer and closer to a photograph showing Hannah, Lee, and Holly, the three sisters, smiling into the camera. There is no sound. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HANNAH'S BEDROOM - NIGHT The film shows the bedroom night table, holding a small lamp, a wooden box, a cast-iron fire truck, an ashtray, and glasses. Elliot's pajama-clad arm moves into view. He turns off the lamp; the room is now pitch-black. HANNAH (offscreen) It's so pitch-black tonight. I feel lost. ELLIOT (offscreen) You're not lost. Elliot turns the lamp back on, then turns to Hannah; she is lying on her side of the bed, partially in shadow. He leans over and kisses her. ELLIOT I love you so much. 183. They begin to kiss passionately as ""Bewitched"" starts to play in the background. CUT TO: Lucky I ran into you. ""Bewitched"" continues as the film cuts to a busy nighttime New York City street. Mickey, his hands in his pockets, walks along the sidewalk, one person among many other pedestrians. He pulls his coat tighter around him as he walks. ""Bewitched"" continues to play as he passes Tower Records' neon-lit window. He glances inside...and sees Holly, her jacket flung over her shoulders, looking at some records. Mickey walks through the revolving doors of Tower Records, up a few stairs to the selling floor proper, and stops right in front of Holly. MICKEY (gesturing) Mmm, I don't know if you remember me, but we had the worst night of my life together. HOLLY (laughing, holding some records) I remember you. MICKEY (overlapping) Yes, you do recall, right? HOLLY (overlapping, smiling and nodding) I recall you. MICKEY (gesturing) I was walking past and I saw you in here... HOLLY (overlapping, nodding) Yeah. MICKEY ...and I thought I'd come in and...and we could replay, uh, the whole, uh... 184. HOLLY (interrupting, laughing and shaking her head) We didn't hit it off. MICKEY (overlapping, smiling) Oh, that's putting it mildly. We did everything but exchange gunshots. HOLLY How are you? MICKEY Good. How are you? HOLLY I'm fine. MICKEY (overlapping) You look wonderful. HOLLY (chuckling, shaking her head) Oh, no. MICKEY (overlapping, scratching his head) Yeah, really. You do. You do. HOLLY Yeah? MICKEY It was a terrible evening. HOLLY Yeah, it was. MICKEY (overlapping, gesturing) Remember slamming the cab door in my face and.. (touching his nose as Holly laughs) you know, it came very dangerously close to emasculating my nose in a... (touching his nose again) 185. HOLLY (overlapping, laughing) I'd never do that. MICKEY (continuing) ...in a really horrible way. HOLLY (smiling, glancing away for a moment) Oh, well, that was a long time ago. MICKEY (overlapping) You look wonderful. You do. What happened to you? HOLLY (shrugging) People change...you know. MICKEY (touching Holly's shoulder) Well, I hope you've changed. HOLLY Yeah, I hope you have, too. MICKEY (overlapping) I hope so for your sake, because, uh, your personality left something to be desired... HOLLY (overlapping, shaking her head) Yeah, and for yours. I'm sure you've changed. MICKEY (continuing) ...namely a personality. Holly chuckles and turns to look at more records. She walks down the aisle, occasionally glancing at the bins of records. Mickey walks beside her. MICKEY So how are you? 186. HOLLY (smiling) I'm okay. MICKEY You didn't answer my question. What are you doing? HOLLY Oh, nothing much. You know... MICKEY (interrupting) Well... HOLLY (overlapping) ...just some stuff. A little of this, a little of that, that's all. MICKEY (overlapping) Yeah? Is that an embarrassing question? Should I have not asked it? HOLLY (laughing) Probably not. MICKEY Are you, are you out of work or something? HOLLY No, well...I've been trying to write. MICKEY Have you? HOLLY (picking up a record and looking at it) Yeah. MICKEY Well, that's interesting. Wh-what kind of stuff? HOLLY (touching her chin for a moment) Oh...well, you-you're not interested in this. 187. MICKEY (overlapping) No, you can tell me. HOLLY Come on. MICKEY No, I am. I am. HOLLY (overlapping) Oh, no, millions of people come up to you and say, ""Hey, I have something I just wrote,"" right? MICKEY Nobody ever said it. HOLLY Really? MICKEY (overlapping) This is it. Yeah. This is really-- HOLLY (interrupting, turning from the record bins to look at Mickey) Well, wo-would you be willing to-to read it? Something...that I wrote? MICKEY (nodding his head) Well, yes, I would if, uh, if it would mean anything to you. I don't know why it would. HOLLY (laughing, touching her face) No, the reason I ask is-- MICKEY (overlapping) You've always hated my taste in the past. HOLLY (pulling her jacket off her shoulders) No, I haven't. 188. MICKEY You have. HOLLY (gesturing, looking at Mickey) I haven't. No, the reason why I ask is I think it might make a great, uh, television script, and, you know, you're so active in television, so-- MICKEY (chuckling, gesturing) I'm not anymore. I haven't, I haven't been in television for a year. HOLLY You're kidding me. MICKEY (overlapping) I've done no television whatsoever. No. As Mickey continues to speak, Holly walks to another bin of records, reacting to his words. She looks offscreen at him, then down at some records. The camera follows her. MICKEY (offscreen, continuing) I may, I may have to get back into it, 'cause my accountant says that I'm running out of dollars. But...but, um, no, I haven't, I just sort of dropped out for a year... HOLLY (overlapping, nodding) Oh. Oh. MICKEY (offscreen, overlapping) ...which is a long, dull story and I won't get into it. But-- Mickey walks back onscreen to Holly. The two of them are partially obscured by a large white Jazz sign imprinted with a large red circle as they continue their conversation. HOLLY (interrupting) You're okay, though, huh? 189. MICKEY I'm-- Yes. Yes, I'm fine. I'm fine. How are you? HOLLY (face offscreen, obscured by the sign) Oh, I'm fine. MICKEY What...what about your script? (face offscreen obscured by the sign) So what's it about? HOLLY (face offscreen) Well, I'd love it if you'd read it, actually, 'cause I really would value your opinion. MICKEY (face offscreen) You have to remember, we-we-we didn't agree on one thing. They emerge from behind the Jazz sign, still walking, still talking. HOLLY (smiling, gesturing) But you have to remember while you're reading and you're cursing my name, you know, that this is my first script. Well, it's not my first script. MICKEY Hmm. HOLLY (touching her face) Actually, my first script was about Hannah and her husband, but, uh... MICKEY Yeah. HOLLY ...Hannah read it, she got really angry, and... you know, then I felt badly, so I-- She picks up a record. 190. MICKEY (overlapping) Oh, well, God, I can imagine what you wrote. HOLLY Oh, no! It wasn't anything bad. But she just... you know. I don't know. Mickey pulls out a record and looks at it. MICKEY Really? HOLLY So, uh...I threw it out, but I have this other one. Holly looks hopefully at Mickey. MICKEY Well, you know, I-I-I...you know, if you want me to, I'll read it. HOLLY (overlapping, gesturing) Oh, gosh, I don't know. (pausing) Well, could I come over tomorrow and read it to you? MICKEY (chuckling) Come over tomorrow and read it to me? Holly laughs, embarrassed, as Mickey puts the record he's been looking at back in the bin. MICKEY You must be joking. I've been doing all my own reading since I was forty...you know. HOLLY (laughing, looking at Mickey) Hmm. I think it's lucky I ran into you. (laughing) Maybe. 191. MICKEY (laughing) Well, what about me? HOLLY (chuckling, waving her arm) Oh, well. MICKEY (overlapping, gesturing) I should have kept going. I-I have a sneaking feeling, a nagging sensation I should've kept walking and... Holly chuckles, looking off for a moment. MICKEY (continuing, looking at Holly) ...and not begun this conversation. There is a brief pause and the movie cuts to:",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. NEW YORK CITY - 59TH AND MADISON The city is on the edge of winter. Late November. Thanksgiving week. Tuesday. The sky is low and dark. The sidewalks are clogged with pedestrians bundled against the chill wind blowing down the avenue. Shoulder-to-shoulder stampede of independent, socially incompatible human units returning to their domiciles after a day's work. Traffic is as traffic will be. Slow and tangled. Within the protective confines of their rolling pieces of territory, the drivers are more expressive and bold than the foot soldiers on the sidewalks ..",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. STREET CORNER A young MAN of unspecified origin is bustling, stocking caps on a corner.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ANOTHER CORNER A cop is frisking a young BOY against a store, barely noticed by the current of passersby.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. MID-BLOCK A SALVATION ARMY TRIO is singing. Their voices are barely perceptible against the drone of the traffic.,SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. GM BUILDING The white marble tower dwarfing the thousands crossing its plaza. C.U. ROLEX WATCH On a man's wrist. It reads 5:56. A shirt and jacket cuff slowly slide down over the watch. C.U. SHEET OF PAPER Folded in thirds. A man's hand discreetly opens the top fold to reveal a travel itinerary. His index finger scans a line stopping on ... DEPART NEW YORK 6:00 PM UNITED 105. 1. C.U. NEAL PAGE A handsome young man. Early thirties. perfectly coif~d, elegantly dressed. A in control of his life. His eyes shift",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CONFERENCE ROOM Impeccably dressed, successful man deeply from down to up. A cold, stark conference room. Marble table, harsh cove lighting, black leather, high-back chairs. Neal and an older MAN, JOHN DOLE are on one side of the table. Across from him are three nearly identical middle-aged MEN. Dark suits, white shirts, dark ties, dark hair combed straight back. They're studying a series of ad layouts. The man in the middle is holding one of the ads. C.U. AD It's for lipstick. C.U. NEAL He looks at his watch again. He's nervous about the time. C.U. MAN he's staring at the ad, considering it. Can't make up his mind. C.U. JOHN He looks at Neal. C.U. NEAL He looks at John. Shakes his head in disgust. He taps his watch and mouths, ""i GOTTA GO!"" C.U. JOHN He nods. He understands. He shrugs. TRIO Still staring at the ad. No expression, blank faces. 2.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CONFERENCE ROOM Neal looks at his watch He's annoyed. The man table, opens his mouth to receive his words. again.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RECEPTION AREA again. He leans back in his chair. sets the ad down. He looks across the to speak. John and Neal lean forward He shuts his mouth and picks up the ad Luxury and style. Leather and stone. Neal bursts out of the offices and crosses the reception area. He's carrying a briefcase and a two suiter. John is right on his heels. NEAL I swear to God, John, one of these days I'm going to strangle those guys. He hurries out double glass doors into the hallway. He sets down his briefcase and presses the DOWN button on the elevator bank. NEAL Two solid hours staring at the layouts to decide to reconvene after the holidays for a fresh look at the material? Are they completely out of their minds or am I being unreasonable? JOHN They're out of their minds but they're the client. NEAL They're not curing cancer, they're selling cosmetics for Christ's sake! JOHN Alot of their cosmetics may well cause cancer. They're rich, they're arrogant and they're stupid. But they pay the bills. Neal presses his finger into the heat-sensitive button again. NEAL You're not going to the airport? JOHN I'm going out in the morning. No way I'm breaking my nuts rushing for (MORE) 3. a plane with me JOHN tonight. and we'll NEAL (Cont'd) Why don't you hang fly out tomorrow? You can pull that with your wife. I can't. If I'm not home tonight, the marriage is a historical fact. It's going to be bad enough getting along with a houseful of relatives but if we're fighting, it's gonna be hell. JOHN What's the difference if you're home at nine tonight or nine tomorrow morning? NEAL To Susan, failure to meet one's scheduled arrival time is a sure sign of marital infidelity. JOHN She doesn't trust you? NEAL Does your wife trust you? JOHN No. But I screw around. You don't. NEAL My mistress is a line of women's cosmetics. JOHN If it's that bad, you better split and you better sit down and decide how you're going to free up some time for the family. A bad marriage eats time like you and me eat peanuts. NEAL Yeah. The elevator BELL SOUNDS. He picks up his briefcase. NEAL Have a nice holiday. JOHN That's a contradiction in terms. 4. NEAL Amen. The elevator doors open and Neal turns to face a capacity crowd in the elevator. NEAL Everybody inhale!",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GM BUILDING - LOBBY The elevators disgorge their passengers, Neal among them. He's very anxious and annoyed by the slow moving crowd.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. LOBBY - DIFFERENT ANGLE There's a large crowd at the doors. Neal cranes his neck to see what the delay is.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LOBBY - REVOLVING DOORS An elderly woman is moving through the doors at a snail's pace. She stops, takes a breather, moves another half a foot, stops ...",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. BUILDING PLAZA Neal squeezes out of the building and hurries across the plaza.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. STREET A crowd of people waiting for buses and taxis line the curb. Neal slips through to the curb and takes a frantic look up and down the avenue. NEAL Shit ... !,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. 59TH STREET Neal hurries down the street, weaving through pedestrians, throwing an arm up and letting out a sharp whistle every time he spots a cab.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PARK AVENUE A tangle of traffic. People hailing cabs. Arms waving. 5. C.U. CAB LIGHT It goes on. C.U. MAN ON THE STREET A middle-mana,L Elev.en? DEL On the nose. People in this berg live by the clock. I'll tell you what, I know the manager of the Interstate Inn pretty well. Sold him the rings in his showers. You pick up the cab fare, I'll see that he puts you up. For the first time in hours, Neal brightens. DEL Grab an end, will ya? 26. Neal sets his briefcase on top of the trunk and lifts his end. NEAL Jesus Christ! What•ve you got in here? Rocks? DEL When I go out on the road, I go out on the road. They lumber the trunk out the doors to the cab stand. NEAL How far is this place? DEL Just up the road a piece. C.U. TAXI METER It reads $124.50.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAB -BACKSEAT Del and Neal are in the back of the old Checker. DEL I'll tell you, Adolf Hitler would have been appalled at this bread's morals. I mean she was bad. I don't think there's a worathat's been invented to describe ••• NEAL Where the hell is this place? Del leans forward and talks to the driver. DEL How much further, Angus? DRIVER Not much. DEL Why didn't you take the interstate? DRIVER You said your friend's never been here. I thought he might like to have a look around. You don't see nothin' on the interstate but interstate. 27. Del leans back in the seat.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HOTEL NEAL (lowers his voice) It's the middle of the night. DEL (softly) He's proud of his town. That's pretty darn rare these days. NEAL You know him? DEL I been on the road many years, my friend. Just off the highway. An anonymous The kind of place you stay in once. Trucks parked everywhere. The taxi cinderblock rectangle. Emergency shelter. pulls in.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LOBBY Fake wood and naugahyde. A tiny front desk, two sofas, a rack of tourist info, a pay phone, a newspaper box and an easel with a cardboard sign with words in glitter -- DON PELTRAM'S ACCORDION HIJINX. Del and Neal lug the truck into the lobby and set it down. The DESK CLERK stands up from his chair where he's sitting watching TV. DEL Evening, Gus. CLERK Del Griffith? How the hell are you? DEL I'm still a million bucks shy of being a millionaire. How are you? GUS I was doing pretty good there for a while but Sunday I pissed my pants during ""60 Minutes"" so I guess I gotta go back in for more plumbing work. I got your room all ready for you. 28. DEL Great, Gus. I'd like you to meet an old friend of mine. This is Neal Page. Neal, this is Gus Mooney. Gus reaches his hand across the desk. Neal shakes it. NEAL Glad to meet you. GUS Likewise. DEL We were flying into Chicago from New York and a storm brought us here. GUS I know all about it. I musta got half your flight already booked in. Now tell me, Del, am I just getting old or are they letting fat gals be stewardesses these days? DEL Times change, Gus. I told Neal you'd be able to fix him up. Gus clucks his tongue. GUS You know, Del, I'd rather shoot arrows out my ass than disappoint you or a friend of yours but I'm booked solid. I got three of those fat gals sharing a single as it is. One twin and two cots and them cots are really built for youngsters. Neal looks at Del with a sigh. DEL Nothing, Gus? GUS If old Herbert Hoover come back from the dead and needed a room for the night, I couldn't help him. Sorry. NEAL That's alright, I'll just go back. DEL You spend a hundred and a half getting here. You want to blow that and more to sleep at the airport? 29. NEAL It's no problem. DEL If you don't mind a little snoring, you can bunk with me. NEAL That's alright. I'll be fine. DEL I don't mind. NEAL It's okay. DEL I'm straight as an arrow. Neal chuckles. DEL It's no skin off my nose·if you sleep in a chair. GUS If you're going back, me know so I can call We're pretty far out. good while. DEL You may as well stay. NEAL you better let you a cab. It'll take a I can't impose on you like that. DEL Tell you what. tab and I won't iota. You pick up the room be imposed on one",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOTEL ROOM It's dark, the door opens and Del walks in. He turns on the light. Neal looks in. His face drops. HIS POV A tiny room with a double bed. 30. NEAL AND DEL NEAL IS HORRIFIED. DEL'S EXCITED. DEL New bedspreads!",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MOTEL ROOM -BATHROOM -SHOWER Neal's standing in the shower with his face to the spray. He enjoys the relaxing heat and clean. Something occurs to him. He moves his head out of the spray and looks up. HIS POV The shower curtain rings.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROOM Del's in his pajamas. He takes a pillow from out of his trunk and a photograph. He looks at it fondly. C.U. PHOTO It's of a young woman. Friendly and comfy, not very pretty but full of life and smiling like a Crest ad. The photo's probably fifteen years old.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROOM Del kisses the picture and sets it on the nightstand next to the bed. He closes the trunk and slides it against the wall. He takes his dopp kit out of the suitcase, closes it, sets it on top of the trunk and turns on the TV. He dials in a religious program. He slips a quarter into the bed vibrator and lays down.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. SHOWER Neal reaches for the soap. Stops short. HIS POV The soap dish. a tiny bar of soap covered with hair. 31. C.U. NEAL He carefully holds the disgusting bar of soap to the spray to wash the hair away.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BED Del's enjoying a good vibration. on the door. Del crosses to the a pimply pizza delivery BOY. He six-pack of beer. DEL How much? BOY Nine bucks. A beat and there's a knock door and opens it. It's has a large pizza and Del takes the pizza and the beer. He sets the pizza on top of his suitcase and the six-pack on the vibrating bed. He looks around for his wallet. He sees Neal's pants hanging over the chair. He hesitates for a moment, throws a look to the bathroom, fishes out the wall~t, extracts a ten and gives it to the boy. DEL Keep it. BOY A dollar? DEL 100 pennies. All BOY You got any more? DEL Nope. BOY Okay. Thanks. yours. Del closes the door. He crosses to the pizza and opens the box. C.U. PIZZA The ugliest pizza ever made. Cheese, sausage, olives, green peppers, japalenos, kraut, bacon, beans, corn, anchovies. 32.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. ROOM Del scoops a piece of the abomination out of the box. DEL Dinner's here!,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BATHROOM - SHOWER Neal pulls open the curtain to reveal a completely sacked bathroom. Towels on the floor, sink half-filled with soapy water, toothpaste on the counter top, flecks in the mirror, toilet paper unraveled, Del's bathrobe on the back of the door. C.U. NEAL He's revolted, looks for a towel. HIS POV From a wad of used towels in a puddle on the floor to a towel rack with two washcloths. A hand reaches for them. C.U. NEAL He tries his hair with washcloths.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROOM Del's in the vibrating bed, eating beats and the bed stops vibrating. bathroom in his boxer shorts. pizza, watching TV. A few Neal comes out of th• NEAL Do you realize that towels? DEL I'm pretty big and small. I'm sorry. neighborly of me. NEAL you used all the they were pretty It wasn't too And almost all the toilet paper. DEL Those New York hot dogs. I'm guilty. 33. NEAL You left the bathroom a filthy mess. DEL I'm not used to a roommate. Neal sniffs. Makes a horrible face. NEAL What smells? DEL The pizza came. NEAL That's pizza? DEL It's good. I saved you a piece. NEAL You didn't order me a salad? I asked you to. DEL They didn't have salad. I had him put extra vegetables on the pizza. NEAL Beautiful ..• He crosses to the box and looks into face and takes the box around to the down. He scoops out the last slice. NEAL it. He makes. another front of the bed and sits He takes a bite. Mmm. Horrible. If I wasn't so hungry, I'd throw up. DEL Wash it down with a beer. Neal sets the pizza down and pulls a beer off the six-pack. NEAL Warm? DEL It comes out warm, what the hell difference does it make how it goes in? Toss me one. Neal tosses Del simultaneously. beer to provide the beer. He takes another. He and Del open The vibrating bed has sufficiently shaken the a double beer explosion. 34.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROOM - LATER The lights are out. Del and Neal are in bed. It's quiet. DEL I'd switch pillows with you but I'd sneeze all night. I carry my own pillow. It's hypoallergenic. I had no idea those beers were going to blow like that. NEAL You had the beer on a vibrating bed. What'd you think was going to happen? DEL It's been a long day. It didn't occur to me. NEAL It didn't occur to you so I have to sleep in a puddle of beer. DEL I'm sleeping in pizza. You want to switch? NEAL No. I want to sleep. DEL Same here. I'm bushed. NEAL Good night. DEL Sleep tight. There's a long pause. Del strikes a match and lights a cigarette. NEAL What're you doing? DEL Having a butt. NEAL In bed? DEL Do you have a problem with that? 35. NEAL A big problem. DEL I'm not going to fall asleep. NEAL I'd rather not risk it. smoke. Smoke annoys me. in the dark, in bed. DEL I don't Especially I always have a smoke before I fall asleep. Neal switches on the light. NEAL I was on my way home to spend a nice holiday and five days off with my family and instead I'm in a motel bed with a stranger five hundred miles away from my house and I don't know how or when I'll get there. I'm a patient man. I'm paying for the room. I paid for the cab .•. DEL You paid for the pizza, too. NEAL I did? DEL All I had was a hundred. The kid didn't have change. NEAL You went in my wallet? DEL Are you mad? NEAL You have no right to go in my wallet! DEL What was I supposed to do? I had to pay for the pizza. You were showering. Did you want me to send some punk kid in to look at your dick? 36. NEAL You stay out of my stuff. DEL (offended) I'm not interested in your stuff. NEAL Good. DEL In fact, I'm bored with your stuff. NEAL What? You looked? DEL I didn't look. NEAL Then why are you bored with it? DEL (lying) It's a figure of speech. NEAL Bullshit! You went through my bags! Del jumps on the defensive. DEL How did I know you weren.•t some kind of shady guy? I'm not sleeping with a stranger without knowing a little about him. What if you had a gun in your bag? I been on the road too long to not know to take a precaution or two. NEAL Did I go through you~ stuff? DEL I don't know. Did you? NEAL No, I did natl And I'm mad as hell that you went through mine. DEL Two suits, two dirty shirts, some stale shorts and some skin magazines. 37. Neal's embarrassed. DEL Don•~ sweat it, Neal. There's a reason every hotel newsstand sells those kind of magazines. There isn't a married· man alive that hasn't ••• NEAL You done with your goddamn cigarette? Del takes one last puff. He drops it in a beer can and swishes it out. DEL Done. Neal turns off the light. He settles back into the bed. There's another long pause. DEL Neal? NEAL What! DEL I have got to fart something fierce. Neal turns on the light. He's furious. He grabs his pants and slips them on. DEL Hey! I'm just being honest, for Christ's sake! I could have sneaked it on you. Neal grabs his shirt. DEL Where' re y·ou going? NEAL I'm sleeping in the lobby. DEL Aw, come on! I'll go in the john. He pulls back the covers and slides his legs over the side of the bed. 38. DEL If your kid shits his trousers do you smack him? Neal stops at the door. He throws a look at Del. NEAL What the hell are you talking about? DEL You're not a very tolerant person. NEAL I'm a very tolerant person. DEL Oh, really? NEAL Look, you've been under my skin since New York. You ripped off my cab •.. DEL I know all this. You paid for the room; the pizza ••• you•re a tight-ass. NEAL How'd you like a mouthful of teeth? DEL You're hostile, too. Nice personality combination. Hostile and intolerant. That's borderline criminal. NEAL Screw you! You spill beer all over the bed, you smoke, you make a mess of the bathroom ••• NEAL And I let you stay in my room. I let you pay for it so you wouldn't feel like an intruder which you most certainly are. NEAL I'm an intruder? You're an nice trip life. DEL intruder. until you I was having a walked into my . 39. NEAL I walked into your life? DEL With golf shoes on! NEAL Who talked my ear off on the plane? DEL Who told you to book a room? Out of the goodness of my dumb old heart, I offered you help. You're an ungrateful jackass. Go sleep in the lobby. Go ahead. I hope you wake up so stiff you can't move. Neal hesitates at the door. NEAL You saw me coming. You're no sa",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int. You get a free room. Free cab. And somebody who'll listen to your boring stories. Del glares at Neal. C.U. NEAL DEL You want to hurt me? Go ahead. If it makes you feel better ••• be my guest. I'm an easy target. I like people, Neal. I even like you. People are my business. They're my business because I've made them my business. Yeah, I talk too much. I also listen too much. You can be a cold-hearted cynic. I don't care. Think what you want about me. I'm not changing. I like me. My wife likes me. My customers like me. Because I'm the real article. I'm a human being. Flaws, fat and farts. I'm flesh and blood. He feels like the last slice of a loaf of bread. C.U. DEL He's serious and genuine. 40. •",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. ROOM Neal closes the door and walks back to the bed. He steps out of his pants and gets in bed. He turns out the light. Del slips back into bed. They both settle in. NEAL Sorry. DEL (after a long pause) So am I . NEAL Night. DEL Sleep tight.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HALLWAY The pizza boy's still the door and listens. withdraws a room key. hanging around. He puts his ear to He reaches into his back pocket and,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. HOTEL -MORNING it's even uglier in the daylight. In the middle of nothing.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BEDROOM -C.U. DEL AND NEAL Sleeping. Tight ·as spoons. Del has his arm around Neal's chest. Neal's holding Del's hand. Del's face is in the crook of Neal's neck. Nestled tight and warm. They're both sleeping sweet and satisfied. Del snuggles and nibbles Neal's earlobe with his dry lips. Neal smiles in his sleep. A beat and the smile relaxes. Somewhere in his unconscious mind, he senses something's not right. Another beat and Neal opens his eyes. He thinks for a moment. He slowly brings Del's hand up to his face and looks at it. Del's eyes open. He looks around, orients himself. He knows something's terribly wrong. DEL Neal? NEAL Del? DEL Why are you holding my hand? 41. NEAL Why did you kiss my ear? DEL I don't know. NEAL Where's your other hand? DEL (worried) I'm not sure. NEAL Find it, Del! Del thinks another beat. His hand emerges from under Neal's pillow. NEAL On the count of three. One ..• DEL Two ••• NEAL AND DEL THREE!",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROOM Del and Neal burst out of the bed, screaming and shivering with revulsion.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COFFEE SHOP Del and Neal are eating breakfast. DEL The airlines are lying. While you were in the shower, I watched a little ""Today Show"" and Willard Scott said it's still snowing in Chicago. If they told you flights are going out to Chicago, they're ~rying to sell you a seat. NEAL I'll go wait it out. DEL You want to be in Chicago by tonight? 42. NEAL At the outside. DEL That's a stretch. I think if you plan on tomorrow morning you're still tugging your tamale. NEAL I'm not spending Thanksgiving in Wichita. DEL Worse things have happened. Ask any wartime resident of Dresden. NEAL That's not fair. I got a family waiting for me to come home. DEL You and everybody else. NEAL I'm home tomorrow come hell or high water. DEL Which do you prefer? I'm going with the high water myself. If you think the airliner gives two craps and doorbell chimes if you eat turkey with your family tomorrow, you're deluded. NEAL That's a switch. You're the biggest humanist. DEL I'm also a realist. You want to get home? NEAL I want and I will get home. DEL Not on an airplane. If it stops snowing right now, O'Hare'll take a good five or six hours to get into operation. Then there's 24 hours of air traffic backed-up. Anyway you slice it, the odds are you and me are eating turkey right here. 43. An anorexic WAITRESS cruises by, refills their coffee cups and drops off the check. DEL If we wait for a flight. NEAL How the hell else will we get home? DEL I've got a buddy at Amtrak. NEAL Train? DEL Why the hell not? Neal shrugs. He smiles. DEL I'm sure everything's booked solid. ·But I'm pretty elose to this guy. NEAL Sold him his shower curtain rings? DEL On every damn train. Del grabs the check. Neal snat~hes it away from him. NEAL I've paid for everything else, why break precedent. DEL Hey, I'm starting to feel like a freeloader here. NEAL You get me on the train and you're no freeloader. DEL We'll get a sleeper and you can hold my hand again. Neal laughs. He reaches for his wallet and opens it. It's empty. His laughter ends abruptly. He looks angrily at Del. DEL What? 44. NEAL You know goddamn well, what! DEL I'm sorry, I don't. Neal shows him his empty wallet. NEAL I had seven hundred dollars in here! DEL I don't have your dough, Neal. I'm alot of things but I'm not a thief. NEAL You went through my stuff last night, didn't you? Huh? DEL I didn't touch your money! And I don't care for the accusation. NEAL Well, I had seven hundred dollars in here. You went into it for the pizza. Maybe you ... Del digs his hand into his back pocket and whips out his fat, worn, brown leather wallet. He slaps it on the table. DEL Count it! NEAL Like you'd keep it in your wallet if you stole it. DEL There's two hundred and sixty-three dollars in there. If there's a dollar more you can call me a thief. NEAL That doesn't prove a damn thing! DEL Count itl Neal picks up the wallet and opens it. section. He looks in the money 45. DEL Two hundred and sixty-three ••. NEAL It's empty. DEL Doll .•• huh? NEAL Dry. Del grabs the wallet from him. He looks in it. He glares at Neal. DEL Where is it? NEAL I'm looking for mine! DEL Well, now mine's gone! NEAL I'm out seven hundred and you're out ... DEL Two hundred and sixty-three dollars. They look at each other for a long beat. NEAL You swear you didn't lift my dough? DEL You didn't life mine? NEAL I didn't touch yours. DEL I did~•t touch yours. NEAL Where is it? DEL Could we have been robbed? NEAL By who? 46. DEL Did you lock the door when you came back to bed? NEAL It's always locked. DEL The chin-lock? Neal thinks. He shakes his head. NEAL I don't think so. DEL We had a visitor. NEAL Oh, Jesus. DEL Do you have any money? Neal reaches in his pocket. He takes out a few crumpled bills and some change. Del reaches in his pocket. He comes up with a dollar. Neal looks at the check. NEAL Six fifty. Del counts out the money. He calls the waitress over. DEL Hon? You charged us for bacon? She looks at the check. WAITRESS Yeah. DEL We didn't get it. WAITRESS Sure you did. DEL If we got it, we'd have bacon on our breath. Right? WAITRESS I don't know. 47. DEL Of course we would. Bend over and take a whiff. The waitress rears back. WAITRESS No way. DEL We're not paying for something we didn't get. It's your word against our word and our breath. Just take a whiff. Neal? Neal looks at follows suit. check off the him curiously. Del opens his mouth. Neal The waitress clucks her tongue and yanks the table. WAITRESS I know I brought your bacon because two slices fell off and I remember putting them back on the plate. DEL Well, honey, I'm with the agricul­ ture department and I think you'd rather tell your boss you made a mistake on our bill than have me tell !!!Y boss you serve dirty bacon. She quickly scratches off the bacon and retotals. DEL And for your information and edification, you know what that means? WAITRESS No. DEL You look it up when you get home. We didn't get our bacon. Somebody else must have gotten it and you better hope they don't catch something and die. The waitress puts the check down on the table. DEL Alright, let's address the hair in the orange juice. She picks up the check and tears it in two. 48.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. MOTEL Del and Neal are sitting on Del's trunk in front of the motel.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MOTEL - DEL AND NEAL They're chatting, waiting. DEL What'd your wife say? NEAL She thinks I'm crazy. DEL That goes with the territory. NEAL Yeah. DEL Fortunately we're dealing with a small time crook. He didn't bother with the credit cards. We'll charge our way home. What kind of plastic do you carry? NEAL American Express, Mastercharge, Visa, oil cards, Diner's Club. What do you carry? DEL Sears, J.C. Penney, AAA. NEAL No bank cards? DEL I try to deal in cash. NEAL In light of what happened I imagine you'll rethink that one. DEL I don't make a habit of leaving the door unlocked. You have any checks? NEAL My wife keeps the checkbook. You? 49. DEL Strictly cash. I travel too much to write checks. 99% of them would be out of state and an out of state check is about as welcome as a priest in a whorehouse. NEAL You get us to the train station, I'll take care of everything else. DEL Gus said he'd call his son down to give us a lift. Del looks at his watch. EXT, _MOTEL DEL He should have been here. NEAL Why didn't you just borrow some dough from Gus? DEL He doesn't have a pot to piss in. I can't take money from him. NEAL You could wire it to him. DEL I have a long standing policy against borrowing money from friends. NEAL But it's okay to borrow from strangers like me, huh? DEL It's incentive for you to become a friend. An old pick-up truck pulls up in front of the motel and blows its-horn. NEAL AND DEL They look at the truck, then at each other. so. NEAL Is that him? Del calls to the driver. HIS POV DEL Are you Gus's son? A strange, gangly young man, OWEN, looks out the truck at him. Beside him is a TWO-YEAR-OLD standing on the seat and his WIFE with a BABY in her arms.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MOTEL OWEN I'm Owen. You the shower curtain ring fella? Del and Neal get up from the trunk. DEL That's me, Del Griffith and this is Neal Page. OWEN Pleased to meet you both. This is my kid and that's my wife and that's my baby. Neal and Del nod to the wife. OWEN You don't gotta say nothin' to her. She's dumb as a melon and she don't remember nothin'. I'm to drive you to Wichita to catch the Amtrak? DEL Yeah. I really appreciate it. He and Neal stoop to lift the trunk. OWEN Don't bother with that. He turns and barks at the wife. OWEN Get out there and put that trunk in the back! 51. Neal and Del quickly intercede. NEAL We got it. OWEN She don't mind. skinny but she's DEL She's short and strong. No, no. We're fine. They lift the trunk and hoist it into the trunk. Barely. They quickly load the other things. NEAL We riding back here? DEL I guess. NEAL Do you know how much this suit cost? OWEN Come on up front! (barks at the wife) Get you and them kids in back so the guests ride up here out of the cold. The wife opens the door to get out. Del and Neal jump into the truck. NEAL No problem. We're fine. OWEN She don't mind. She resists the cold real good. DEL So do we and we love it! Let's go! Owen throws the truck in gear and it lurches forward.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. DOWNTOWN WICHITA - TRAIN DEPOT The truck pulls up at the depot. Del and Neal are frozen. Their hair is standing on end. They slowly rise and step down from the truck. Owen and his wife get out of the truck and walk around to the back. Owen opens the gate. His teensy wife picks up the trunk and carries it into the depot. Del and Neal grab the other bags with frozen fingers. 52.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DEPOT - TRAIN Neal gives Del his ticket. NEAL They didn't have two together. So ••• DEL No problem. Neal offers his hand. Del takes it. NEAL If I don't see you again, take care. DEL You too. But I'll probably see you on the train. NEAL I'm going to sleep if I can. But anyway, ·it's been kind of fun. DEL It was a laugh. And thanks. Oh! address so I can the ticket. Good luck to Shit! Give pay you back NEAL The ticket's a gift. DEL you. your for Come on. Give me your address. NEAL Del, it's• gift. DEL Give me your phone number so at least I can find out if you got home okay. NEAL I'll get home okay. But thanks for the concern. See ya, pal. Neal pats Del on the back and boards the train. Del watcpes him board. There's a little sadness. He misses Neal already. He looks at his ticket and waddles down the siding. He boards another car. 53.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. THEIR CAR Neal places his briefcase in the overhead baggage compartment and sits down in the window seat. He settles into the seat. He ~ighs with relief. Glad to be seated, glad to be headed home. Glad to be rid of Del. Not in a mean way. Just glad to be on his own, going back to his own life. He closes his eyes.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. COUNTRYSIDE The Amtrak train flies down the tracks across the frosty plains.,SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. TRAIN CAR Neal's sleeping. His face is turned to the window. He stirs and rolls his head to the other side. Right into the snoring mug of Del Griffith. He opens his eyes and rears back. He recovers from the iurprise and slumps in defeat. He shakes his head and sighs. He can't shake the big dude. He leans his head back and closes his eyes. There's a jolt. He opens his eyes and looks out the window. HIS POV The countryside isn't flashing by the window as quickly as it was before. C.U. NEAL Disappointment washes down all over his face. HIS POV The countryside isn't flashing past at all. The train's dead on the tracks.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. COUNTRYSIDE - TRAIN Smoke's billowing out of the engine. A perplexed crew is watching the fire.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. JEFFERSON CITY, MISSOURI The Missouri capital. 54.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. BUS DEPOT The Greyhound main terminal.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BUS DEPOT Del and Neal are sitting on benches in the seedy terminal. DEL AND NEAL Del looks at Neal. Neal's bubbling with anger. He looks at his watch. Del looks at him. DEL It's not my fault the train caught on fire. Neal looks at him. He's not so sure. DEL Thank your lucky stars it didn't derail. They derail more often than they catch fire. NEAL It's three fifteen. DEL The bus leaves at four. alright. We'll get into late tonight. You worry Have you ever thought of the flow? NEAL We' re Chicago too much. going with I am going with the flow and you're what floated into my life. DEL If it weren't for me, Mr. Ungrateful, you'd still be at the Wichita airport. NEAL Instead I'm in the Jefferson City bus terminal. Tell. me how that's an improvement? DEL You're a couple hundred miles closer to home. 55. NEAL And I'm out seven hundred bucks cash, two hundred in train tickets ••• DEL They're mailing you a refund. NEAL Alot of good that does us here. DEL You're in a pretty lousy mood, huh? NEAL To say the least. DEL You ever traveled by bus? Neal shakes his head, no.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BUS DEL Your mood's probably not going to improve much. Jammed with cut-rate passengers. Screaming BABIES, luggage everywhere, food wrappers, a dozen SERVICEMEN with their Walkman's leaking twelve different songs. CHILDREN cruising the aisles. The engine is ROARING. Someone has a window open. It's hell on wheels. DEL AND NEAL They're toward the back. Neal has a seat in his lap. The person in front of him has the seat all the way back and is sleeping. Del's eating popcorn. Neal's staring out the filthy window. Del pokes Neal. Neal looks at him. Del jerks his head toward the seats opposite them. Neal looks. HIS POV A sleazy, young couple are furiously necking in the seats. His hands are all over her. Inside her clothes, outside her clothes, squeezing, rubbing, stroking. DEL AND NEAL They're both watching. 56. DEL Beats a movie, huh? Neal stares at him. DEL Beggars can't be choosers, Neal. It's better than walking. NEAL Barely. DEL Don't get your jugs in a twist. A child's hand squeezes between Del and Neal's seats and fishes around. DEL This is probably as good a time as any to tell you something. Neal leans back to avoid the child's dirty, probing fingers. NEAL What now? DEL You'll probably be relieved. Seeing as how you're not enjoying bus travel. What? NEAL (suspicious) DEL Our tickets are only good to St. Louis. Neal's jaw drops. DEL St. Louis into Chi is booked tighter than Tom Thumb's ass. It's Thanksgiving. C.U. PHOTOGRAPH A picture of a turkey dinner. We MOVE OFF the photo and up to Neal. He's on the phone. 57. NEAL I'm in St. Louis. Why? Because I've always wanted to tour the Anheiser-Busch Brewery. Come on, Sue. (pause) I'm sorry. It's been hell. I got hooked-up with this shower ring salesman. I told you about him last night. Every time I listen to him .•. (pause) Why do I listen to him? Good question. I'm stuck. No money. Everything's booked-up. I'm in the bus station. I'm tired and hungry and I'm mad. (pause) I want to get home. I can't fly in. I've tried every airline. There isn't a seat left on anything. This is the busiest travel day of the year. Neal turns into the terminal. HIS POV Del's talking with a group of kids. NEAL He turns back to the booth. NEAL I think I'll just rent a car and drive home. It's about eight hours. Honey, I can drive alone. I'm not that tired. I'm not driving home with Del. I don't care if he can share the driving, if I have him along, something'll go wrong. I know it. I don't trust him an inch.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. TERMINAL - DEL He's talking with the kids. DEL You don't know what an AT&T calling card is? Where have you been? You go to school? 58. NEAL KID No. DEL You can call anywhere in the world with it. KID So? DEL Free. Long distance calls for free. You don't see the value of something like that? KID No. He wraps up his conversation. NEAL Tell the kids that I'll be home. I'll be fine. Don't worry about a thing. I'll call next chance I get. Huh? I called collect because I lost my AT&T card. Whoever took my money must have taken the calling card and my Visa.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. TERMINAL - DEL He's still hawking the kids. DEL The Visa card's gonna cost you double the calling card. KID I don't have a hundred bucks. DEL What kind of delinquen_t are you? Small timer. Real small time. I thought you were a heavy hitter. KID I got seventy-five. DEL Sold. 59.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BUS STATION RESTAURANT Del and Neal are eating lunch. Neal smiles. DEL That watch belonged to my father and his father before him. You want to feel hurt, sell a family heirloom for seventy-five beans. NEAL You didn't have to sell it. DEL I've steered you wrong so many times, I felt like a shit burger on a steak bun. The least I could do was scrape up a nice meal for you. NEAL Thanks. DEL How's the wife? NEAL Fine. DEL Kids miss their Daddy? DEL I called an old friend at Eastern Airlines. He says the chances of getting a flight into Chicago from here are about the same as a mouse sexually satisfying a black rhino. NEAL I know. I called all the airlines. DEL Did you call your office? Maybe they have some clout. You have a company plane? NEAL No. The office closed at noon. DEL I have some friends in town. We could probably ... 60. Neal lays the news on Del. NEAL I've been thinking, Del. DEL That's good. This country was built on man's thoughts. NEAL When we put our heads together we get nowhere. I think I'm holding you up. DEL I'm enjoying your company. You're not that bad. You don't react to crisis very well, but I can overlook that. You have plenty of other admirable traits. NEAL I think we'd probably both get home alot sooner if we split up. Del's face drops. He's hurt. He's enjoying the adventure. NEAL One can go faster than two. You have friends here. They'll probably be much more inclined to help you alone than help the two of us. DEL Not necessarily. They're good people. NEAL Why risk it? We'll go alot faster working as singles. DEL You really think so? NEAL Yeah. Del looks down at his plate. DEL Okay. There's a long pause. 61. He looks up DEL I'm a pain in the ass in other words. NEAL No, not at all, Del. DEL Yeah, I am. Everything I touch turns to shit. This isn't the first time. My mother used to tell me I had twice as much heart as brain. at Neal. DEL I was only trying to help. NEAL I know, Del. And I appreciate it. Del drops his napkin on his plate. He looks at the check, lays down the appropriate sum plus tip. He counts out half the remaining money and puts it in his pocket. He gets up and stuffs the other half in Neal's suitcoat pocket. He pats him on the shoulder. NEAL I can't take your money. DEL Take it. Buy the kids a chocolate turkey. Tell them it's from an old huckster. Good luck, pal. He shuffles out of the restaurant. Neal watches him go. A sad smile.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. ST. LOUIS AIRPORT Jammed with activity.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. AIRPORT -RENTAL CAR COUNTER It's jammed with people. Huge lines. Deafening din. Neal's at the counter filling out the forms.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. AIRPORT -ARRIVAL AREA Neal's at the curb with a group of people waiting for the courtesy bus. For the first time since the GM building, 62. he's smiling. He's so light in spirit, he strikes up a conversation with a frail, young man next to him. NEAL (to the man next to him) You have no idea what I've been through to get to this po",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int. MAN You have no idea what I've been through. NEAL It can't come close to what I've been through. MAN I had my foot amputated on Thursday. Neal is shocked. MAN I left the hospital in New York to go to Chicago to be with my sister and we got waylayed to Wichita, I got on Amtrak, the train caught fire. I hitchhiked to St. Louis, went to the bus terminal to try to take the bus to Chicago, I discovered along the way somebody's picked my pocket, lifted my wallet. All I had was eighty dollars, I bought a Visa card off a kid in the terminal and illegally used it to rent a car. NEAL Other than that, you looking forward to the holiday? MAN Oh, very much so.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COURTESY BUS One of those vans with the sofas weary travelers. Neal included. nuns. The van jerks to a stop. out Neal's name. DRIVER Mr. Page? and lamps. It's packed with He's squeezed in between two A BURLY BLACK DRIVER calls 63. Neal gets up and squishes his way up to the front. The driver hands Neal his rental agreement envelope and a set of keys. DRIVER Red Mustang. Space E-67. NEAL Thanks. Have a nice holiday. DRIVER Are you kidding? I'm working. You have a nice holiday. I'll be rigE't here. You know what holiday I got off this year? Yorn Kippur. I ate bagels and watched ""I Dream of Jeanie."" NEAL Well, have a nice day. Impossible. impossible. DRIVER These days, it's He sits down and opens the door. Neal steps down off the van.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PARKING LOT The van pulls away. Neal looks at the envelope. He turns and scans the lot. HIS POV No Red Mustang in sight. NEAL He looks at the keys. Looks up. Looks at the pavement. HIS POV In big, white letters, D-67. NEAL He walks down the row of cars, looking at the space numbers . . He stops at an empty space. 64. C.U. PAVEMENT It's E-67. No Red Mustang. No nothing.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. PARKING LOT Neal stands in the empty space looking at the keys and the rental agreement. NEAL son of a bitch •.. He looks down the long parking lot aisle. HIS POV The van disappears down the lane. Stops. Discharges passengers. Turns and heads down another aisle. NEAL He takes off down the aisle.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. VAN NEAL HEY! The last passenger gets off. pulls out. As it pulls out, exhausted make a last futile He stops.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HIGHWAY The doors close and the van we see Neal, breathless and attempt to catch the van. The van turns onto the highway leading back to the airport. EXT, PARKING LOT Neal drops his two-suiter.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. AIRPORT NEAL SHIT! YAAA! The doors open and Neal shuffles in. He's frozen. His pant legs are soaked with road spray. His coat's splattered with 65. mud. He's blue in the face. He's dragging the two-suiter. His shoes are saturated and covered with salt stains. He has his necktie wrapped around his head to keep his ears warm.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. AIRPORT -RENTAL CAR COUNTER Neal trudges up to the counter. A perky young AGENT finishes her last task and looks up at Neal with a big, friendly, TV ad smile. The smile dissolves as she studies him. C.U. NEAL He looks crazed, frozen, wild and mad as hell. C.U. AGENT She manages a fresh smile. Less enthusiastic. C.U. NEAL AGENT May I help you? He leans forward. Talks very softly. C.U. AGENT NEAL Yes. She leans forward to hear better. AGENT (softly) How? NEAL AND THE AGENT He leans a little closer. NEAL You can start by w1p1ng that fucking dumb-ass smile off your rosy fuckin' cheeks. Then you can drop the Miss fuckin' Cheerful bullcrap and give me a fuckin' automobile. The Agent freezes. 66. NEAL A fuckin' Mustang, a fuckin' Toyota, a fuckin' Datsun, a fuckin' Chevy, four fuckin' wheels and a seat! AGENT I don't really care for the way you're talking to me. NEAL I don't really care for the way your fuckin' company left me out in the middle of fuckin' nowhere with fuckin' keys to a fuckin' car that isn't fuckin' there .. And I didn't really care to fuckin' walk down a fuckin' highway and across a fuckin' runway to get back here to have you smile in my fuckin' face. I'm a nice man under normal circumstances and I have nothing against you except your happy demeanor too violently illustrates to me how miserable I am. I want a car. AGENT Can I see your rental agreement? NEAL No. AGENT Why not? NEAL It blew away. AGENT Oh, boy. NEAL Oh, boy, what? AGENT You're fucked.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. AIRPORT -ARRIVAL AREA Neal trudges out of the airport. His eyes are glazed, he's beyond anger. He walks zombie-like to a cab stand. A burly dispatcher addresses him. DISPATCHER Where you goin'? 67. NEAL Chicago. The dispatcher pauses. DISPATCHER Chicago? NEAL Chicago. DISPATCHER Do you know you're in St. Louis? NEAL Yeah. And I want to be in Chicago. That's why I'm talking to you. DISPATCHER You want to take a cab to Chicago? NEAL Yes, I do. Can you help me or are you going to be like everybody else I've been running into lately? DISPATCHER I can't send a cab to Chicago. NEAL Do you know someone who can? DISPATCHER Did you try the airlines? They go to Chicago all the time. NEAL If I wanted to joke, I'd follow you into the john and watch you take a leak. The dispatcher glares at Neal. DISPATCHER If I gotta look at you for anymore than two seconds, you're gonna be lookin' at me upside down and blurry. - NEAL All I asked for was a cab. It is possible for a taxi to transport me to Chicago. I'm prepared to pay whatever the meter says plus tip. (MORE) 68, NEAL (Cont'd) I'd much prefer to fly or drive myself but due to holiday traffic, neither of those options are avail­ able to me. Can you help me or are you going to stand there like a slab of meat with mittens? C.U. DISPATCHER He doesn't much care for Neal's attitude. DISPATCHER Time's up. C.U. NEAL Doesn't understand. NEAL Excuse me? C.U. DISPATCHER He draws his fist back. DISPATCHER You're excused. He throws a fist enclosed in leather directly into CAMERA. C.U. NEAL he drops backwards OUT OF FRAME.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. STREET Neal falls into the street. Lands on his ass in front of a car. The contents of his briefcase go flying. He screams and covers his head. The car skids to a stop, inches from Neal's body. Horns blow, tires screech. C.U. NEAL Hands over his face. He slowly removes them. 69. HIS POV Del Griffith is over him, looking down. He's startled. DEL Neal? c.u. NEAL He's equally startled. NEAL Del? C.U. DEL He's relieved to find Neal's alright. DEL If I'd had my sunglasses on, I might have run you over.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAR LATER Del's driving. Neal's next to him. He's cleaning off his face with a handkerchief. DEL I had a feeling when we parted ways that somehow, someday, our paths would cross. NEAL Me, too. DEL Do you have any idea how glad I am that I didn't kill you? NEAL Do you have any idea how disappointed I am that you didn't kill me? DEL Hey, now. Chin up, buddy. We're sailing. You remember what I said about you have to go with the flow a little more? I still stand by it. 70. NEAL How do I go with the flow when the rental car agency leaves me in a hundred acre parking lot with keys to a car that isn't there and I have to walk three miles back to find out they don't have any cars? DEL I got a car. I didn't have to walk. I didn't have to waste one drop of sweat. NEAL You're lucky. DEL No, I just go with the flow. Cute little gal at the rental counter told me they were out of cars. I gave her a set of shower curtain rings and a compliment on her rosy little cheeks and sweet smile and bing! I'm behind the wheel of a Lincoln at the price of a Datsun. NEAL You're a charmed man. DEL Nope. NEAL You just go with the flow. DEL Like a twig on the shoulders of a mighty stream. He puts his arm up on the seat and puts the hammer down.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. HIGHWAY A massive green Lincoln speeds past. Del's steamer trunk is hanging out the back of the car trunk which is secured with a length of twine.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. GAS STATION -LATER The Lincoln's at the pump. Del and Neal are out of the car. Del's stretching. 71. DEL You want to take over for awhile? NEAL You've only been driving half an hour. DEL You haven't driven at all. NEAL I don't care. Fine. DEL My back's bothering me. I'd appreciate it. The attendant returns the hose and caps the tank. ATTENDANT Thirty-eight fifty. Del looks at Neal to say he doesn't have the funds. DEL We better pool our cash for chow. I don't have an oil card. Do you mind? Neal shakes his head, fishes out his wallet and gives the attendant his credit card. He shuffles into the station. DEL I estimate our arrival time around four A,M. Unless you want to stop and get some sleep. I think we could both use it. DEL I'd rather sleep in my own bed, thank you. DEL It's not safe pushing yourself on the highway. You caught a punch in the hooter, you got your dander up, you're anxious, you're in a hurry. A highway safety expert will tell you that that's a classic blue print for a wreck. NEAL I'm fine. 72. DEL We won't have a problem getting a room on this stretch of road. This has been a hell of a day, Neal. NEAL I'm getting home tonight. With or without you. DEL Without me you won't do well. Face the facts. You're probably a brilliant theoretical man but from what I can observe, you have no technique. That's not a criticism. Robert Oppenheimer, the father of the A-bomb had to have Edward Teller tie his shoes. Or so I'm told. NEAL I'm in good shape. Don't bother about me. The attendant returns with the credit card and slip. Neal takes the greasy pen and signs his name. DEL I do worry about you because I care about you. NEAL If you cared about me, you would have left me alone in.Wichita. Neal takes his card and walks around to the driver's side. Del's staring at him. DEL If I'd left you in Wichita, you'd still be in Wichita. Neal gives him a look and gets in the car. Del opens the door. DEL Before we pull out, do you want to call the wife? (pause) I just asked. He gets in and closes the door. Neal starts the car and pulls out. 73.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAR -LATER Neal's driving. running through the hell out of Del's trying to get comfortable. the electric seat positions. It's Nea·1. Could you the seat? NEAL· please not do that with It's bugging me. DEL Once you start screwing around with thes~ damn things, you can't ever get comfortable. NEAL Then quit screwing around with it. DEL I gotta get comfortable. Do you have a bad back? Neal doesn't answer. DEL Well, I do and it hurts like a bugger. There's a couple good positions for it ••• He's annoying He raises the seat bottom and lowers the seat back. The motors grind and squeal. NEAL You wanna break it? DEL I'm not breaking it. NEAL Will you please knock it off? A couple more tries and ~e gets the seat the way he wants it. DEL There. NEAL You done? DEL Almost. NEAL Now what? 74. ·Neal sighs. DEL I can't reach my feet to take off my shoes. NEAL That's just fine. Leave your shoes on. DEL I can't rest with my shoes on. NEAL Your feet smell. Leave the shoes on. DEL When did you smell my feet? NEAL In the airport. Why is it that everything you do bothers me? DEL I don't know. It could be you. NEAL we have another six or seven hours together. Why can't you just cooperate with me? DEL Can I loosen them? NEAL Be my guest. Del pushes the chair button. The motor grinds as he rises forward. He loosens his shoes. He pushes the button again and returns to his position. A few more squirts and he's got it just right. DEL You know there're things you do that bug me. NEAL Oh, really? Like what? DEL You play with your balls alot. Neal looks at him. A long stare. Back to the road, back to Del. 75. DEL It's true. NEAL I don't play with my balls. DEL Yes, you do. It's like you're afraid they're gone. You check them a good five, six times an hour. NEAL You want to start a fight? DEL No. I'm just stating a fact. You fiddle with your nuts alot. NEAL I've been wearing the same shorts for two days. They're stretched out. DEL That's a good explanation. NEAL It's good because it's true. DEL Okay. He closes his eyes. DEL Do loose shorts also make you pick. your rump? Neal doesn't look at Del. He puts his foot down. The car thunders ahead.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. HIGHWAY The car powers past.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAR - LATER Neal's driving. Del's sound asleep. Snoring. Neal turns up the music to mask the snoring. The snoring gets louder. Neal turns the music up louder. The snoring goes louder. Neal turns the music full blast. He looks at Del. Sleeping like a baby. 76. NEAL Del? No response. He reaches for the electric window buttons. He opens Del's window. Wind whips in. Del doesn't stir. Neal puts down the other windows. No response from Del. DEL! MOUTH JERK! NEAL GRIFFITH! ASSHOLE! LOUD­MORON, BUTTHEAD, FAG-BREATH CHICKEN PICKER! GEEK! DEL! He reaches over and pokes him. He stirs, turns away and closes his mouth. He stops snoring. Neal puts the windows back up. He turns off the radio. Nothing out of Del. He reaches into his lap and adjusts his crotch. DEL Can't leave the walnuts alone, huh? Neal freezes.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ROADSIDE CAFE A greasy, little dump dwarfed by the giant rigs and the Lincoln.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAFE Del and Neal are finishing their. coffee. DEL If you·want I'll drive for awhile. NEAL That's generous of you considering I've driven all day. DEL An hour behind the wheel with my back is like a lifetime for you. Neal grows weary of the bickering. He changes the subject. To what's really bothering him. NEAL I can't believe it's Thanksgiving eve and I'm not home with my family. DEL Yeah. 77. NEAL You never said anything. Do you have a family? DEL Oh, yeah. I'm a big family man. You saw the picture of my wife. NEAL Kids? DEL Three. Two boys and a girl. NEAL I saw your wife. You got pictures of the kids? DEL In my trunk • . NEAL It's hard being away, isn't it? The misery. it. DEL The absolute misery of NEAL We'll be home soon enough. DEL Yeah. Let's roll. They get up from the table and cross to the cash register. The door opens and a TRUCKER walks in. TRUCKER (general announcement) Anybody headed north, think twice. Big front moving down. Chicago's history. He crosses to the counter. Del looks at Neal. Then at the CASHIER. DEL What's the motel situation? CASHIER Pretty good. Ethyl's Motor Mattress always has an open bed or two. 78. NEAL Del, forget it. It'll be fine. DEL We'll take it easy. Pay the lady. Do you take credit cards? CASHIER Diner's Club, Visa, Mastercharge ••• Del pats Neal on the back. I'll be out front.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. RESTAURANT - LATER Del's in the car. The motor's running. Neal comes out and gets in the car. Del guns the engine and whips the Lincoln out of the parking space. Grinds to a stop, throws it in forward and squeals out.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAR Del's barreling down the road. Neal's laying down, trying to get the seat up. DEL I really think we're pressing our luck driving into the teeth of a snow storm. NEAL You broke the seat! You broke the goddamn seat! The motor whinnies as Neal holds his finger on the button. DEL It was fine when I NEAL You messed around broke it! DEL You want to drive? NEAL got out. with it until you No, I don't. Why did you have to do this? DEL I can't be held responsible for faulty engineering. 79. NEAL This is great. Very comfortable. Neal crosses his arms on his chest as he lays practically falls on his back in the broken seat. DEL You like country music? NEAL Hate it. DEL Is the rule whoever drives programs the music? NEAL Not if you're putting on a country station. DEL Boy, you sure like to play the boy prince of France don't you? NEAL I'm not riding in a broken seat listening to country music. DEL I listened to your rock •n• shit. NEAL roll I'm not going to argue with you. • Put on whatever you like. I'm going to sleep. Del flips on the radio and starts scanning the dial. Two second bursts of music and talk. Up and down the FM band. He hits the_AM band and travels it up and down. NEAL Find the goddamn station! DEL I'm sorry I don't have the worldwide radio network committed to memory. : ... ,·-:· _ .. , ... '. .. · .. ·:, .;.·•:\·. _: · .. · .:·-.·:. ,, :.:,-. ·.•·•,'•,; ·. ,/ He flips back to FM. NEAL Aw, come on! Del turns off the radio. BO. NEAL What? DEL Forget it. You're such a miserable asshole, I don't want to aggravate you anymore than you already are. NEAL I'm not miserable. radio and find your DEL Turn on the station. Forget it. I'm not in the mood for music anymore. NEAL Fine. DEL I was. But you ruined it. NEAL Sorry. DEL No problem. I'll just consult with you from now on about how you want me to behave so that you'll be most. comfortable. After all, I only rented the car. You're the passenger. NEAL Put on the radio. DEL Forget it. NEAL No, put it on. DEL I'd rather not. NEAL Don't play games, Del. Put on the radio. Del doesn't react. flips on the radio. plaintive howl of a Neal leans forward, does a sit up and He scans down the dial until he hears steel guitar. He leans back. DEL Thanks, Neal. 81. the· NEAL My pleasure. He settles into the seat and closes his eyes. Del pushes the cigarette lighter in. He reaches into his pocket and pulls out a cigarette. The lighter pops and lights the smoke. DEL Does my smoke bother you? NEAL Not if you crack your window a little. Del presses the window button. He opens the window a crack. DEL Is that too noisy? NEAL Close it more or open it more. NEAL If I close it more, it'll be closed completely. He opens the window further. Cold wind rushes in. DEL I'll pump the heat, okay? NEAL. Fine. Del blasts the heater fan. Double the noise. He turns up the music above the rush of wind and roar of the fan~ DEL Get a little shut-eye so you'll be fresh for your shift. NEAL I'LL TRY. Del shifts in his se·at, puffs his cigarette.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. HIGHWAY the Lincoln hurtles down the lonely interstate into the dark of the approaching storm. 82.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. CAR Neal's fallen asleep. Del takes a last puff on the cigarette and carefully slips it out the window. He flicks it away.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. CAR - BACKSEAT The butt is sucked back in the window and lands on Neal's two-suiter in the backseat. The window snaps shut.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. CAR Del bobs his head to the music. He's getting heavily bored. He taps the steering wheel to the beat. Flicks his brights on and off to the beat. It's getting a little warm in the car. He turns off the fan. Drives a bit further. Still too warm. He looks at Neal. He's asleep. He doesn't want to open the window for fear of waking him with the noise. He raises his knees to the steering wheel and attempts to remove his coat.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HIGHWAY The Lincoln from the front. It swerves a little to the left, then back to the -right.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAR Del has his arms around behind his back trying to get his arms out of the sleeves. As he presses back in the seat, his foot buries the accelerator. C.U. PEDALS The accelerator is on the floor.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HIGHWAY The Lincoln screams past. ,",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAR Del's steering with his knees, He's struggling with his arms. has a huge problem. He twists streaking down the highway. He suddenly realizes that he to the side. 83. C.U. DEL'S HANDS In trying to take off his coat, he's managed to slip his hands into the epaulets on the cuffs of his overcoat and has effectively handcuffed himself.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAR Del struggles to free his hands, driving with his knees. Neal's asleep, oblivious to everything.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. HIGHWAY The Lincoln's roaring along. It glides across two lanes and shoots up an exit ramp.,SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAR Del rips his hands free, grabs the wheel and hits the brakes. He slams his eyes shut and SCREAMS. The braking force throws Neal and the seat back forward. The seat locks.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HIGHWAY The Lincoln does a 180 and grinds to a halt in a cloud of tire smoke. It comes to rest across the overpass road, pointing toward the ramp it just came up. The engine shudders and dies.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAR Neal bends over. Del adrenalin. over with the locked seat back holding him doubled is white as bone china. Speechless, pumped full of Neal looks at him. NEAL What the hell are you doing? Del looks at him. Executes a quick recovery. DEL You almost had venison in your lap. The biggest fuckin• deer I ever saw. At least a ten point buck. Standing in the middle of the highway looking at me like I was a doe in heat. Neal stares at him. 84. DEL If I hit it, we'd be cheese. Go back to sleep. We're making good• time. NEAL I'm stuck. DEL Try the button. Neal tries it. It just whines. DEL Keep your finger on it. The motor continues to whine. moves to a normal position but to the dash. It stops. DEL Something catches. The back the seat moves forward. Almost You got a choice. Leave well enough alone or risk a worse position. Neal does nothing. DEL Good choice. He starts the engine. Guns it. Huge backfire. DEL That wasn't me. He drops it in gear.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ROAD DEL Go back to sleep. Everything's under control. The Lincoln lurches ahead and heads down the ramp it came up, heading back onto the highway in the wrong direction.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. CAR Neal slumps down in the seat. Del's wide awake. Alert as a bunny. Neal closes his eyes. 85. C.U. BACKSEAT The two-suiter's smoldering. The cigarette's burned a hole in the bag and fallen into the clothes. C.U. NEAL He sniffs. Opens his eyes. Looks at Del. NEAL You took your shoes off. C.U. DEL He looks at Neal. DEL Not so. I'm wearing them.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. CAR Neal sits up. NEAL What smells? DEL Tire rubber probably. NEAL Jeez. What a stink. He settles back in. Del puts his arm up on the window and starts to whistle.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. CAR -CROSS ANGLE Across Del to Neal and out the passenger window. We see a car riding alongside the Lincoln. It's across the median strip. It's going the right direction. Del glances across. Sees the car. Smiles. Puts a little more juice into it. The car running_alongside him blows its horn. Del chuckles. He blows his horn and puts the hammer down a little more. Neal sits up and looks at Del. NEAL What? DEL Some joker wants to race. 86. L He motions his head to the other car. It's horn is blaring. Del lays on his horn and slams the accelerator to the floor. Neal looks out the window. HIS POV A sedan is keeping pace across the grass strip dividing the highway. The driver has his window down and is waving his arm furiously.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. CAR -DEL He's looking out the passenger window. DEL Is he waving to you? You know him? C.U. NEAL He's watching the car. HIS POV The car running alongside. The driver's screaming. C.U. NEAL He cups his hand to his ear. C. U. DEL NEAL He wants something. He shoots looks out the window. C.U. NEAL DEL Maybe he's drunk. He puts his window down. 87. HIS POV The driver's screaming. C.U. NEAL He screams back. NEAL WHAT?! HIS POV The driver keeps screaming. C.U. NEAL He can't quite make out what the guy's screaming. HIS POV NEAL WRONG WHAT?! The driver continues hollering. C.U. NEAL He sticks his head ~ut the window. HIS POV NEAL WHAT?! The driver shrieks.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. CAR Neal pulls his head back in the window. He looks at Del. NEAL He says we're going the wrong way. DEL He's drunk. How would he know where we're going? 88. • NEAL Maybe he is dru ..• Neal snaps his head around. Looks out the window. HIS POV The screaming driver. POV shifts down to the median strip. The grassy ditch flying past. C.U. NEAL It hits him. His eyes bug-out. He snaps his head forward.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. HIGHWAY - FURTHER AHEAD A pair of ten-wheelers racing up a hill.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAR Neal screams. Del looks at him. Snaps his head around to the · front. THEIR POV Four huge, bright sets of headlights breaking the crest of the hill. C.U. DEL Slams his eyes shut. C.U. NEAL Eyes frozen open their widest. C.U. DEL'S FOOT On the brake pedal. To the floor.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. HIGHWAY The trucks swerve apart to avoid the Lincoln. They're gone in a flash. The force of the sudden stop sends the steamer trunk hurtling forward. It rips the trunk lid off the car. 89. The steamer trunk and trunk lid sail over the car and skid down the hill.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAR The steering wheel's bent over. Del's hands are gripping it. Neal's hands are embedded in the padded dash. DEL I think it's time for you to drive, Neal. Neal looks at him. DEL I'm getting a little tired. And now my back really hurts. Neal looks at his watch. NEAL If it wasn't Thanksgiving, I'd kill you.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HIGHWAY DEL You don't mean that do you? NEAL Yes. The Lincoln pulls slowly around to the side of the road and comes to a stop pointing in the correct direction. The doors open and Neal and Del get out. They walk around to the back and look at the gaping hole in the back of the Lincoln. DEL We could make a jacuzzi out of it. Neal looks at him. He isn't interested in jokes. DEL I'll get my trunk. He heads down the road. He grabs his back, groans. DEL Oh, Jesus. My back! He rubs the small of his back and continues. 90. C.U. NEAL He sighs. He can't let Del drag the trunk back by himself.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. HIGHWAY Neal follows after Del. As he heads down the highway. we see flames erupt in the backseat of the Lincoln.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HIGHWAY Del hobbles toward the trunk. Neal's behind him. In the background we see the interior of the car engulfed in flame. Del stops at the trunk. He grabs one end and drags it to the shoulder. Neal picks up the trunk lid. He carries it to the shoulder and drops it on top of the trunk. He grabs an end. Del grabs the other. They lift and turn to face the Lincoln. They stop, drop the trunk. THEIR POV The ragtop of the Lincoln is on fire. C.U. DEL He can't figure why the car's burning. C.U. NEAL Complete mystification. NEAL AND DEL They watch the car turn. NEAL Why is the car on fire? Del shakes his head. DEL I don't know. NEAL My suitcase is in the backseat. DEL So is your briefcase. 91. NEAL And my wallet. Del looks at Neal. DEL And your coat. NEAL I'll bet my left nut you did that with one of your cigarettes. DEL I don't think so. I only had one. I made sure I tossed it out. NEAL What I smelled before was the backseat. Burning plastic. I'll bet you threw the cigarette out and it came back in. DEL I'm pretty careful. What difference does NEAL I doubt it. it make? Good luck turning the car in. They'll be happy as pigs in shit to see you. Del doesn't say anything. He looks at Neal out the corner of his eye. Something occurs to Neal. He looks at Del. DEL NEAL How could you rent a car without a credit card? Del doesn't know what to say. NEAL You couldn't. How'd you get the car? DEL I gave the girl with the cute cheeks a set of shower curtain rings. NEAL You don't rent a Lincoln on shower curtain rings, Del. 92. Del knows he's caught. DEL What do you want me to say? NEAL Which card did you put it on? DEL Mastercharge. NEAL You stole my Kastercharge? DEL No. NEAL Then how'd you get it? DEL I borrowed it. NEAL You stole it! DEL I was going to send it back to you, but you wouldn't give me your address. I'm sorry. I was stuck. ·you ditched me. I had no money. No cards. NEAL Give it back. DEL I can't. NEAL Why_not? DEL It's in the car.",TWIST +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. HIGHWAY The interior and the roof of the car is burning bright.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MOTEL A chain motel. Big, bright sign. The charred Lincoln pulls up in front. All that remains of the roof is a twisted 93. black frame. Neal's driving. He's wearing a big, ugly wool overcoat and stocking cap. Del's wearing his overcoat and a couple sweaters and a baseball cap.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAR The interior is completely charred. They're sitting on bare, burned springs. DEL Are you still mad at me? Neal doesn't say a word. DEL You know, you could have killed me slugging me in the stomach when I wasn't ready. NEAL I'm sorry I failed. Neal opens the door and gets out.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MOTEL DEL With all this fresh air, we're going to sleep like babies. Neal walks into the motel. He looks like a patron of an Anchorage resale shop. Del follows him in. Neal marches up to the counter. NEAL I need one room. DEL If you're still pissed, maybe we should get separate rooms. NEAL Get your own room. The DESK CLERK slides a registration form across the counter. Neal takes the pen and begins filling it in. CLERK I need a major credit card. Neal reaches into his pocket and hands the clerk a charred, melted hunk of plastic. 94. NEAL You take American Express? He reaches into his other pocket and comes up with another melted wad. NEAL Mastercharge? The clerk stares at the plastic. Neal finishes the form. CLERK These aren't credit cards. NEAL They were. We had a small fire in the car and they melted. I'm sorry. I'll pay cash. CLERK We need a major credit card. NEAL I don't have one. I'm tired. I'm angry and I'm begging your mercy on this Thanksgiving Day. The Clerk considers the request. Neal reaches CLERK Well .•• NEAL Be a sport. It's free. CLERK You can't use room service. NEAL I need a toilet, a sink and a bed. I'm.not hungry. CLERK $42.50. into his pocket. NEAL How about $17? CLERK I can't do that. Counts out his money. 95. NEAL How about $17 and a promise that I'll send you a check? CLERK I don't own the place, NEAL How about $17 and a hell of a nice watch? He takes his watch off. The Clerk looks at it. CLERK You can't use the phone either. NEAL How about a couple feet of toilet tissue? CLERK Sure, NEAL Key? The Clerk turns from the desk and selects a room key. He gives it to Neal. Thanks. probably NEAL Enjoy the cost more DEL watch. It than you. Neal? Do you remember where you got that money? NEAL Yep. DEL I gave it to you in St. Joe. NEAL Yep. And where did you get it? DEL What's that have to do with anything? NEAL Where'd you get it? 96. DEL (ashamed) I sold your Visa card to a kid at the bus station. NEAL We're even. He exits the lobby. Del watches him go. The Clerk turns to Del. CLERK You need a room? DEL Yeah. CLERK Your credit cards burned up? DEL I don't carry credit cards. CLERK $42 and no room service or phone calls. DEL I don't have $42. CLERK You got $17 and a good watch? DEL I got two bucks and a Casio. CLERK Sorry. He turns from the counter. He puts Neal's watch to his ear and sits down. Del looks out the door.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MOTEL ROOM Neal's in bed. He exhales loudly. Fluffs his pillow. Sighs. Shifts positions. Fluffs his pillow again. Exhales again. Lays still for a moment. Then he sits up. Another sigh. He gets out of bed and walks to the window. He pulls the curtain aside and looks out. 97. HIS POV Del's sitting in the burned out Lincoln. snowflakes drift down across the parking lot. C.U. NEAL A moment of compassion. Then a moment of reason. HIS POV NEAL What did I do to get that oaf all over me? Del hunkers down in the seat and tries to get comfortable.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. ROOM Neal lets the curtain close. He walks back to the bed and get sin.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MOTEL - DEL He's sitting in the car looking at the motel room. His eyes shift up to the heavy skies. DEL Marie, honey? You were right as rain. I'm the biggest pain in the butt that ever came down the pike. I meet a guy who's company I really enjoy. And go overboard. Smother the poor soul. Cause him more problems than he has a right to. I'm starting to wonder if I'm ever going to wake up arid face the music. He breathes a deep, soulful sigh. The motel door opens. Del shifts his look to the motel. Neal•s in the doorway. NEAL You're gonna freeze to death out there.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MOTEL ROOM - LATER Del and Neal are in the bed. 98. DEL You know how few people give a shit about curtain rings? NEAL Who cares about lipstick ads? DEL At least you deal with pretty girls. You know what shower rings are? NEAL You know what lipstick is? DEL When I'm dead and buried all I'll count for is a quarter million shower curtains that haven't fallen down. That's some legacy, huh? NEAL My life's work will fade and be thrown away. Yours'll last longer than mine. DEL What do you pull down a year? NEAL I do okay? DEL You know what I claimed as income last year? NEAL That means shit. And second string player in the NFL makes more in a week than Van Gogh made in his lifetime. DEL Van Gogh Textiles up in Buffalo? NEAL The painter. DEL Oh. NEAL Money's no measurement of worth. True worth. Worth to the human race. 99. DEL I bang all around this country doing less and less each year. I talk a blue streak but when it comes right down to it, I'm running on fumes. That briefcase I said I got as a sales award? That was fifteen years ago. NEAL So? DEL I've lost half my accounts to a computer catalogue. Every year half a dozen customers retire and the business goes with them. You ever read ""Death of a Salesman?"" NEAL Sure. DEL Boy, do I know where Wily Loman was coming from. Sometimes I find myself practically quoting him. NEAL He was an older guy. You're young. DEL So what? Youth means diddly squat if you don't have anything to look to but growing old. NEAL At the very lest, at the absolute minimum, you have a woman you love to grow old with. Del doesn't reply. NEAL You love her, don't you? Your wife? DEL Love isn't a big enough word, buddy. NEAL So, there you go. Start with that. You know how guys in this world have money and nobody to spend it on? Del's silent again. 100. Neal rolls NEAL Hey, I'm sorry I popped you in the gut. DEL I deserved it. NEAL No, you didn't. DEL Sure I did. If I didn't have one foot in my mouth and the other in a bucket of shit, I wouldn't recognize myself. NEAL Well, let me just close the conversation by saying you're one unique individual. DEL Unique? That's Latin for asshole. NEAL As much trouble as I've had on this little journey, I'm sure someday, I'll look back and have a good laugh. DEL Yeah. Maybe. NEAL Goodnight. yourself. And keep your hands to DEL If I hold anything, over. NEAL You gonna have your DEL No. NEAL Quitting? DEL it'll smoke? They burned up in the car. be my own. 101. NEAL Consider quitting, willya? DEL My wife used to say that. NEAL When did she finally stop? DEL (remorseful) Fifteen years ago March. NEAL Good advice. Take it. Night. A long pause. DEL (soft and sad) Sleep tight.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. MOTEL - MORNING The snow storm's blown in and left it's white wrath. The Lincoln's filled to the brim with fresh snow.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MOTEL ROOM Neal's laying on the bed in his underwear, curled into a ball, without a pillow or a stitch of covering. Del has both · pillows and all the blankets and sheets. Neal wakes with a shiver. He sits up and looks at Del. NEAL Del? Get up. Let's roll. Neal shivers across to the bathroom and goes inside. Del stirs and emerges from the sound of blankets. He's wearing his coat, hat and gloves.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MOTEL - LATER Neal and Del are in the car. They've scooped the snow out of the front seat. The back's still piled high. Neal has the car in reverse and is gunning the engine. The car's stuck. Wheels spinning. Nothing happening. Neal lets off the gas. DEL We're stuck tighter than two dogs on their wedding night. 102. NEAL You want to get out and push? DEL Sure. Neal puts the car in park. Forget it. back. He gets out of the car. NEAL You'll screw up your DEL My back's fine. I just didn't feel like driving last night. NEAL I'll push anyway. Del slides over the springs to the driver's side. Neal goes around to the front. Del puts the Lincoln in reverse and hits the gas. Neal pushes with all his soul. Nothing. Del lets off the gas. DEL We better rock it. Get along side. Neal repositions himself on the passenger side. He grips the door handle and ~he outside mirror. Del drops the car in forward and guns it. Neal pulls on the car. Del shifts quickly to reverse and guns it, Neal pushes. They continue rocking the car back and forth. DEL She's starting to grip! A little more. Put your balls into it! NEAL I am! DEL Squeeze your ass and think of Nazis. We're moving this hunk of shit! Del throws the car in reverse, it rocks high up on the ice groove. DEL One more and we're home free! He throws the car in forward and guns it. Rocks a little more, catches, leaps forward and plows into the motel. 103. Oh, Christ! Hop in! DEL Wouldn't you know it? Neal jumps in the car, Del throws it in reverse and plows backwards, up and over the snowbank and into the lot. He dumps it in forward and they're off, leaving a hole in the motel. But no room service charges. Or phone calls.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. HIGHWAY The charred hulk roars down the highway.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAR Del's driving. Neal's shotgun. off. The heater's pumping full each other over the roar of the They're freezing their asses blast. They're shouting to wind. DEL You ever been to Hawaii? NEAL Once. DEL Nice? NEAL Yeah. DEL Marie and I were going there for our honeymoon. We were all set but I got the call from American Light and Fixture. For my job. I not only blame them for all my career misery, I blame them for depriving me and Marie of a honeymoon. NEAL You can always go. It's still there. DEL Yeah but it costs more. How you doing for time? NEAL I don't know. I gave up my watch. 104. DEL I feel bad about that. Why don't you take mine. NEAL It's okay. DEL No, really, take it. I'd feel much better. NEAL I don't want your watch. DEL Not good enough for you? NEAL No. Not at all. I just don't feel right taking your watch. Del lifts his knees again to steer as he takes his hands off the wheel to undo his watch. DEL Take it or I'll throw it out on the highway. NEAL Just watch the road. DEL You're taking the goddamn watch if I have to shove it down your throat. He's having trouble getting it off. He glances down. Then at the road. NEAL Watch the road. DEL No problem. After last ••• (looks at the watch) ••• night, I'm all eyes and ears. (looks up) Give me a hand with this damn thing. NEAL I don't want the watch. DEL You're making me feel like crap. You're taking the watch. Here ... 105. He holds out his wrist. Neal takes off a glove and starts to work on the watch. DEL There's a funny little clasp thing underneath. It's a bitch to get off. NEAL My fingers are so numb ••. DEL Here, right here. He takes his other hand off the wheel and points to the clasp.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HIGHWAY - FURTHER AHEAD A state police car is parked alongside the road with his radar gun, clocking motorists. The Lincoln hurtles past. C.U. COP He stares at the semi-destroyed vehicle with the top down, doing ninety two two guys hunched over in the seats. He bits his siren.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. CAR Neal drops Del's wrist and turns around. NEAL Shit! How fast are you going? Del looks at the speedometer. HIS POV The entire dash is melted.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAR Del's hunched-over looking at the speedometer. DEL It's hard to say, the speedometer's melted. NEAL You better pull over. 106. 1",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HIGHWAY The Lincoln rolls to a stop. The cop car pulls up behind it. The cop gets out and saunters up to the Lincoln. He looks it over carefully. COP Morning. DEL Howdy, officer. NEAL Hi. COP What're you driving here? DEL Lincoln Towncar. '86. The cop looks in the charred backseat. DEL We had a small fire last night. The cop nods. COP You know how fast you were going? DEL Like I was just telling the speedometer melted. little hard to say with of accuracy. COP my friend, It's a any degree .How about 98 miles an hour? DEL Sounds fair. Like I said, it's hard to tell. Although, come to think of it, it sure was windy. COP You consider this vehicle fit for the highway? DEL It doesn't look very pretty but it moves. 107. COP No inside mirror, no functioning gauges. DEL The radio works. COP What're you fellas up to here? NEAL We're just trying to get home for the holidays. The cop reaches into his back pocket pulls out his ticket book. COP Let me see your license. Del reaches inside his coat for his wallet. COP I can't let you fellas go on ahead in this vehicle. NEAL You can't what? COP This vehicle's not fit for the road. Del hands over his license. COP You'll follow me to the station and the vehicle will be impounded until such time as it is made fit for travel on Wisconsin state roads. DEL Do you realize it's Thanksgiving? COP I got a turkey sandwich in the car, fella. I'm well aware. You boys didn't have a little eye-opener this morning, did you? Neal's thinking. DEL Us? No. Me? I don't drink. 108. COP You in the drug business? DEL Shower curtain rings. Drugs? Excuse me. correctly? NEAL Did I hear you COP When I see a vehicle of this sort with a couple sguirrely-looking guys like you in it, I wouldn't be serving my citizenry if I didn't ask a few questions. NEAL No. Before. You saJd ""Wisconsin state highways?"" COP That's what I said. NEAL Why? COP Because you're on a Wisconsin state highway. Neal looks at Del. He's puzzled. NEAL We overshot Chicago. DEL We did? COP (suspiciously) You fellas don't know where you are? NEAL Not exactly. Can you help us out? COP You're about six miles outside of Oconomowoc.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SMALL TOWN - COURTHOUSE Del and Neal come out the front doors. Neal's limping a little. 109. DEL How do you feel? NEAL Oh, just great. DEL I've never been strip-searched. Look on the bright side. You were clean. That's probably why they didn't bother checking me. Chalk it up to experience. NEAL Why don't you shut-up, Del? DEL I'm sorry, pal. I really am. I don't know how in the hell we got so lost. I was watching those signs religiously. NEAL I knew I should have driven. DEL From now on, I won't touch a car. NEAL we don't have a car. DEL True. I don't think there's much point in trying to fix it, either. It's pretty well shot. You have insurance, right? They reach the curb where Del's trunk and suitcases are piled. NEAL That's the rental car company's problem. DEL Yeah. (pause) Maybe. Maybe not. NEAL What do you mean? DEL Since I was using your card and I felt guilty about it, I tried to save you a few bucks. 110. NEAL Don't say it, Del. For your health and safety, don't say it. DEL I waived the insurance.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COFFEE SHOP Del's holding an ice cube wrapped in a napkin to his eye. Neal shuffles over to the booth and sits down. DEL You know this is twice in less than twenty-four hours that you've slugged me. NEAL I just called my wife and you'll be happy to know she's pissed off and hung up on me. DEL Oh, no. Del lowers the ice cube to reveal a little shiner. NEAL She didn't believe a word I said. DEL I'll be happy to confirm anything you'd like with her. NEAL Dinner hits the table right after the football game. He looks at a wall clock. NEAL Right now, it's eleven fifteen. DEL Let's pray for double overtime. NEAL I have a house full of family, a wife that's ready to kill me ••. DEL Neal, I'm going to step up to this challenge. 111. NEAL Please don't. DEL No, I am. I'll have you home before the yams hit the table. He gets up from the booth. NEAL Del, I'm begging you to sit down and leave the situation alone. DEL What can happen? you don't. Isn't shot? NEAL You get home. Or it worth one last No. Things are bad enough. Leave it alone. DEL Neal, you've hit rock bottom. It doesn't get much lower than having a state trooper shine a flashlight up your can. He hurries out of the coffee shop. The handful of patrons in the coffee shop turn and look at Neal. They've all overheard Del's remark. Neal smiles meekly. PATRON So, you met Sergeant Kudner, did you? The patrons burst into laughter. Neal shrinks in his seat. PATRON He's bent as a willow branch in a hurricane. Happy Thanksgiving to you, stranger. The cafe is rocking with howls of laughter.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. STREET - LATER Neal's standing on the corner, leaning against a mailbox, enjoying his misery. He hears the GASP OF AIR BRAKES. He looks down the street. 112. HIS POV A semi rolls to a stop and Del climbs down from the passenger side. DEL Our ship has come in! C.U. NEAL A wary look. C.U. DEL He waves Neal on. DEL It's free and it's a non-stop!",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. HIGHWAY The semi rolls across the Wisconsin ~ountryside.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TRAILER Del and Neal are in the trailer surrounded by wooden crates. Neal nods. DEL . Beats walking, huh? We'll be in Chicago in three hours. (smacks one of the crates) Cheese. NEAL Yeah. DEL Smells, doesn't it? DEL I guess you wouldn't mind if I slipped off my shoes now, huh? Neal shakes his head, no. DEL Too bad it's so cold. 113. A long pause. Neal's not in the mood for a conversation. DEL Too bad we don't have a box of crackers. Neal stares at Del. He smiles.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CHICAGO The truck barrels down the expressway, heading into the city.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. DEPOT The semi backs into a loading dock.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. TRUCK - BACK DOORS A hand hits the lock and swings the doors open. Del and Neal are sitting on Del's trunk. DEL We're here!,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LOADING DOCK DRIVER I'm gonna get a cup of coffee, you jokers start unloading. He heads down the dock.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TRUCK Neal looks around slowly at Del. Del smiles. DEL Nothing•s free in this world. You're in the advertising business, you oughta know that. Right? C.U. TV SCREEN A black and white picture of a football game. Third quarter stats. 114. L -",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. WAREHOUSE OFFICE The driver and the dock worker are in the office watching the game. Del and Neal appear in the doorway. DEL We're outta here. DRIVER Done? DEL Yep. DRIVER Thanks. DEL Thank you. NEAL How much time left in the game? DRIVER Fourth quarter's just starting. Del looks at Neal with a smile. DEL You win. You can make it. Neal actually smiles.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. ELEVATED TRAIN PLATFORM Del and Neal lug the steamer trunk up the stairs. They set it down. Del reaches into his pocket and removes the last of the money. DEL I'll pop for the token. Where you headed? NEAL Wilmette. DEL I'll be right back. Del shuffles over to the ticket window. Neal tries to straighten himself up. He brushes off his coat and pats his hair down. 115.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PLATFORM Del and Neal are on the platform waiting for the trains. NEAL I can't say I had a great time but I can say that after all is said and done, you did get me home. DEL Next time we'll try to go for a little more comfort and style. NEAL I hope there isn't a next time. A train pulls into the station. DEL This is· you. Neal offers his hand to Del. Del clasps it with both hands. DEL You're a hell of a good man, Neal. I'm sorry for all the trouble I caused you. NEAL It all came out in the wash. Don't worry about it. The train pulls to a stop. The doors open. NEAL Have a nice holiday. You too. you love. 'em. DEL Give my best to everybody Hope someday I can meet Neal gives Del a bear hug and runs down the cars to an open door and disappears inside. Del waves to him.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. TRAIN Neal slides into a seat. He breathes a huge sigh of relief. NEAL What a trip •.. He reaches cross the aisle and snares a discarded newspaper off the seat. He opens it. The train jolts ahead. 116.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. WILMETTE SUBWAY STATION A neat little brick building in the sedate suburb. A taxi pulls away from the front.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. STATION The train pulls in. The doors open. Neal steps off the train and heads into the station. He's buried in his newspaper, reading as he walks.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. STATION Neal pushes open the door and walks into the station. He's stiff reading the paper. He passes the benches and Del Griffith. Del's sitting on the bench. Neal takes a few steps and stops. He lowers the paper, thinks and turns. C.U. DEL He smiles sheepishly. C.U. NEAL He's dumbfounded. C.U. DEL Clears his throat. DEL Hi. C.U. NEAL He's beyond words.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. STATION Del looks away. Neal walks over to him. NEAL Del? What are you doing here? Del looks up at him. He doesn't say anything. 117. NEAL You said you were going to Homewood. What're you doing here? DEL I don't live in Homewood. NEAL I'm not getting into this, Del. I don't know what you're up to but I'm going home. Del ·nods. He's serious·and somber. bullshit has evaporated. Neal heads to exit. Stops. A long beat and he NEAL God damn it! The old enthusiasm and to the doors. He starts kicks the door. Del jumps from the sudden noise. Neal turns to him. DEL Go ahead, Neal. I'm sorry. I shouldn't be here. NEAL You're right, Del. I don't know what the deal is with you but you ought to be home. I oughta be home. I don't understand you, I don't understand any of this. I've said goodbye to you ten times in two days. DEL I know. Go on home. I'm fine. NEAL Don't give me that shit, Del. Why don't you go home? Del looks at the floor. NEAL Huh? Del doesn't answer. NEAL What's the matter with you? Why the hell don't you go home!? Del looks up at him. 118. DEL I can't. NEAL (loud and angry) What do you mean, you can't? Why not? There's a long pause. C.U. DEL Serious, dying inside. C.U. NEAL Waits for a response. Holds his anger at bay. C.U. DEL Looks away, looks back. DEL I don't have a home. C.U. NEAL The anger fades. To be replaced by confusion. C. U. DEL Looks at Neal. Sorry he's burdened him, sorry for everything he's done. But lost and down and completely out of emotional options. DEL Marie's been dead fifteen years. C.U. NEAL Like a knife through his heart.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TRAIN STATION -LATER Del and Neal are sitting on facing benched. Del's smoking. 119. DEL. She was sick when we got married. Her bones. She just never got better. Once she was gone, I sold the place. I didn't much feel like being there. My life was empty enough as it was. The thought of rambling around the place without Marie there ••• I just closed it up, took a few things and I've been on the road since. NEAL The trunk? Del reaches in his pocket and comes up with a key. He unlocks the trunk and opens it. C.U. TRUNK The remnants of Del's domestic life. A lamp, some sheets, towels, pictures, a couple pans, fragile things wrapped in newspaper.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. STATION Neal leans back from the trunk. He closes the lid. DEL I didn't have much family. A brother in Montana, some cousins, Marie's folks died back-to-back the year after we married. They were pretty old. She was a late child. we didn't have kids. we had plans. He smiles sadly. DEL She wanted three kids. Two boys and a girl. She couldn't have any, though. So we didn't a.nd I guess it's just as well. I number about 300 motels as my home. I sort of attach myself to people from time to time. Like with you. Especially around the holidays. I can take it in March, July, October. I don't mind it. But it gets hard about this time of year. I've never had much of a chance to be a family man but it gets really hard. And you know what it is? 120. Neal shakes his head. He's about to cry. DEL I don't get to give any of myself to anybody. It's not the getting I miss, it's the giving. I sat on that plane with you and I thought about you heading home to be with your people. And Tuesday night when you were in the shower and I looked at the picture of your kids, man, I thought you gotta be the luckiest man on Earth to go home and put those little guys on your knee and hug •em and kiss 'em. I'm thirty­ nine years old and I never had that and ..• I never will. I'm sorry about all this. I just kinds lost control this time. Every year since Marie's been gone, I've gotten closer and closer to losing it. Usually, I head for a church. I can feel like I'm part of something when I'm in a church. This time •.• I guess I didn't get to the church fast enough. I just couldn't let go. He looks at his watch. DEL I vowed I'd never burden anybody with this. And I broke my vow, held you away from your family. Caused you a hell of a lot of trouble. You better run. Neal stares at the floor, devastated by Del's story. DEL I •.m gonna head back downtown. He stands up. I know the firm you work for. I read your business card. I've kept a sort of tab on what I owe you and I'll get it all back to you. And I just want to say, in fifteen years on the road, I never met a nicer guy than you. He bends over and slaps the lock on the trunk. DEL And that comes straight from my heart. God bless you, buddy. A few more like you and the planet'd be in good shape. 121. He lifts one end of the trunk and picks up his suitcase and sample case. DEL When I give my thanks, it's gonna be for meeting you. He starts to drag the trunk back to the platform. Neal looks up. Looks at Del. NEAL Same here. Del stops. He looks back at Neal. Gives him a wink and continues across the station.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. RESIDENTIAL STREET -HOUSE It's dark, cars are parked up and down both sides of the street. Lights are burning in a big, old two-story colonial.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOUSE -FAMILY ROOM The football game's just ended. Neal's father-in-law, MARTIN, and his father, HAROLD, are in the family room watching the TV. A two-year-old girl, MARTI, is on, the floor combing her My Little Pony's hair. A five-year-old boy, LITTLE NEAL, is sharing a chair with Martin. MARTIN I'm telling you, the Lion's never fail to disappo",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int. HAROLD They won, for God's sake. MARTIN It was a squeaker, Hal. If they win it's always a squeaker. LITTLE NEAL What's a squeaker? MARTIN You just watched one. LITTLE NEAL I did? And I didn't know it? 122.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. KITCHEN Neal's wife, SUE, is finishing a relish tray. Her mother, JOY, is stirring gravy. And her mother-in-law, PEG, is whipping mashed potatoes with an egg-beater. SUE For all I know, Neal could be splattered all over some highway somewhere. Peg shuts off the beater. It's her son. PEG Are you just trying to upset me? JOY Of course not. (to Sue) Last time he called he said what? SUE He said he and this Del Griffith person were in Oconomowoc, Wisconsin ••• PEG Martin and I have friends in Oconomowoc, the Kudners. Their boy's a state trooper. SUE I think he's full of crap. He said the rental car burned up. He said he got robbed. He and this Del Griffith. JOY Who's Del Griffith? SUE Some guy he met at the airport in New York. Sue stops her work. PEG The airport was closed, honey. don't know how you expect him in when the airport's closed. SUE I to get He was with Jerry Lane in New York. I called Jean Lane this morning. (MORE) 123. She said morning. and he's couldn't SUE (Cont'd) Jerry left New York Tuesday A day later than Neal, home, so don't tell me he get home! She undoes her apron and throws it down on the table. She storms out of the room. JOY Oh, boy. PEG Neal wouldn't lie to her. (pause) Would he?",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HOUSE - FOYER Little Neal's crossing the foyer heading for the dining room. Sue stomps in from the living room and heads up the stairs. LITTLE NEAL When are we going to eat? SUE Never! LITTLE NEAL Never? Never again? The grandfathers come into the foyer from the living room. Joy and Peg come in from the dining room. SETH stumbles up to Harold and grabs his pant leg. Marti peeks through the grandpas. MARTIN What's the fuss? JOY Sue's a little upset. HAROLD What's the problem? MARTI Because Daddy's not here. JOY I'll go have a word with her. Why don't you all go sit down. Joy starts for the stairs. The doorbell rings. 124. MARTIN Who the heck's calling at this hour on Thanksgiving? Marti bursts through the grandpas and charges to the door. She grabs the knob with both hands and pulls it open. HER POV MARTI DADDY! Neal and Del Griffith are standing at the door holding the trunk.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FOYER NEAL Hi, sweetie! Peg leans up the stairs ·and calls to Sue.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FOYER PEG SUSAN! NEAL'S HOME! Neal and Del lug the trunk into the house and set it down. Neal closes the door. NEAL Did I miss the turkey? LITTLE NEAL We're never eating again. NEAL What? MARTIN What the hell happened to you fellas? NEAL Dad this is Del Griffith. (to Del) This is my Dad, Martin Page. Del shakes Martin's hand. Neal introduces everybody to Del. Del shakes hands all around. 125. NEAL My mother, Peg, father-in-law, Harold, mother-in-law, Joy. This little guy's Neal, Jr., this is my little gem, Marti, and ••• He picks up Seth. NEAL This is my baby boy, Seth. He kisses Seth. NEAL (to Seth) Can you say, hi?",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOUSE - TOP OF THE STAIRS Susan's at the top of the stairs, looking down. Her eyes are darkened with mascara moistened by her tears. She sniffles and composes herself.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. FOYER - NEAL He looks past Seth to the stairs and sees Susan. He smiles from rim to rim. NEAL Honey? I'd like you to meet a friend of mine. Del looks up the stairs. He pushes his·mussed hair back and smiles humbly. C.U. SUSAN She smiles.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FOYER SUE Hello, Mr. Griffith. Neal gives Seth to Del and charges up the stairs. Susan tuns down and they embrace mid-way. Neal kisses her like never before. 126.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DINING ROOM - LATER The family is table, a huge of the table. Neal's right. seated at the table. Del's at the head of the tom turkey before him. Neal's at the other end Kids and grandparents on either side. Susan to Del and Neal have showered, shaved and changed. DEL It's been a long time since I sat behind a turkey like this. SUE It might be a little done. DEL I want to thank you all for letting me be a part of your holiday. You'll never know how much it means to me. I've always had alot of things to be thankful for. But never more than right now. NEAL Same ·here, pal. SUE Marti? Do you want to say something? Marti looks at her for a moment. Susan nods to her, to help her remember what she has to say. MARTI Oh, yeah. (thinks) Heap high the board with ..• What? SUE Plentious cheer. MARTI With plentious cheer. And gather to the ..• what? SUE Feast. MARTI Feast. And •.• She thinks as hard as she can. DEL Toast the sturdy Pilgrim band ..• 127. MARTI Toast the sturdy Pilgrim band ... MARTI AND DEL ••• whose courage never ceased. Everybody joins in.",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FOYER ALL Give praise to that Almighty Gracious One ..• We hold on the trunk sitting in the middle of the room as the voices spill out from the dining room. ALL ... by whom their steps were led, And thank unto the harvest's Lord who sends our daily bread. LITTLE NEAL Amen. DEL Amen. FADE DOWN. END TITLE. THE END 128.",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MILES'S APARTMENT COMPLEX - DAY SUPERIMPOSE -- SAN DIEGO, CALIFORNIA Wearing only underwear, a bathrobe and clogs, MILES RAYMOND comes out of his unit and heads toward the street. He passes some SIX MEXICANS waiting to work. He climbs into his twelve -year-old CONVERTIBLE SAAB, parked far from the curb and blocking part of the driveway. The car starts fitfully. As he pulls away, the guys begin backing up the truck.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. STREET - DAY Miles rounds the corner and finds a new parking spot.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAR - CONTINUOUS He cuts the engine, exhales a long breath and brings his hands to his head in a gesture of headache pain or just anguish. He leans ba ck in his seat, closes his eyes, and soon NODS OFF.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MILES'S APARTMENT - DAY The door bursts open. Miles runs into the kitchen, looking just past camera. MILES Fuck! WHIP PAN TO -- THE MICROWAVE CLOCK that reads 10:50. ON THE PHONE -- Miles hurriedly throws clothes into a suitcase. MILES Yeah, no, I know I said I'd be there by noon, but there's been all this work going on at my building, and it's like a total nightmare, and I had a bunch of stuff to deal with this morning. But I'm on my way. I'm out the door right this second. It's going to be great. Yeah. Bye.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MILES'S BATHROOM - DAY ON THE TOILET -- Miles has a BOOK propped open on his knees. He turns a page, lost in his reading. LATER -- Miles SHOWERS. IN THE MIRROR -- Miles FLOSSES.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COFFEE HOUSE - DAY Miles finally makes it to the front of the line. BARISTA Hey, Miles. MILES Hey, Simon. Triple espresso, please. BARISTA Rough night, huh? (ringing it up) For here? MILES No, I'm running late. Make it to go. And give me a New York Times and... (scanning the display case) ...a spinach croissant.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. 5 FREEWAY ENTRANCE RAMP - DAY Miles's Saab chugs up the ramp and merges. INSERT - NEW YORK TIMES CROSSWORD PUZZLE -- -- pressed against the STEERING WHEEL. The puzzle is about 1/3 finished.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. 5 FREEWAY - DAY As though from an adjacent car, we see Miles driving while carefully filling in an answer.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. SAAB - DAY THROUGH THE WINDSHIELD -- A SIGN reads: RANCHO PALOS VERDES PALOS VERDES ESTATES 1/4 MILE PAN TO MILES as he signals to change lanes. The finished puzzle lies on the passenger seat.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. PALOS VERDES STREET - DAY The houses on this block are blandly palatial as in so many affluent Southern California suburbs. Miles's car pull into the driveway behind an older BMW and two LEXI. He gets out and trots toward the front door.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ERGANIAN HOUSE - DAY A GIANT PROJECTION TV -- In a large split -level living room displays a GOLF TOURNAMENT. WIDE -- Watching from the ultra -comfortable furniture are MIKE ERGANIAN, a tanned, silver -haired real e state caudillo; bride - to-be CHRISTINE ERGANIAN, his oldest daughter; and JACK LOPATE, wearing bowling shirt, shorts and flip -flops. MRS. ERGANIAN, a warm and elegant housewife, shows Miles into the room. MRS. ERGANIAN Look what the cat dragged! MILES Hi, everybody. Mr. Erganian and Jack get to their feet and shake hands with Miles. Jack remains affable, but we can discern his genuine irritation. JACK About time you got here, bud. Mr. Prompt. MR. ERGANIAN We were thinking maybe you took the wrong way and went to Tijuana and they didn't let you back in. The Erganians laugh. Miles works up a smile too. MILES I had to bribe them. More lame laughter. CHRISTINE Hey, Miles. MILES (leaning in to kiss Christine) Seriously though, the freeway was unbelievable today. Unbelievable. Bumper to bumper the whole way. People getting an early start on the weekend, I guess. Granted I got a late start, but still. Although Mr. Erganian presses MUTE on the remote, he keeps watching for an extended moment, as do Jack and Miles. MRS. ERGANIAN Christine, why don't you ask Miles about the cake? CHRISTINE Oh, good idea. Here, Miles, come to the kitchen with me. JACK Don't bother him with that. We got to get going. CHRISTINE (taking Miles's hand) It'll just take a second.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ERGANIAN KITC HEN - DAY Jack and the Erganians surround Miles as he eats from a plate with two pieces of CAKE -- one white, one dark. MRS. ERGANIAN Jack tells us you are publi shing a book. Congratulations. MR. ERGANIAN Yes, congratulations. Miles shoots Jack a look. Mr. Erganian gets some ice cubes from the refrigerator door. MILES Yeah, well, it's not exactly finalized yet, but, um, there has been some interest and -- MRS. ERGANIAN (to Jack) Your friend is modest. JACK Yeah, Miles, don't be so modest. Indulge them. Don't make me out to be a liar. MR. ERGANIAN What subject is your book? Non - fiction? MILES No, it's a novel. Fiction. Although there's a lot from my own life, so I guess technically some of it is non - fiction. MR. ERGANIAN Good, I like non -fiction. There is so much to know about the world that I think reading a story someone just invented is kind of a waste of time. CHRISTINE So which one do you like better? MILES I like them both, but if pressed I'd have to say I prefer the dark. JACK (to Christine) See?",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SAAB - CONTINUOUS IN A REAR VIEW MIRROR -- The Erganians wave good -bye. INSIDE THE CAR -- Miles accelerates as he and Jack wave back. JACK Where the fuck were you, man? I was dying in there. We were supposed to be a hundred miles away by now. MILES I can't help the traffic. JACK Come on. You're fucking hungover. MILES Okay, there was a tasting last night. But I wanted to get us some stuff for the ride up. Check out t he box. Jack turns around, and starts rooting around in a CARDBOARD WINE BOX. MILES Why did you tell them my book was being published? JACK You said you had it all lined up. MILES No, I didn't. What I said was that my agent had heard there was some interest at Conundrum... JACK Yeah, Conundrum. MILES ...and that one o f the editors was passing it up to a senior editor. She was supposed to hear something this week, but now it's next week, and... It's always like this. It's always a fucking waiting game. I've been through it too many times already. JACK I don't know. Senior editor? Sounds like you're in to me. MILES It's a long shot, all right? And Conundrum is just a small specialty press anywa y. I'm not getting my hopes up. I've stopped caring. That's it. I've stopped caring. Jack sits back in his seat holding up a bottle of CHAMPAGNE and TWO GLASSES. JACK But I know it's going to happen this time. I can feel it. This is the one. I'm proud of you, man. You're the smartest gu y I know. Jack now begins to remove the foil from the champagne bottle. MILES Don't open that now. It's warm. JACK Come on, we're celebrating. I say we pop it. MILES That's a 1992 Byron. It's really rare. Don't open it now. I've been saving it! Jack untwists the wire. Instantly the cork pops off, and a fountain of champagne erupts. MILES For Christ's Sake, Jack! You just wasted like half of it! Jack begins pouring two glasses. JACK Shut up. (handing Miles a glass) Here's to a great week. MILES (coming around) Yes. Absolutely. Despite your crass behavior, I'm really glad we're finally getting this time together. JACK Yeah. MILES You know how long I've been begging to take you on the wine tour. I was beginning to think it was never going to happen. They clink and drink. JACK Oh, that's tasty. MILES 100% Pinot Noir. Single vineyard. They don't even make it anymore. JACK Pinot Noir? How come it's white? Doesn't noir mean dark? MILES Jesus. Don't ask questions like that up in the wine country. They'll think you're a m oron. JACK Just tell me. MILES Color in the red wines comes from the skins. This juice is free run, so there's no skin contact in the fermentation, ergo no color. JACK (not really listening) Sure is tasty.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. FREEWAY - DAY The Saab heads north.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SAAB - DAY The boys continue to drink and drive. MILES Did you read the latest draft, by the way? JACK Oh, yeah. Yeah. MILES And? JACK I liked it a lot. A lot of improvements. It just seemed overall, I don't know, tighter, more... congealed or something. MILES How about the new ending? Did you like that? JACK Oh yeah. Much better. MILES There is no n ew ending. Page 750 on is exactly the same. JACK Well, then I guess it must have felt new because everything leading up to it was so different.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GAS STATION #1 - DAY Miles is pumping gas. Jack is stretching his legs nearby or perhaps cleaning the windshield. A CELLPHONE RINGS. Jack reaches into his poc ket. JACK (looking at the phone) It's Christine. (snapping it open) Hey you. CHRISTINE (ON PHONE) You guys having fun? Christine's voice is so loud that Jack has to hold the phone away from his ear. JACK Yeah. All twenty minutes so far have been a blast. CHRISTINE (ON THE PHONE) Good. That's good. A silence, then -- JACK So what's up? CHRISTINE (ON THE PHONE) Just seeing how you're doing. And, um, Mom and I were starting to look over the seating charts again, and we're wondering if you wanted Tony Levin to sit next to the Feldmans, or should he be at one of the singles tables? Jack looks at Miles in a mute appeal for sympathy. CHRISTINE (ON THE PHONE) So what do you think? With the Feldmans? Jack hasn't even rea lly heard the question. JACK Yeah. The Feldmans. As the conversation continues, Miles replaces the GAS PUMP, screws the GAS CAP back on, and together the guys get back into the car. We DRIVE AWAY WITH THEM. CHRISTINE (ON THE PHONE) Really? Because I don't know, I was thinking that -- JACK Well, then put him at the singles table. CHRISTINE (ON THE PHONE) The prob lem with that is that then there's one extra -- JACK Then put him with the Feldmans. Whatever you and your Mom decide is fine with me. CHRISTINE (ON THE PHONE) Don't dismiss me. I'm trying to include you in this decision. He's your friend. JACK I didn't dismiss you. I told you what I thought, but it didn't seem to matter, so you decide. Besides, this is supposed to be my time with Miles. I hope you're not going to call every five minutes. CHRISTINE (ON THE PHONE) I'm not going to call every five minutes, but this is important. JACK Honey, I'm just saying you know I need a little space before the wedding. Isn't that the point of this? Isn't that what we talked about with Dr. Gertler? A silence. Then -- CHRISTINE (ON THE PHONE) Why are you being so defensive? JACK I don't know, Christine. Perhaps it's because I feel attacked. CHRISTINE (ON THE PHON E) I ask you one simple question, and suddenly I'm attacking you. JACK Listen. I'll call you when we get there, and we can talk about it then, okay? CHRISTINE (ON THE PHONE) Bye. JACK I love you. CHRISTINE (ON THE PHONE) Bye. Jack SLAMS his cellphone shut, momentarily blinded with rage. MILES Tony Levin? Why did you fucki ng invite Tony Levin?",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. 405 FREEWAY - LATE AFTERNOON The Saab heads north -- now passing through LOS ANGELES.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SAAB - LATE AFTERNOON Miles signals and beg ins to head for an EXIT. JACK Whoa, why are we getting off? MILES I've just got to make one quick stop. Won't take a second. JACK What? MILES I thought we could just say a quick hello to my mother. JACK Your mother? Jesus, Miles, we were supposed to be up there hours ago. MILES It's her birthday tomorrow. And I don't feel right driving by her house and not stopping in, okay? It'll just take a second. She's right off the freeway.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. 101 FREE WAY - LATE AFTERNOON The Saab takes an EXIT. JACK (O.S.) How old's she going to be? MILES (O.S.) Um... seventy... something. JACK (O.S.) That's a good age. OMIT. OMIT.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CONDO COMMUNITY STREET - DUSK The Saab rounds a corn er and parks in front of a modest CONDO. SUPERIMPOSE: OXNARD, CALIFORNIA",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MILES'S MOTHER'S CONDO - DUSK Approaching the front door, Miles pulls a BOUQUET OF FLOWERS out of a plastic grocery store bag. Jack carries a bottle of CHAMPAGNE. Miles pulls a BIRTHDAY CARD out of the bag too. MILES Wait a second. He pulls a PEN from his pocket and signs it. As he licks the envelope, Jack rings the bell. Moments later PHYLLIS comes to the door. She is a matronly older woman in a nightgown and housecoat. MILES AND JACK Surprise! Happy Birthday! The boys offer up the flowers and champagne. Phyllis slurs slightly as she speaks -- she's been doing some celebrating of her own. PHYLLIS My God. Miles. And Jack! What a surprise. I can't remember the last time you brought me flowers. They hug. JACK They're from both of us. PHYLLIS A famous actor bringing me flowers on my birthday. Don 't I feel special? MILES A famous actor who's getting married next week. PHYLLIS Oh, that's right. Isn't that nice? I hope that girls knows how lucky she is, marrying no less than Derek Summersby. The boys follow her inside.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MILES'S MOTHER'S CONDO - CONTINUOUS JACK Jeez, Mrs. Raymond, that was eleven years ago. PHYLLIS Well, you were wonderful on that show. I never understood why they had to give you that brain tumor so soon. Why that didn't make you the biggest movie star in the world is a sin. It's a sin. JACK Yeah, well, you should be my agent. PHYLLIS If I was, I would sing your praises up and down the street until they put me in the loony bin. Now Miles, why didn't you tell me you were coming and bringing this handsome man? Look how I'm dressed. I've got to run and put my face on. JACK You look fabulous, Mrs. Raymond. PHYLLIS (over her shoulder) Oh, stop it. Make yourselves comfortable. (now around the corner) You boys hungry? MILES Yeah, I'm hungry. Jack gives Miles a look. MILES (low) Just a snack . Calm down. Miles leads Jack into this small condo. The TV is on, and it's MESSY. Amid the newspapers and junk mail and dishes, an AB-ROLLER and an ancient SCHWINN EXER -CYCLE sit forgotten in a corner.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MILES'S MOTHER'S KITCHEN - NIGHT Miles finishes twisting ice trays into a MOP BUCKET as it fills with water in the sink. He puts the champagne in and carries it into the --,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MILES'S MOTHER'S LIVING ROOM - CONTINUOUS He takes a seat on the sofa next to Jack, who is watching WHO WANTS TO BE A MILLIONAIRE? MILES Let me show you something. The secret to opening champagne is that once the cork is released, you keep pressure on it so you don't -- JACK (concentrated on the TV) Just a second. Guy's going for $2500. Miles finishes opening the bottle with an elegant silence. PHYLLIS (O.S.) Ready for my close up! The boys turn to see Phyllis now dolled up in thick make -up and a PANTSUIT. Her eyebrows are painted and cock -eyed. Overall she looks much worse than before. PHYLLIS Oh, champagne! Miles, why don't you bring that out onto the lanai? I thought we could eat o n the lanai.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MILES'S MOTHER'S LANAI - NIGHT Miles and Jack are seated in webbed chairs around a circular glass table. They are mid -meal. Everyone is more than a little lubricated, especia lly the birthday girl as she returns from the kitchen with another plate of food. JACK Mrs. Raymond, this is delicious. Absolutely deli cious. PHYLLIS (sitting) They're just leftovers. JACK Is it chicken? PHYLLIS I could have made something fancier if a certain someone had let me know that a certain someone was coming for a visit with a certain spec ial friend. Could have made a pork roast. MILES It was a surprise, Mom. PHYLLIS And I could have already put clean sheets on the other bed and the fold - out. You are staying. Wendy, Ron and the twins are picking us up at 11:30 to go to brunch at the Sherato n. They do a magnificent job there. Wendy is so excited you're coming. Silence. Jack freezes, his fork halfway to his mouth. MILES You talked to Wendy? PHYLLIS Just now. She's thrilled. And the kids. MILES (trying to be chipper) Yeah, well. You know, Jack's pretty eager to get up to... you know, but, uh, yeah. We'll see how it goes. PHYLLIS Well, you boys do what you want. I just think it would be nice for us to be together as a family on my birthday. MILES Uh-huh. (wiping his mouth) I'll be right back. He gets up and heads into the house.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MILES'S APARTMENT HALLWAY - NIGHT Miles heads toward...,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MILES'S APARTMENT BEDROOM - NIGHT ...and goes directly to her dresser, opening a drawer filled with bras, panties and stockings. He burrows through his mother's lingerie until locating a CAN OF RAID. A can of Raid? He twists open the bottom and pulls it apart, revealing it to be a SECRET STASH for valuables disguised as a common household product. Inside are stacks of ONE -HUNDRED DOLLAR BILLS. MILES (quickly peeling some off) ...six, seven, ei ght,... (one more for good luck) Nine. His task complete, he closes the drawer, and as he stuffs the bills in his pocket, his glance falls upon FRAMED PHOTOS atop the dresser -- -- A proud NINE -YEAR-OLD MILES poses in front of his childhood San Diego home, showing off a WAGON filled with freshly harvested lettuce. On the wagon i s a hand -lettered sign -- ""10 cents a bunch."" -- A Sears portrait shows the RAYMOND FAMILY: a much younger Phyllis, her husband, and their two children -- a 12-year- old Miles and seven -year-old Wendy. -- Miles at his wedding. He and his bride VICTORIA look young and attractive, their faces radiant and hopeful.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MILES'S APARTMENT BATHROOM - NIGHT Miles enters, flushes the toilet and leaves.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MILES'S MOTHER'S LANAI - NIGHT As Miles slides open the door and takes his seat again, Jack is pouring Phyllis another glass. PHYLLIS And what was that other one you did, the one where you're the jogger? JACK Oh, that was for, uh, wait... That was for Spray and Wash. PHYLLIS Spray and Wash. That's the one. JACK Yeah, I remember the girl who was in it with me. She was something. PHYLLIS I just remember you jogging. So when's the wedding? MILES (irritated) This Saturday, Mom, remember? We told you. JACK And Miles is my best man, Mrs. Raymond. My main man. PHYLLIS (another drink of wine) Miles, when are you going to get married again? MILES I just got divorced. Phyllis. JACK Two years ago, buddy. PHYLLIS You should get ba ck together with Victoria. She was good for you. Embarrassed for his friend, Jack just stares at his food. PHYLLIS She was good for you. (turning to Jack) And so beautiful and intelligent. You knew her, right? JACK Oh, yeah. Real well. Still do. PHYLLIS I'm worried about you, Miles. Do you need some money? MILES I'm fine. Miles takes another drink o f wine. CUT TO BLACK: UNDER BLACK, a CARD -- SUNDAY MILES (O.S.) Jack. Jack.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MILES'S APARTMENT BEDROOM - DAY Jack finally awakens with a start and finds Miles standing above him, shaking him. WIDE -- As Jack gets up, we see he has crashed on Phyllis's bed adorned with all her decorative PILLOWS.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MILES'S MOTHER'S LIVING ROOM - DAY Still in her pantsuit and smeared makeup, Phyllis lies sprawled and snoring on the sofa. On the TV, ostensibly never turned off the night before, is an inane CARTOON. As Miles opens the front door, he spots Jack heading toward the TV to turn it off. Miles waves h im off. MILES (a loud whisper) She'll wake up. As they leave and Miles closes the front door quietly behind him, we PAN to the flow ers still wrapped and forgotten on a side table.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROADSIDE IHOP - DAY TWO PLATES OF FOOD float in front of two breasts tucked inside a zippered uniform. WIDER -- Disheveled and unshaven, Jack and Miles are served breakfast by a young, innocently sexy WAITRESS. Jack leers after her. JACK Fuck, man. Too early in the morning for that, you know what I mean? MILES She's a kid, Jack. I don't even look at that stuff anymore. JACK That's your problem, Miles. MILES As if she'd even be attracted to guys like us in the first place. JACK Speak for yourself. I get chicks looking at me all the time. All ages. MILES It's not worth it. You pay too big a price. It' s never free. They eat in silence a moment. JACK You need to get laid. Miles shrugs off the comment. JACK It'd be the best thing for you. You know what? I'm going to get you laid this week. That's going to be my best man gift to you. I'm not going to give you a pen knife or a gift certificate or any of that other horseshit. MILES I'd rather have a knife. JACK No. No. You've been officially depressed for like two years now, and you were always a negative guy anyway, even in college. Now it's worse -- you're wasting away. Teaching English to fucking eighth -graders when they should be reading what you wrote. Your books. MILES I'm working on it. Miles concentrates on his eggs and hash browns JACK You still seeing that shrink? MILES I went on Monday. But I spent most of the time helping him with his computer. JACK Well, I say fuck therapy an d what's that stuff you take, Xanax? MILES And Lexapro, yes. JACK Well, I say fuck that. You need to get your joint worked on, that's what you need. MILES Jack. This week is not about me. It's about you. I'm going to sh ow you a good time. We're going to drink a lot of good wine, play some golf, eat some great food, enjoy the scenery and send you off in style. JACK And get your bone smooched. Jack spots the waitress coming out of the kitchen and motions for more coffee. She nods and smiles, indicating she'll be right over. Jack returns the smile and holds up a hand to signal he'll wait. Jack turns back to see Miles watching him. JACK What?",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CENTRAL C OAST - DAY In a series of shots, the Saab -- now with its TOP DOWN -- makes its way onto the 101 and travels past landmarks that those familiar with the Santa Barbara area might recognize. MUSIC accompanies this sequence that anchors us into the rhythm of a road trip.",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SAAB - DAY The car now descends the Santa Ynez Mountains and heads toward Buellton. Miles and Jack must SH OUT to be heard in the open car. MILES You know what? Let's take the Santa Rosa turnoff and hit Sanford first. JACK Whatever's closest, man. I need a glass. MILES These guys make top -notch Pinot and Chardonnay. One of the best producers in Santa Barbara county. (looking out the window) Look how beautiful this view is. What a day! JACK I thought you hated Chardonnay. MILES I like all varietals. I just don't generally like the way they manipulate Chardonnay in California -- too much oak and secondary malolactic fermentation.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. SANTA ROSA TURN -OFF - DAY The Saab passes over the 101 and turns onto SANTA ROSA road.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SAAB - DAY The boys now pass vineyards of immaculate grapevines. MILES Jesus, what a day! Isn't it gorgeous? And the ocean's just right over that ridge. See, the reason this region's great for Pinot is that the cold air off the Pacific flows in at night through these transverse val leys and cools down the berries. Pinot's a very thin -skinned grape and doesn't like heat or humidity. Jack looks at Miles, admiring his friend's vast learning and articulateness. The Saab now pulls of the road and makes its way down a long gravel DRIVEWAY. JACK Hey, Miles. I really hope your novel sells. MILES Thanks, Jack. So do I. (noticing) Here we are.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SANFORD TASTING ROOM - DAY Miles brings the car to a stop in the parking lot. As they get out and walk -- MILES So what'd you guys finally decide on for the menu? JACK I told you. Filet and salmon. MILES Yeah, but how are they making the salmon? Poached with a yogurt -dill sauce? Teriyaki? Curry? JACK I don't know. Salmon. Don't you always have white wine with fish? MILES Oh, Jesus. Look, at some point we have to find out because it's going to make a big difference. JACK (taking out his phone) Let me call Christine. MILES Doesn't have to be now. Let's go taste. JACK I owe her a call anyway. Miles must curb his eagerness to go inside the tasting room as Jack SPEED DIALS. JACK Hey, honey. So we're up here abo ut to taste some whites, and we need to know how the caterers are going to make the salmon. Jack listens, then grows suddenly impatient. JACK No, I know, I didn't forget, but we wound up at Miles's mom's house, and it got really late, and it was hard to call, so I'm calling yo u now. I said I was sorry. Yes, I did. (to Miles) You heard me say I was sorry, right? Miles just shrugs. JACK Miles heard me say I was sorry. As Jack gets more and more involved with the phone call, he wanders off across the parking lot, progressively out of earshot. JACK Give me a break, will you? I just called to find out about the salmon -- for our wedding -- to be more involved, like you said -- and all you want to do is get into it about last night and, okay, I'm sorry. I'm sorry I didn't call. You're totally right. I know, but I'm trying to make this the best wedding I can with the best wine we can find. Don't I get any credit for that? Okay. Look, I've got to go. I'm out here in the parking lot, and Miles is waiting for me... And so it goes, Jack's voice rising and falling. Miles decides to head inside.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SANFORD TASTING ROOM - DAY Miles is at the bar, TWO GLASSES in front of him. Jack walks in and bellies up next to him. JACK (proudly) Baked with a butter -lime glaze. MILES Now we're talking. CHRIS BURROUGHS, a POURER in a cowboy hat and ponytail, comes over. CHRIS This is the condemned man? MILES Here he is. Jack, Chris. Chris, Jack. Chris and Jack shake hands. JACK How you doing? CHRIS You guys want to start with the Vin Gris? JACK Sounds good. TWO GLASSES are filled with small amounts of PINOT NOIR VIN GRIS. JACK This is rose, right? MILES Good, yeah, it i s a rose. Only this one is rather atypically made from 100% Pinot Noir. JACK Pinot noir? Not again! (joking, to Chris) You know, not all Pinots are noir. They laugh. Miles swirls his glass in tight circles on the bar, then lifts it to smell. Jack clumsily imitates Miles, perhaps even spilling some wine in the process. MILES Let me show you. We see details of what Miles now describes. MILES First take your glass and examine the wine against the light. You're looking at color and clarity. JACK What color is it supposed to be? MILES Depends on the varietal. Just get a sense of it. Thick? Thin? Watery? Syrupy? Inky? Amber, whatever... JACK Huh. MILES Now tip it. What you're doing here is checking for color density as it thins toward the rim. Tell s you how old it is, among other things, usually more important with reds. This is a very young wine, so it's going to retain its color pretty solidly. Now stick your nose in it. Jack waves the glass under his nose as if it were a perfume bottle. MILES Don't be shy. Get your nose in there. Jack now buries his nose in the glass. MILES What do you smell? JACK I don't know. Wine? Fermented grapes? Miles smells. MILES There's not much there yet, but you can still find... (more sniffs) ...a little citrus... maybe some strawberry... passion fruit... and there's even a hint of like asparagus... or like a nutty Edam cheese. Jack smells again and begins to brighten. JACK Huh. Maybe a little strawberry. Yeah, strawberry. I'm not so sure about the cheese. MILES Now set your glass down and get some air into it. Miles expertly swirls the wine. Jack follows suit. MILES Oxygenating it opens it up, unlocks the aroma and the flavors. Very important. Now we smell again. They do so. Jack smiles. MILES That's what you do with every one. JACK When do we get to drink it? MILES Now. Jack gulps his wine down in one shot. Miles chews his before swallowing. JACK How would you rate this one? MILES Usually they start you on the wines with learning disabilities, but this one's pretty damn good. (to Chris) This is the new one, right, Chri s? CHRIS Released it about two months ago. MILES Nice job. CHRIS We like it. JACK (to Miles) You know, you could work in a wine store. MILES Yeah, that would be a good move. Now Miles notices something about Jack. MILES Are you chewing gum? JACK Want some?",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SOLVANG, CALIFORNIA - DAY The Saab passes through this Danish -themed tourist town. SUPERIMPOSE -- SOLVANG",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BUELLTON, CALIFORNIA - DAY The Saab makes its way into this very average -looking Central coast town right off the freeway. SUPERIMPOSE -- BUELLTON",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. WINDMILL INN - DAY The Saab pulls into the parking lot of this motel. And look -- there's the WINDMILL itself, its decorative blades motionless.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MOTEL ROOM - DAY Miles and Jack enter the room and throw their suitcases onto their respective beds. LATER -- The sounds of a SHOWER and OFF -KEY SINGING come from the bathroom while Miles sits impatiently on t he bed. He pounds on the wall. MILES Hey Jack, hurry up! JACK (O.S.) Just a minute! Opening the be dside drawer, Miles finds a GIDEON'S BIBLE and tosses it in the trash -- apparently his hotel routine.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HIGHWAY 246 - DUSK Freshly showered and dressed for dinner, Miles and Jack amble along the shoulder of this busy local two -lane highway. They pass a mall and a car dealership. JACK I thought you said it was close. Now I'm all pitted ou t. MILES It's not even a mile. JACK We should have driven. MILES Not with the wine list these people have. We don't want to hold back. JACK You think I'm making a mistake marrying Christine? MILES Whoa. JACK Come on, do you think I'm doing the right thing? Tell the truth. You've been through it. MILES Well, you waited for good reason, and you proposed to Christine for some good reason. So I think it's great. It's time. You've got to have your eyes open, that's all. I mean, look at me. I thought Victoria and I were set for life. JACK Christine's dad -- he's been talking about bringing me into his property business. Showing me the ropes. And that's something, considering how long it took him to get over I'm not Armenian. So I'm thinking about it. But I don't know, might get a little incestuous. But Mike does pretty well. A lot of high -end commercial stuff. MILES So you're going to stop acting? JACK No way. This would just provide some stability is what I'm saying. I can always squeeze in an audition or a commercial here and there, you know, keep myself in the game in case something big comes along. MILES Uh-huh. JACK We're not getting any younger, right? And my career, well, it's gotten pretty, you know, frustrating. Even with my new manager. Maybe it's time to settle down. MILES If that's what feels right. JACK (convincing himself) It does. Feels right. MILES Then it's a good thing. JACK (nodding, feeling better) Yeah. It's good. Feels good. Miles leads them a way from the road and across a parking lot. The camera PANS to reveal -- THE HITCHING POST, a local institution.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HITCHING POST BAR - DUSK Miles and Jack belly up. GARY, the Samoan bartend er, spots Miles and extends a welcoming hand. GARY Hey, Miles. Long time no see. MILES Gary. GARY When's that novel of yours coming out? We all want to read it. MILES Soon, soon. Say, this is my buddy Jack. He's getting married next week. GARY (shaking Jack's hand) My condolences. MILES What are you pouring tonight? GARY Lot of good stuff. (looking at a row of bottles) Got the new Bien Nacido. Want a taste? MILES Absolutement. (to Jack) They have their own label that's just outstanding. Gary pours Jack and Miles a generous sample and the two men swirl, sniff and taste. Jack is beginning to get the hang of things. GARY What do you think? MILES Tight as a nun's asshole but qood concentration. Nice fruit. JACK Yeah. Tight. MILES (to Gary) Pour us a couple. Gary fills their glasses and corks the bottle. Jack raises his glass to toast. JACK Here's to my last week of freedom. MILES It's going to be great. Here's to us. They clink their glasses and take a drink. We linger on them as Miles retreats inward and a restless Jack scans the room.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HITCHING POST DINING ROOM - NIGHT Jack and Miles review their menus. Jack looks u p and spots a PRETTY WAITRESS placing an order at the bar. JACK Miles. Check it out. Miles glances at the waitress and returns to his menu. MILES Oh, yeah. That's Maya. JACK You know her? MILES Sure I know Maya. JACK You know that chick? MILES Jack, this is where I eat when I come up here. It's practically my office. And sometimes I have a drink with the employees. Maya's great. She's worked here about a year, maybe a year and a half. JACK She is very hot. MILES And very nice. And very married. Check out the rock. Jack leans forward and squints. JACK Doesn't mean shit. When Christine was a hostess at Sushi Roku, she wore a big engagement ring to keep guys from hitting on her. Th ink it worked? Fuck no. How do you think I met her? MILES This gal's married to I think a Philosophy professor at U C Santa Barbara. JACK So what's a professor's wife doing waitressing? Obviously that's over. MILES You don't know anything about this woman. Calm down. Let's just eat, okay? (focusing on the menu) The duck is excellent and pair s nicely with the Highliner Pinot. Just then Maya comes by carrying a tray of food on her way to another table. MAYA Hey, Miles. Good t o see you. MILES Maya, how are you? MAYA I'm doing good, good. You look great. Did you lose some weight? MILES Oh, no, actually. Busy night. MAYA Oh yeah, Sunday night. You guys been out tasting today? MILES You know it. This is my friend Jack. Jack, Maya. JACK (big smile) Hiya. MAYA (smiling back) Hi. Well, nice to see you guys here. Bye, Miles. She goes. JACK Jesus, she's jammin'. And she likes you. What else do you know about her? MILES Well, she does know a lot about wine. JACK Ooooooohh. Now we're getting somewhere. MILES And she likes Pinot. JACK Perfect. MILES Jack, she's a fucking waitress in Buellton. How would that ever work? JACK Why do you always focus on the negative? Didn't you see how friendly she was to you? MILES She works for tips! JACK You're blind, dude. Blind. Miles focuses again on the menu. MILES I also recommend the ostrich. Very lean. Locally raised.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HITCHING POST BAR - NIGHT TWO BURGUNDY GLASSES -- are refilled with the contents of yet another bottle of Hitching Post Pinot Noir. Jack and Miles are enjoying a post -prandial drink. MILES Looks like he's thinking about something. Then -- MILES I hate Tony Levin. Jack swirls h is wine and downs it in one gulp. Just then -- MAYA Walks into the bar and takes a seat a few stools down. She has changed into a black cashmere sweater and corduroys, lovely but tired. MAYA (to Gary) Highliner, please. JACK That's on us. Maya looks over and smiles as Gary pours her a glass from their bottle. MAYA Hey, guys. Maya gets an American Spirit Yellow out of her purse and lights it while Gary pours her a glass. MILES You want to join us? MAYA (polite) Sure. In no hurry, she takes a long sip of her wine, gets up and comes down the bar. MAYA So how's that book of yours going, Miles? I think you were almos t done with it last time we talked. MILES I finished it. MAYA Good for you. JACK It's getting published. That's what we're up here celebrating. Miles shoots Jack a look. Jack responds with a ""don't -fuck- it-up-brother"" glower. MAYA That's fantastic. Congratulations. She offers her glass, and all clink. MAYA (to Jack) Are you a writer too? JACK No, I'm an actor. MAYA Oh yeah? What kind of stuff? JACK A lot of TV. I was a regular on a couple of series. And lately I've been doing a lot of commercials. National mostly. MAYA Anything I'd know? JACK Maybe. Recognize this? Jack takes a deep breath, and out comes a perfect VOICE -OVER VOICE. JACK ""Now with low, low 5.8% APR financing."" Maya's mouth drops open and curves into a big smile. MAYA That's hil arious. You sound just like one of those guys. JACK I am one of those guys. MAYA You are not. MILES He is. Jack launches into another one of his sure -fire hits. JACK (very fast) Consult your doctor before using this product. Side effects may include oily discharge, dizziness, hives, loss of appetite, difficulty breathing and low blood pressure. If you have diabetes or a history of kidney trouble... you're fucked! This makes Maya laugh a big throaty laugh. Jack joins in. Nervous about Jack's aggres sive flirtatiousness, Miles musters a tight courtesy smile. MAYA (winding down) Oh. I needed that. Thank you. They all take a drink of wine. MAYA So what are you guys up to tonight? Before Jack has a chance to speak -- MILES We're pretty wiped. Probably go back to the hotel and crash. This makes Maya slightly embarrassed at her apparent availability, but she recovers quickly, remains breezy. MAYA Yeah, I know what you mean. It's a long drive up here. Where're you staying? MILES The Windmill. JACK Windmill. Maya downs the rest of her wine, stamps out her smoke, and picks up her jean jacket and purse. MAYA Well, good to see you, Miles. Jack. MILES See you. As she leaves -- JACK We'll catch up with you later, okay? But she's gone. Jack gives Miles a slow burn look. JACK We'll probably go back to the hotel and crash?",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HIGHWAY - NIGHT The guys walk drunkenly along the shoulder as CARS WHIZ BY. JACK The girl is looking to party, and you tell her we're going t o go back to our motel room and crash? Jesus, Miles! MILES Well, I'm tired. Aren't you tired? JACK The chick digs you. She lit up like a pinball machine when she heard your novel was getting published. MILES Now I've go t another lie to live down. Thanks, Jack. JACK I'm trying to get you some action, but you've got to help me out just a little bit. MILES Didn't seem to me like that's what was going on. You were all over her. JACK Somebody had to do the talking. And by the way, I was right. She's not married. MILES How do you know? JACK No rock. When she came to the bar, sans rock.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MOTEL ROOM - NIGHT The screen is absolutely BLACK. JACK Single. Waitress. Getting off work. Looking for love. A little slap and tickle. MILES Shut up. JACK She probably went home, lit some candles, put on some relaxing music, took a nice hot bath, and laid down on her bed with her favorite vibrator. Jack begins to make a soft BUZZING noise, growing gradually louder and more rhythmic. MILES Have you no shame? JACK Oooh. Oh. Miles. Miles. MILES Fuck you. There's now a rustling noise and footsteps. Then a LIGHT is flipped on in the BATHROOM. Miles closes the door behind him, and the only light visible is at the bottom of the bathroom door. Miles PEES -- a series of semi -forced SHORT SQUIRTS. Then a FLUSH as a door opens and the light goes off. Jack starts BUZZING again. MILES Shut the fuck up! Jack stops and Miles climbs into bed. Silence. Then -- JACK You need to get your prostate checked. UNDER BLACK -- MONDAY",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. BREAKFAST CAFE - DAY Establishing.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BREAKFAST CAFE - DAY Miles an d Jack are glancing at the menus. For some reason Jack is humorless and grumpy. MILES So what're we going to have? Pigs in a blanket? The ""rancher's sp ecial breakfast""? Or maybe just some grease and fat with a side of lard? JACK (not amused) So what's the plan today? MILES We head north, begin the grape tour up there, make our way south so the more we drink the closer we get to the motel. Jack sarcastically taps an index finger to his temple. MILES What's your problem? Jack exhales and looks away, as though he do esn't want to get into it. MILES What is it? Jack sucks his teeth a moment searching for the right words. Then the dam bursts. JACK I am going to get my nut on this trip, Miles. And you are not going to fuck it up for me with all your depression and anxiety and neg -head downer shit. MILES Ooooh, now the cards are on the table. JACK Yes they are. And I'm serious. Do not fuck with me. I am going to get laid before I settle down on Saturday. Do you read me? MILES Sure, big guy. Whatever you say. It's your party. I'm sorry I'm in the way and dragging you down. Maybe you'd have a better time on your own. You take the car. I'll catch the train back. JACK No, see, I want both of us to get crazy. We should both be cutting loose. I mean, this is our last chance. This is our week! It should be something we share. The older WAITRESS comes over. WAITRESS Can I take your order? JACK But I am warning you. MILES Oatmeal, one poached egg, and rye toast. Dry. WAITRESS Okay. And you? JACK (glaring at Miles) Pigs in a blanket. With extra syrup.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. LOVELY HIGHWAY - DAY The Saab winds along this beautiful road that meanders through large open vineyards. DISSOLVE TO: INSERT -- A MAP and a MOVING LINE show the boys' route. DISSOLVE TO: INSERT -- GRAPES growing on the vine. DISSOLVE TO:,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. VINEYARD - DAY Framed by foreground grapevines, the Saab passes in the distance. DISSOLVE TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FOXEN WINERY - DAY Miles has just downed a taste of red wine. MILES How much skin and stem contact? POURER About four weeks. MILES Huh. That explains all the tannins. And how long in oak? POURER About a year. MILES French or American? POURER Both. MILES Good stuff. JACK Yeah, oak. That's a good wood. Just as the pourer turns away toward other TASTERS, Jack GRABS the bottle and helps himself and Miles to another glass. They slam back their drinks like tequila. DISSOLVE TO:",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LOVELY AREA ON A HILL - DAY Miles brings the Saab to a stop, and the guys get out. Before them lies an incredible view of endless vineyards. MILES Nice, huh? JACK Beautiful. MILES Victoria and I used to like this view. (lost in nostalgia) Once we had a picnic here and drank a '95 Opus One. With smoked s almon and artichokes, but we didn't care. JACK Miles. MILES She has the best palate of any woman I've ever known. She could even differentiate Italian wines. JACK Miles, I gotta tell you something. Victoria's coming to the wedding. MILES I know. You told me. I'm okay with it. JACK Yeah, but that's not the whole story. She got remarried. MILES She what? (long pause) When? JACK About a month ago. Six weeks. MILES To that guy? That guy with the restaurant... Jack nods. Miles looks down at his shoes and draws a long breath. Then he stiffly gets back in the open car and closes the door. JACK Miles... MILES... Miles continues to stare straight ahead. JACK (exploding) Jesus Christ, Miles. Get out! MILES I want to go home now. JACK You've been divorced for two years already. People move on. She has! It's like you enjoy self -pity. Makes you feel special or something. MILES Is she bringing him to the wedding? JACK What do you think? MILES You drop this bombshell on me. Why didn't you tell me before? JACK Because I knew you'd freak out and probably get so depressed you wouldn't even come on this trip. But then I figured here would be the best place to tell you. We're here to forget about all that shit. We're here to party! MILES (undeterred) I'm going to be a fucking pariah. Everyone's just going to be holding their breath to see if I'm going to get drunk and make a scene. Plus Tony fucking Levin? JACK No, no, no. It's cool. I talked to Victoria. She's cool. Everyone's cool. MILES (horrified) You've all been talking about it? Behind my back? Talking about it? Miles turns and locates an open BOTTLE of wine in the back seat. He uncorks it and begins to swig. JACK Hey, hey, hey. No, you don't! Jack tries unsuccessfully to grab the bottle from Miles, but Miles bolts out of the car. A VERY WIDE SHOT -- Pursued by Jack, Miles dashes down the hill, all the while taking huge swigs from the bottle. OMIT.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. LOVELY VINEYARD - CONTINUOUS Miles slows to walk between rows of GRAPEVINES. He polishes off the bottle and tosses it. A painting Jack catches up with him in the adjacent grapevine corridor. Miles's face crumbles as though he were about to cry. Then he collapses to the ground and closes his eyes tight. Jack looks around impatiently for a momen t. Then he squats down so he can see Miles underneath the vines. JACK Miles? Miles ignores Jack and focuses on the beautiful RIPE GRAPES that sur round him. They seem to distract him from his pain. JACK You going to be okay? Miles looks up and shakes his head a definitive NO. Jack can't help but LAUGH. DISSOLVE TO:,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. KALYRA WINERY PARKING LOT - DAY The sun hangs low as the Saab pulls into the parking lot, Jack at the wheel.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. KALYRA TASTING ROOM - DAY The pourer, a brunette in her early thirties, breaks away from a BORING COUPLE down the bar. This is STEPHANIE. STEPHANIE Hey, guy s. How's it going? JACK Excellent. My friend and I are up here doing the wine tour, and he tells me that you folks make one hell of a Syrah. STEPHANIE That's what people say. MILES (slurring slightly) You gotta excu se him. Yesterday he didn't know Pinot Noir from film noir. JACK I'm a quick learner. Stephanie laughs. She apparently likes big good -natured lunks like Jack. MILES I'm trying to teach my friend here some basics about wine over the next few days before he goes off and -- WHOOMP! Under the bar Jack stomps on Miles's foot. Miles winces. Stephanie slides TWO GLASSES in front of them. JACK That's right -- I'm here to learn. I never had that much interest in wine before, but this trip has been very enlightening. Always like wine, of course, but I don't know. More of a beer man, really. Microbreweries. She THUMPS the cork off a bottle of Chardonnay. STEPHANIE Well, no better way to learn than tasting. She pours almost flirtatious amounts. JACK Now there's a girl who knows how to pour. What's your name? STEPHANIE Stephanie. JACK Nice. Jack swirls the wine as though he were by now a sommelier. They look, they smell, they taste. STEPHANIE So what do you think? MILES Quaffable but far from transcendent. JACK I like it. Tastes great. Oaky. Stephanie reaches for another bottle and pours. Jack's eyes never leave her. STEPHANIE Cabernet Franc. (as they taste) This is only the fifth year we've made this varietal. Very few wineries around here do a straight Cabernet Franc. It's from our vineyard up in Santa Maria. And it was a Silver Medal winner at Paso Robles last year. MILES Well, I've come to never expect greatness from a Cab Franc, and this one's no exception. Sort of a flabby, overripe -- JACK (ignoring him) Tastes good to me. You live around here, Stephanie? STEPHANIE In Santa Ynez. (low, to Miles) And I agree with you about Cab Franc. JACK Oh yeah? We're just over in Buellton. Windmill Inn. STEPHANIE Oh yeah. JACK You know a gal named Maya? Works at the Hitching Post? STEPHANIE Sure I know Maya. Real well. JACK No shit. We just had a drink with her last night. Miles knows her. MILES Could we move on to the Syrah, please? As she turns to reach for the right bottle, Jack winks at Miles. Miles shakes his head. STEPHANIE This is our Estate Syrah... She pours each of them a full HALF GLASS. JACK You're a bad, bad girl, Stephanie. STEPHANIE I know. I might need to be spanked. She notices the boring couple, visibly annoyed that she has been monopolized. STEPHANIE Excuse me. As she wanders down the bar, Jack turns to Miles, his mouth wide open. JACK A bad girl, Miles. She might need to be spanked. MILES Do you know how often these pourers get hit on? They glance down the bar at Stepanie. She smiles back.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. KALYRA WINERY PARKING LOT - DAY Miles is killing time by the car staring at his shoes. He looks over and sees Jack waddling over from the tasting room with TWO CASES OF WINE. JACK Get the trunk. MILES You have the keys. Jack puts the cases down and glances back at the building. JACK We're on. MILES What? JACK She called Maya, who's not working tonight, so we're all going out. MILES With Maya? JACK Been divorced for a year now, bud. Jack puts the wine in the trunk, and they get in the car. JACK Stephanie, holy shit. Chick had it all going on. MILES Well, she is cute. JACK Cute? She's a fucking hottie. And you almost tell her I'm getting married. What's the matter with you? (drumming on the steering wheel) Gotta love it. Gotta love it.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MOTEL ROOM - DAY THE TV -- GOLF on ESPN. MILES AND JACK sit tran sfixed, each on his own bed. The curtains are drawn. Then out of nowhere -- JACK (mocking) You know how often these pourers get hit on? (getting up) I'm going for a swim. Get the blood flowing. Want to come? MILES Nah. I want to watch this. CLOSE ON THE TV -- A guy gets ready to putt. The announcer whispers what an important moment this is. The guy misses. FADE TO BLACK. UNDER BLACK -- The sound of an AEROSOL CAN. JACK Miles. Hey, Miles. Time to get up. WE OPEN OUR EYES TO SEE -- Jack spraying his feet with some Dr. Scholl's prod uct. WIDE -- Miles pulls himself out of bed and slouches toward his suitcase. JACK Fucking chick in the Jacuzzi -- goddamn, Miles, fucking going nuts up here. Whole place is wide open. Assylvania. Jack does some actor's weird warm -up stretch. MILES So what should I wear? JACK I don't know. Casual but nice. They think you're a writer. As Miles begins to dig through his suitcase, Jack flips open his cellphone and speed -dials. JACK Don't you have any other shoes? Miles glances as his shoes sitting sadly on the floor. JACK (into the phone) Hello? Oh hey, baby, just checking in. Not much. We're about to go out for dinner, probably be out pretty late, so I thought I'd say goodnight now. I know, I love you too. I miss you.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LOS OLIVOS - NIGHT The boys get out of the car and walk along a timbered sidewalk in this tourist town with wine tasting rooms and gourmet restaurants. JACK Please just try to be your normal humorous self, okay? Like w ho you were before the tailspin. Do you remember that guy? People love that guy. And don't forget -- your novel is coming out in the fall. MILES Oh yeah? How exciting. What's it called? JACK Do not sabotage me. If you want to be a lightweight, that's your call. But do not sabotage me. MILES Aye-aye, captain. JACK And if they want to drink Merlot, we're drinking Merlot. MILES (dead serious) If anyone orders Merlot, I'm leaving. I am not drinking any fucking Merlot! JACK Okay, okay. Relax, Miles, Jesus. No Merlot. Did you bring your Xanax? Miles takes a SMALL BOTTLE from his po cket and rattles it. JACK And don't drink too much. I don't want you going to the dark side or passing out. Do you hear me? No going to the dark side. MILES Okay! Fuck! Miles quickly POPS A XANAX. Jack gives him a final look in the eye. JACK We're going in.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LOS OLIVOS CAFE - NIGHT The boys enter this cozy if crowded restaurant and exchange words with the HOSTESS. Then they notice -- MAYA AND STEPHANIE at a booth waving at them. They look great. MILES AND JACK make their way to the table, Jack wearing a broad, confident SMILE. AT THE TABLE -- Jack plops down next to Stephanie, while Miles politely eases in on Maya's side. Jack touches a hand to Stephanie's bare neck and massages it meaningfully. JACK How you doin' tonight, beautiful? STEPHANIE Good. How're you? JACK Great. You look great. (includi ng Maya) You both do. STEPHANIE Not so bad yourself. Meanwhile Miles looks over at Maya and purses his lips in an affable if uncomfortable smile. Then -- MILES What are you drinking? MAYA A Fiddlehead Sauvignon Blanc. MILES Oh yeah? How is it? MAYA (sliding the glass) Try it. As Miles swirls the wine and takes a sip, he begins to relax. MILES Nice. Very nice. MAYA Twelve months in oak. MILES On a Sauvignon Blanc? MAYA I know the winemaker. She comes in the restaurant all the time. MILES This is good. Little hints of clove. MAYA I know. I love that. LATER -- A WAITER finishes listing off the specials. WAITER ...medallions of pork with a dusting of black truffles served with a root vegetable foulon and wasabi -whipped potatoes. And finally a Copper River salmon grilled on an alder wood plank. And that comes with roasted new potatoes and steamed watercress. The four diners exchange looks of delight. WAITER And who gets the wine list? Miles raises his hand and takes the leather -bound book. MAYA (teasing) I guess Miles wants it. Jack glares at Miles, who immediately gets the h",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int. MILES Nope. You ladies choose. Jack smiles and nods his approval. Jack takes the bo ok out of Miles's hands and offers it to the girls. MAYA You choose, Stephanie. STEPHANIE (opening it) So what does everyone feel like? JACK Whatever you girls want. It's on us tonight. Sky's the limit. MAYA No, we're paying for the wine. JACK I don't think so. We're celebrating Miles's book deal. MAYA Well, in that case... Miles draws a long breath. STEPHANIE What's everyone ordering? Then we can sort out the wine. MILES Exactement! Jack shoots Miles a look. MAYA I'm having the salmon. MILES That's what I'm having. STEPHANIE (still scanning the wines) I'm thinking about the duck breast. JACK (slapping his menu shut) Me too. MAYA Well, that narrows things down. Stephanie lowers the menu so that only her eyes peer over the top. She looks at the others, and they look back at her. STEPHANIE Sounds like... Pinot Noir to me. Jack looks at Miles and raises one hand for a HIGH -FIVE. JACK Pinot! Miles reluctantly slaps Jack's hand. This causes the girls to laugh. MUSIC STARTS -- they're OFF! DINNER is improvised, but includes: -- The arrival of the FIRST WINE. -- The SALADS. -- Maya takes a turn with the wine list. Miles pushes her finger down into the price s with THREE DIGITS. -- New stemware is provided with the arrival of the SECOND WINE. -- The four of them DRINK. Particularly Miles. -- Stephanie and Jack get cozier and cozier. -- The SALMON and DUCK arrive. -- Miles is too shy to look into Maya's eyes. She's interested and available -- it's too much for him. -- As Miles gets DRUNKER, the camera angles become sloppier, the cutting choppier. -- Miles PONTIFICATES about some aspect of wine that Maya and Stephanie find interesting. Left out in the cold, his jaw tight, Jack wants to find a way in but can't. -- Miles reaches over to refill his glass, but Jack's arm shoots out to stop him -- ""Slow down."" CLOSE ON MILES as a distant RUMBLE begins to sound, the rumble of an oncoming ANXIETY ATTACK. By now he has dr unk so much that he spaces out, descending into --",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. UNDERWORLD - DARK AND TIMELESS Miles is boarding an OPEN BOAT atop this underground river, the River Styx. Just beyond a ghoulish HUMAN CARGO the hooded boatman CHARON wields a long staff. Miles is crossing over to the dark side.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LOS OLIVOS CAFE - BACK AGAIN Miles returns to ea rth to find Jack and Stephanie now in their own little world -- Jack explaining something to Stephanie that she finds fascinating, just FASCINATING. -- Miles converses with Maya, but it's clear from her bemus ed expression that he's being charming if not entirely coherent. -- ANOTHER WINE reaches the table -- a Comte Armand Pornrnard. -- Miles looks over at Jack and Stephanie. They share a short but sensual kiss. MOMENTS LATER -- Miles is on his feet threading his way through the tables. He is very unsteady, and we cut between first and third person perspectives. AT THE BATHROOMS -- He tries the MEN'S ROOM door but it's locked. He pulls the XANAX out his pocket and pops one in his mouth, swallowing it dry. He notices a PAYPHONE nearby. Thinking better of it for a moment, Miles makes a drunken bee -line for the receiver. CLOSE ON THE KEYPAD -- as many numbers are dialed, and we HEAR the TONES, completely out of sync, along with a sound melange of interior phone RINGING and a PICKUP. THE RECEIVER -- As Miles presses it desperately to his head. VICTORIA (ON THE PHON E) Hello? MILES Victoria. VICTORIA (ON THE PHONE) Miles? Miles feigns an implausible upbe at tone. MILES Victoria! How the hell are you? VICTORIA (ON THE PHONE) Fine. What's, uh, what's on your mind? MILES Heard you got remarried! Congratulations. Didn't think you had the stomach for another go -round. VICTORIA (ON THE PHONE) Oh, Miles. You're drunk. MILES Just some local Pinot, you know, then a little Burgundy. That old Cotes de Beaune! Miles laughs at his own non -existent joke. VICTORIA (ON THE PHONE) Where are you? MILES A little place in Los Olivos. New owners. Cozy ambiance. Excellent food too -- you should try it. Thought of you at the Hitching Post last night. Silence. MILES (CONT' D) Hello? VICTORIA (ON THE PHONE) Miles, don't call me when you're drunk. MILES I just wanted you to know I've decided not to go to the wedding, so in case you were dreading some uncomfortable, you know, run -in or something, well, worry no more. You won't see me there. My wedding gift to you and what's - his-name. What is his name? VICTORIA (ON THE PHONE) (silence, then --) Ken. MILES Ken. VICTORIA (ON THE PHONE) Miles, I don't care if you come to the wedding or not. MILES Well, I'm not coming, Barbie. So you guys have fun. VICTORIA (ON THE PHONE) I'm going to hang up now, Miles. MILES (rushing to keep her on) You see, Vicki, I just heard about this today, you getting married that is, and I was kind of taken aback. Kind of hard to believe. Silence. MILES I guess I just thought there was still some hope for us somewhere down the road and I just, I just -- VICTORIA ( ON THE PHONE) Miles, maybe it is better if you don't come to the wedding. Miles sucks something from between his two front teeth. MILES Whatever you say, Vicki. You're the boss. He HANGS UP as nonchalantly as if it had been a sales call and heads back to the table.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DEEP CANYON - DAY For a flash, Miles is walking an unstable, narrow ROPE BRIDGE extending vertiginously across a great CHASM.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LOS OLIVOS CAFE - BACK AGAIN Miles reaches the table, tries to sit and SLIPS ONTO THE FLOOR. Although at first Jack blinks heavily in disgust, the girls burst into hysterical LAUGHTER. Jack then laughs too, perhaps OVER-LAUGHING. JACK Easy, boy. Easy. Maya helps him back into the booth. MAYA Are you all right? MILES Fine. Just slipped. (picking up his glass) This is my blood. Miles drinks. Stephanie makes a head gesture to Maya, who nods in return. STEPHANIE (to the guys) Excuse us. MAYA Sorry to make you get up again, Miles. MILES That's ok ay. Miles and Jack allow the girls to pass. Then -- JACK What the fuck, man? What is up? Miles reaches for his wine glass, but Jack moves it away. JACK Pull yourself together, man. MILES I'm fine! But in throwing open his arms for emphasis, he spills a WATER GLASS. Jack rights it and throws a napkin on the tablecloth. JACK Where were you? MILES Bathroom. JACK Did you drink and dial? Miles's silence confirms his guilt and shame. JACK Why do you always do this? Victoria's gone, man. Gone. Poof. Miles looks down and squeezes his eyes tight while pushing out an exhale through his nose. JACK Stop it. You are blowing a great opportunity here, Miles. Fucking Maya, man. She's great. She's cool. She's funny. She knows wine. What is this morose come -down bullshit? These girls want to party. And what was that fucking ten -minute lecture on, what was it, Vouvrays? I mean, come on! MILES Let's just say I'm uncomfortable with the whole scenario. JACK Oh Jesus, Miles. Miles belligerently reaches for his Comte Armand. Jack lets it pass. JACK And don't forget all the bad times you had with Victoria. How small she make you feel. That's why you had the affair in the first place. MILES Shut up. Shut your face. JACK Don't you see how Maya's looking at you? You got her on the hook. Reel her in! Come on, let's rachet this up a notch. You know how to to do it. Here. (passing a glass) Drink some agua. Miles looks at the water, takes it and drains it. The girls now return to the table. The guys slide over. MILES (trying to appear sober) Should we get dessert? STEPHANIE We were thinking. Why don't we go back to my place? I' ve got wine, some insane cheeses, music, whatever. Jack raises both arms like a football referee. JACK Excellent idea. Waiter!",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. SAA B - NIGHT THROUGH THE WINDSHIELD -- Trees and bushes lit by the headlights show us we're headed into the woods. INSIDE -- Jack drives. Miles blinks heavily as he tries to make a sense of A HAND -DRAWN MAP. JACK (grabbing the map) Let me see that.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. STEPHANIE'S HOUSE - NIGHT The Saab pulls into a gravel DRIVEWAY and comes to a stop outside this wood -framed cottage. Jack and Miles get out and head for the front door. On the way, Jack reaches into his coat pocket and produces a string of FOUR CONDOMS. JACK (tearing) Here. One for you, three for me. Miles wordlessly takes his. Just before they climb the porch steps -- MILES You sure you want to do this? Jack stops and looks at him for a moment with almost hostile incredulity. THE FRONT DOOR is open. Jack knocks twice on the SCREEN DOOR before going in.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. STEPHANIE'S LIVING ROOM - CONTINUOUS The boys enter this modest living room furnished with weathered but charming old furniture. Scattered here and there are CHILDREN'S TOYS. FINGER -PAINTINGS are taped to the walls. CANDLES are lit, and MUSIC is playing. JACK We're here! Stephanie sails in. STEPHANIE What happened to you guys? JACK Couple of wrong turns . (pointing a thumb at Miles) Thanks to Magellan, here. After a brief hug, Stephanie and Jack peck -kiss. JACK Hi. STEPHANIE Hi. (to Miles) Maya's in the kitchen. Miles hesitates a moment before Jack elbows him tow ard --",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. STEPHANIE'S KITCHEN - CONTINUOUS Miles wanders in to find Maya squatting in front of a little temperature -controlled WINE STORAGE UNIT. MILES Hi. MAYA Hey. MILES She got anything good? MAYA Oh, yeah. Steph's way into Pinots and Syrahs. (calling out) Hey, Steph? You sure we can open anything? Anything we want? STEPHANIE (V.O.) Anything but the Jayer Richebourg! MILES She has a Richebourg? Mon dieu. I have completely underestimated Stephanie. MAYA Who do you think you're dealing with here? Maya slips out a bottle of ESCHEVAUX. MAYA How about this? Miles nods vigorously. Maya looks back and forth between Miles and the wine, her eyes narrowed. Then she slides it back in. MAYA Nope. I don't think we know each other well enough. (picking out another bottle) I'd say this guy's more our speed. They rise, and Miles glances at the ANDREW MURRAY SYRAH and, raising his eyebrows, agrees. Maya begins opening it. MAYA So what gems do you have in your collection? MILES Not much of a collection really. I haven't had the wallet for that, so I sort of live bottle to bottle. But I've got a couple things I'm saving. I guess the star would be a 1961 Cheval Blanc. MAYA You've got a '61 Cheval Blanc that's just sitting there? Go get it. (pushing him, playfully stern) Right now. Hurry up... Miles laughs, fights back a bit. MAYA Seriously, the '61s are peaking, aren't they? At least that's what I've read. MILES Yeah, I know. MAYA It might be too late already. What are you waiting for? MILES I don't know. S pecial occasion. With the right person. It was supposed to be for my tenth wedding anniversary. Understanding, Maya considers her response. MAYA The day you open a '61 Cheval Blanc, that's the special occasion. MILES How long have you been into wine? MAYA I started to get serious about seven years ago. MILES What was the bottle that did it? MAYA Eighty-eight Sassicaia. Miles whistles and raises his eyebrows. Maya pours, and they clink their glasses together before savoring the wine. MILES Wow. We gotta give it a moment, but this is tasty. Really good. How about you? MAYA (tastes again) I think they overdid it a bit. Too much alcohol. Overwhelms the fruit. MILES (tasting again, impressed) Yeah, I'd say you're right on the money. Then Miles absently scans the REFRIGERATOR DOOR and spots a PHOTO of Stephanie holding a LITTLE GIRL. MILES Is this Stephanie's kid? Sure is cute. MAYA Yeah, Siena's a sweetie. MILES Is she sleeping or...? MAYA She's with her grandmother. She's with Steph's mom. She spends a lot of time over there. Steph's... well, she's Step hanie. Jack's voice -over voice from the other room... JACK (O.S.) ""And now for a low, low 4.8% APR..."" ...is followed by PEALS OF LAUGHTER. MAYA You got kids? MILES Who me? Nah, I'd just fuck them up. That was the one unpolluted part of my divorce -- no kids. MAYA Yeah, same here. Maya nods as she sips again, looking distant for a moment, thinking about something else. MAYA Let's go in there. Maya takes the bottle, and they wander into --",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. STEPHANIE'S LIVING ROOM - CONTINUOUS Jack and Stephanie are gone. From a distant bedroom comes more laughter. MAYA Looks like our friends are hitting it off. While Maya goes to turn down the STEREO, Miles sits on the couch. Maya's shirt rides up as she crouches, giving Miles a glimpse of the small of HER BACK. She takes a seat opposite Miles on the couch. They look at each other without speaking. Just what is the vibe here? MAYA It's kind of weird sitting here with you in Stephanie's house. All those times you came into the restaurant. It's like you're a real person now. Almost. MILES Yeah, I know. It's kind of weird. Out of cont",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","ext. MAYA Yeah, weird. But great. MILES Yeah. Definitely. An awkward silence, broken by Maya. MAYA So what's your novel about? MILES Well, it's a little difficult to summarize. It begins as a first -person account of a guy taking care of his father after a stroke. Kind of based on personal experience, but only loosely. MAYA What's the title? MILES ""The Day After Yesterday."" MAYA Oh. You mean... today? MILES Um... yeah but it's more... MAYA So is it kind of about death and mortality, or...? MILES Mrnmm, yeah... but not really. It shifts around a lot. Like you also start to see everything from the point of view of the father. And some other stuff happens, some parallel narrative, and then it evolves -- or devolves -- into a kind of a Robbe -Grillet mystery -- you know, with no real resolution. MAYA Wow. Anyway, I think it's amazing you're getting it published. Really. I know how hard it is. Just to write it even. MILES (squeezing it out) Yeah. Thanks. MAYA Like me, I have this stupid paper due on Friday, and as usual I'm freaked out about it. Just like in high school. It never changes. MILES A paper? MAYA Yeah. I'm working on a masters in horticulture. Chipping away at it. MILES Horticulture? Wow. I didn't know there was a college here. MAYA I commute to San Luis Obispo twice a week. MILES So... you want to work for a winery or something someday? MAYA Well... MILES I do have a copy of the manuscript in the car. It's not fully proofed, but if you're okay with a few typos... MAYA Oh yeah. Who cares? I'm the queen of typos. (sipping the wine) Wow, this is really starting to open up. What do you think? MILES My palate's kind of shot, but fro m what I can tell, I'd dub it pretty damn good. MAYA Can I ask you a personal question? MILES (bracing himself) Sure. MAYA Why are you so into Pinot? It's like a thing with you. Miles laughs at first, then smiles wistfully at the question. He searches for the answer in his glass and begins slowly. MILES I don't know. It's a hard grape to grow. As you know. It's thin -skinned, temperamental, ripens early. It's not a survivor like Cabernet that can grow anywhere and thrive even when neglected. Pinot needs constant care and attention and in fact can only grow in specific little tucked - away corners of the world. And only the most patient and nurturing growers can do it really, can tap into Pinot's most fragile, delicate qualities. Only when someone has taken the time to truly und erstand its potential can Pinot be coaxed into its fullest expression. And when that happens, its flavors are the most haunting and brilliant and subtle and thrilling and ancient on the planet. Maya has found this answer revealing and moving. MILES I mean, Cabernets can be powerful and exalting, but they seem prosaic to me for some reason. By comparison. How about you? MAYA What about me? MILES I don't know. Why are you into wine? MAYA I suppose I got really into wine originally through my ex -husband. He had a big, kind of show -off cellar. But then I found out that I have a really sharp palate, and the more I drank, the more I liked what it made me think about. MILES Yeah? Like what? MAYA Like what a fraud he was. Miles laughs. MAYA No, but I do like to think about the life of wine, how it's a living thing. I like to think about what was going on the year the grapes were growing, how the sun was shining that summer or if it rained... what the weather was like. I think about all those people wh o tended and picked the grapes, and if it's an old wine, how many of them must be dead by now. I love how wine continues to evolve, how every time I ope n a bottle it's going to taste different than if I had opened it on any other day. Because a bottle of wine is actually alive -- it's constantly evolvin g and gaining complexity. That is, until it peaks -- like your '61 -- and begins its steady, inevitable decline. And it tastes so fucking good. Now it is Miles's turn to be swept away. Maya's face tells us the moment is right, but Miles remains frozen. He needs another sign, and Maya is bold enough to offer it: reaches out and places one hand atop his. MILES (pointing) Bathroom over there? MAYA Yeah. Miles gets up and walks out. Maya sighs and gets and American Spirit out of her purse.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. STEPHANIE'S BATHROOM - NIGHT The bathroom's a MESS -- the shower curtain is filthy, and the chippe d and water -stained tub is filled with CHILDREN'S BATH TOYS. Miles is bent over the sink splashing water on his face, trying to sober up and gather his courage. He stands, and without drying h is face, presses his palms against his cheeks. Then he takes a deep breath and drops his hands. MILES You are such a loser. Come on!",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. THE LIVING ROOM - NIGHT Miles comes out of the bathroom and looks for Maya, but she's not there. Then he hears a noise from the kitchen, so he goes through the door into --",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. STEPHANIE'S KITCHEN - CONTINUOUS Maya is at the sink, filling a glass with water. MAYA I was just getting some water. You want some water? Miles goes to stand by her and accepts a glass of water. Just as she's about to fill a second glass, he stops her and looks her in the eye, trying to recapture a moment that is long gone. He kisses her and she kisses back, but the whole thing feels strained and awkward. After a few seconds, Maya breaks away. MAYA Nice. But instead of resuming the kiss, she steps past him, heading back into the living room. MAYA (O.S.) I should probably get going. Miles realizes he's blown it and silen tly berates himself.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SAAB - NIGHT Miles drives down the hill behind Maya's car, which leads him through this very rural road.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. WHERE THE ROAD MEETS THE HIGHWAY - NIGHT Maya's car comes to a stop just ahead of the Saab. She puts it in PARK and gets out. AT THE SAAB -- Miles rolls down his window as Maya leans over. MAYA You know how to get back to the Windmill, right? MILES Got it. MAYA I had a good time tonight, Miles. I really did. MILES Good. So did I. MAYA Okay. See you around. MILES Um... did you still want to read my novel? MAYA Oh, yeah. Sure. Of course. Miles turns to the backseat, locates a la rge MANUSCRIPT BOX, and hands it to Maya. MAYA Wow. Great. He turns around again, produces a SECOND BOX, and hands it over as well. MILES Hope you like it. Feel free to stop reading at any time. I'll take no offense. MAYA Goodnight, Miles. She gives him a friendly peck on the cheek. After she gets back in her car, she heads in one direction while Miles heads in the opposite. OMIT. UNDER BLACK -- TUESDAY Jack's cellphone RINGS.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MOTEL ROOM - MORNING NOW EARLY MORNING -- Still fully clothed, Miles staggers across the room. Fishing the phone out of Jack's windbreaker pocket, he looks at the CALLER ID: ""Erganian, Christine"" and the number. He briefly considers his options -- answer it? shut it off? -- before placing it atop Jack's s uitcase. The moment he lies back down on the bed, the MOTEL PHONE RINGS. An old DIGITAL CLOCK next to it reads 7:l0. As Miles closes his eyes and pulls the pillow over his aching head, we agai n -- FADE TO BLACK. LATER -- VROOM! Outside a roaring MOTORCYCLE comes to a stop. Then over the sound of an IDLING ENGINE come familiar if indistinct VOICES and LAUGHTER. Miles opens his bleary eyes and listens. FOOTSTEPS pound on the balcony outside, and Jack lets himself in, flushed and exuberant. JACK Fucking chick i s unbelievable. Un -be- lieve-able! He pounds on the wall, then goes into the bathroom and without closing the door unzips his pants to PEE. JACK Goddamn, Miles, she is nasty. Nasty nasty nasty. MILES Well, I'm glad you got it out of your system. Congratulations. Mission accomplished. A hungover Miles gets up and looks out the door Jack has left open. Down in the parking lot he sees -- STEPHANIE atop a mid -sized MOTORCYCLE, wearing a weathered fringed suede jacket. She gives him a big friendly wave. MILES returns the wave and goes back inside. MILES You didn't invite Stephanie to come with us, did you? With a FLUSH Jack emerges from the bathroom and opens his bag. JACK Oh, hey, change of plans. Steph's off today, so she and I are going on a hike. MILES We were supposed to play golf. JACK You go. In fact, use my clubs. They're brand new -- gift from Christine's dad. (slapping some cash on the dresser) It's on me. Oh, say, by the way, Stephanie and me were thinking we'd all go to the Hitching Post tonight and sit at one of Maya's tables, and she'll bring us some great wines and then we can all -- MILES (sitting down) Count me out. JACK Oooh, I see. Didn't go so good last night, huh? That's a shocker. You mean getting drunk and calling Victoria didn't put you in the mood? You dumb fuck. Your divorce pain's getting real old real fast, dude. Miles looks down. Jack heads for the door. JACK Later. MILES Yeah, well, maybe you should check your messages first. Jack stops, eyeing Miles suspiciously. Miles tosses Jack his phone. Jack flips it open and scrolls down with his thumb. He doesn't like what he sees. JACK Oh, boy. MILES (pointing at the room phone) She's been leaving messages here too. JACK Yeah. Okay. He SNAPS th e phone shut and puts it back. MILES You should call her. JACK I will. (heading out the door) See ya! MILES Right now. JACK Okay! Jesus! Jack picks up his phone, sits on the bed and looks defiantly at Miles. JACK I've got no problem calling her. Now Jack closes his eyes and brings the heel of his hand to his forehead as he begins to concoct the BIG LIE. JACK (opening his phone) Wait outside, will you?",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. WINDMILL INN - DAY Miles wanders out and looks down at Stephanie. STEPHANIE That was fun last night. MILES Yeah. Good food. You've go t quite a wine collection. Very impressive. STEPHANIE Thanks. Hey, I talked to Maya this morning. She said she had a good time too. You should call her. Miles says nothing. STEPHANIE Where's Jack? MILES He had to make a phone cal l. Stephanie cuts her bike's engine and climbs off, propping it up on the kickstand. STEPHANIE So what are you up to today, Miles? MILES Just kickin' back, I guess. I don't know. Jack and I were supposed to go golfing. STEPHANIE Huh. MILES Yeah, I reserved the tee time about a month ago. STEPHANIE Oops. Sorry. MILES You golf? STEPHANIE Me? No, I think it's kind of a stupid game. I mean, at least, I could never get into it. I tried it once. MILES Huh. Jack loves golf. Crazy about it. Just then Jack cracks open the motel room door. JACK (hushed) Hey Miles. Miles. Miles ducks back inside.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MOTEL ROOM - CONTINUOUS JACK Do you have t hat other condom? Miles reaches into his wallet and hands over the little foil square. MILES What'd Christine say? JACK Lucked out -- got voice mail. Everything's cool.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. WINDMILL INN - CONTINUOUS Jack bounds out of the room and down the stairs like a child on Christmas mornin g. Miles watches Jack climb on the bike behind Stephanie, grasping her waist. Stephanie and Jack PEEL OUT, leaving Miles alone on the balcony. CLOSE ON MILES -- As we begin to hear a SNIPPING sound which carries us to --",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MOTEL ROOM BALCONY - DAY Miles sits outside carefully trimming his toenails. SNIP, SNIP, SNIP. MUSIC BEGINS for this mournful montage of solitude.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MOTEL LOBBY - DAY Miles takes a styrofoam cup and helps himself to a cup of complimentary COFFEE from a PUMP THERMOS. Then he takes a look at the rack of pamphlets of local TOURIST ATTRACTIONS -- a water park, a mystery cave, and of course winery after winery.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. WINDMILL INN JACUZZI - DAY Amid turbulent water, Miles corrects his students' papers. He is alone in the tub, but at the nearby pool STOCKY KIDS play noisily with SUPER -SOAKERS. OVER MILES'S SHOULDER -- The PAPER he's reading is marked up with circled spelling errors, and one entire paragraph has been crossed out. Finding a new error, Miles writes ""NO!!!"" CAMERA PANS to reveal a STACK of papers already heavily marked with corrections, some of them mottled with water stain s.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MOTEL ROOM - DAY Miles FLOSSES, his lips pulled back into a grotesque moue. Then he brushes with a SONIC -CARE TOOTHBRUSH. LATER -- Miles checks his machine. SYNTHESIZED VOICE (O.S.) No new messages. He hangs up, disgusted.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. CHINA PANDA RESTAURANT - DAY A small Buellton eatery.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CHINA PAND A - DAY The only customer right now, Miles eats awkwardly with his chopsticks.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DRIVING RANGE - DAY Miles DRIVES ball after ball, unsuccessfully trying to release his frust ration.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BUCOLIC ROAD - DAY The Saab roars past us, perhaps going a little too fast.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SAAB - CONTINUOUS Whistling absently as he drives, Miles leans over to turn the radio on and fiddle around to find a good station. Then all of a sudden -- WHUMP! The car has struck something with a hideous sound followed immediately by the receding ""ARF -ARF-ARF-ARF"" of an injured DOG in the Saab's wake. Miles applies the BRAKES.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BUCOLIC ROAD - DAY Miles gets out of his car just in time to see -- A DOG scampering into the nearby woods. Miles looks arou nd -- has anyone seen him? Is there a nearby residence? Finding nothing, Miles momentarily weighs his options before finally GIVING CHASE. He follows the path of the dog into --",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ROADSIDE WOODS - CONTINUOUS Still hearing occasional distant barking, Miles finds his way among the trees and bushes, looking in vain for the ill - fated cur. After a frenetic search, Miles reluctantly gives up and heads back. OMIT.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BUCOLIC ROAD - DAY Miles has returned to where he hit the dog. Just then, Miles notices TWO MEXIC AN CHILDREN watching him from just down the road. They disappear into the bushes. Looking like a criminal, Miles trots back to the Saab climbs behind the wheel and speeds away.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. WINDMILL I NN - DAY The Saab pulls into the parking lot.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT./,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MOTEL ROOM - DAY Miles trudges up the stops to the room. He opens the door and sees -- JACK atop Stephan ie, plowing her fertile fields. Despite the interruption, their pace does not alter. JACK Not now! Not now! Miles quickly shuts the door.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. WINDMILL SPORTS BAR LOUNGE - DAY Miles pours himself another glass of Pinot. Jack comes in and spots his morose friend. JACK Hey, there you are. MILES Yep. JACK What're you drinking? Jack reaches over to check out the bottle's label. Miles remains cool t o Jack's amiability. JACK Any good? Miles shrugs. JACK (to the bartender) Could I get a glass please? (to Miles) Stephanie took me out into the Pinot fields today. It was awesome. I think I finally got a handle on the whole process, from the soil to the vine to the -- what do you call it? -- selection and harvest. And the whole, you know, big containers where they mix it. We even ate Pinot grapes right off the vine. (the new expert) Still a little sour but already showing potential for great s tructure. Stephanie really knows her shit, Miles. Jack now has his glass and pours himself some wine. MILES Where is Stephani e? JACK Upstairs. Getting cleaned up. MILES What the fuck are you doing? JACK What? MILES With this chick. Jack just looks at him. MILES Does she know about Saturday? JACK Um... not exactly. But I've been honest. I haven't told her I'm available. And she knows this trip up here is only for a few days. Besides... Jack stops short in a rare instance of self -censorship. MILES Besides what? JACK Well... I don't know, just... the wedding. MILES What? JACK Well, I've been doing some thinking. MILES Oh, you've been thinking. And? JACK I may have to put the wedding on hold is all. Miles looks at him with incredulity. JACK I fully realize that making a change like that might be tricky for certain people to accept at first, but life is short, Miles. I've got to be sure I'm doing the right thing before taking such a big step. And not just for my sake. I'm thinking about Christine's feelings too. I take marriage very seriously -- always have. That's why I've never done it before. The d ay I get married, it's going to be the real thing. Miles just looks at his friend, waiting for more. JACK Being with Stephanie has opened my eyes. She's not uptight or controlling. She's just cool. Things are so easy with her. Smells different. Tastes different. Fucks differen t. Fucks like an animal. I'm telling you, I went deep last night, Miles. Deep. MILES Deep. Miles draws a long sigh. JACK Don't get all judgmental on me. This is my deal. It's my life, and it's my call. They fall silent for a moment. Then -- JACK I was hoping to get some understanding from you. And I'm not getting it. MILES Understanding of what? JACK Like I might be in love with another woman. MILES In love? Twenty -four hours with some wine-pourer chick and you think you're in love? And give up everything? JACK Look who's talking. You've been there. MILES Yes I have, and do I look like a happy man? Was all that drama with Brenda a happy thing for me to do? Huh? Was it? Is she a part of my life now? JACK This is totally different. I'm talking about avoiding what you're talking about. That's the distinction. I have not made the commitment yet. I am not married. I have not said the words. In a few days, I might get married, and if I do, then I won't be doing stuff like this anymore. Otherwise, what's the whole point of getting married? MILES And what about Stephanie? She's a woman -- with a kid. A single mom. What do you think she's looking for? Huh? JACK (interrupting) Here's what I'm thinking. We move up here, you and me, buy a vineyard. You design your own wine; I'll handle the business side. Then you get inspired and write a new novel. As for me, if an audition comes along, hell, LA'S two hours away. Not even. MILES You're crazy. You've gone crazy. JACK What do you care anyway? You don't even like Christine. MILES What? Of course I like Christine. JACK You said she was shallow. Yeah, and a nouveau riche. MILES That was three years ago after that first party! JACK Look, Miles, all I know is I'm an actor. All I have is my instinct. (his hand on his chest) My intuition -- that's all I have. And you're asking me to go against it. And that's just wrong. Just then Stephanie walks in. She cozies up to Jack, and he kisses the top of her head. STEPHANIE Hi, guys. We should probably get going. MILES Where?",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BOWLING ALLEY - DUSK CLOSE ON A VIDEO GAME MONITOR as a crazy car races through the obstacle -ridden track, often leaving the road, much like Jack's libido. ZOOM OUT to reveal six -year-old SIENA seated in Jack's lap as they drive together. A delighted Siena laughs and giggles. Miles sits nearby with Stephanie and her fifty -something, two-pack-a-day MOTHER CARYL. CARYL Stephanie's heard this a thousand times, but if I'd done what I wanted and I'd bought up in Santa Maria when I had the chance, I would have made a fortune when they put in that outlet center and that Home Depot. (a drag off her cigarette, then to Stephanie) Your father knew it too, but he was a fucking chickenshit. Always was. Caryl looks over her shoulder, her gaze drawn to Jack and Siena, so comple tely happy together. Caryl exhales a puff of smoke as she watches. Stephanie is equally enthralled. Miles takes it all in, trying his best not to shake his head in disgust.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BOWLING ALLEY PARKING LOT - DUSK Caryl is behind the wheel of her OLDSMOBILE as Stephanie gets Siena buckled up in the backseat. Jack pulls Miles aside. JACK Listen, I'm going to make sure Steph and Siena get home safe, and then maybe we'll hook up with you later, okay? MILES (dispirited) Sure, whatever. Maybe I'll catch a movie. Stephanie kisses Miles's cheek before getting in the car next to her mom. STEPHANIE See you, Miles. You take care. MILES Bye, Stephanie. Bye, Siena, Caryl. SIENA AND CARYL Bye, Miles. As he gets in the car -- JACK Call me on my cell if you go out. MILES Yeah. Miles watches them drive away, then heads toward his Saab.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MINI -MART - DUSK CLOSE ON THE COUNTER -- as Miles places a box of security ENVELOPES, a packet of BEEF JERKY and some TROPICAL F RUIT SKITTLES. WIDE -- Miles points over the CASHIER'S SHOULDER. MILES And could I get a Barely Leqal? As the cashier reaches for the magazine -- MILES NO, um, the new one.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MOTEL ROOM BATHROOM - NIGHT Miles is once again FLOSSING.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MOTEL ROOM - NIGHT POP! Miles opens a bottle of Pinot and pours himself a glass. He carries it to bed, takes a nice big slug, lies down on the bed and opens his magazine. NOW SNEEZING ATOP THE BED -- ANGLE ON TOP OF HIM -- The Barely Legal face down on his chest, Miles awakens with a start and looks at the clock -radio. He thinks a moment, takes a deep breath, and bounds off the bed. CLOSE ON A WATER -SAVER SHOWER HEA D -- as little needles of water come at us. THROUGH THE BATHROOM DOOR -- Miles takes a nice hot SHOWER. But wait -- he has forgotten to put the shower curtain inside the tub. A closer look reveals a growing PUDDLE OF WATER on the floor.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. THE HITCHING POST - NIGHT Miles walks across the parking lot. He pauses before entering, then forces himself to take the leap.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. THE HITCHING POST - NIGHT Miles affects nonchalance as he searches briefly for Maya. He continues on into the BAR. GARY How's it hanging, Miles? MILES You know me. I love it up here. How about you? GARY Busy night for a Tuesday. We had a busload of retired folks in on a wine tour. Usually they're not too rowdy, but tonight there was something going on. Full moon or something. What can I get you? MILES Highliner. GARY Glass or bottle? MILES (considers, then --) Bottle. GARY You got it. MILES Say, is Maya working? GARY Maya? Haven't seen her. I think she's off tonight. Say, where's your buddy? Miles just smiles. WIDE -- Gary serves Miles, alone at the bar. Miles takes his first drink. MILES Oh, that's tasty.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HITCHING POST - NIGHT It's closing time. The front door flies open, and Miles staggers out sideways. Gary follows him out, concerned. GARY You okay, Miles? MILES I'm good. Miles heads in the wrong direction at first, then realizes his mistake and steers himself back toward the Windmill. FADE OUT. UNDER BLACK, A CARD -- WEDNESDAY",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MOTEL ROOM - DAY The door bursts open, and Jack comes bounding in. JACK Come on, dude. Let's go golfing! I got us in at Alisal. Miles comes to, very hungover. MILES That's a public course. (then --) No Stephanie? JACK She's working. I need a break anyway. She's getting a little clingy. (magnanimous) This is our day!",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. GOLF COURSE - DAY WHACK! Jack TEES OFF with a manly athletic swing and shades his eyes to watch the ball's trajectory. JACK Crap. Miles, disheveled and sullen, approaches the tee box, sticks a tee in the ground and sets his ball. JACK Did you ever got ahold of Maya yesterday? MILES Nope. JACK She likes you, man. Stephanie'll tell you. MILES (preparing to swing) Can you give me some room here? JACK (stepping back) Oh yeah. Sure. Miles lifts his club. JACK You know, in life you gotta strike when the iron's hot. MILES Thanks, Jack. Miles refocuses and SWINGS just as Jack o ffers more helpful advice. JACK Don't whiff it. WHACK! Despite the distraction, Miles manages to make a good, long drive. JACK Nice shot. MILES You're an asshole. NOW ON THE FAIRWAY -- Jack is pouring two Dixie cups of wine as Miles prepares to take his next swing. JACK What about your agent? Hear anything yet? MILES Nope. JACK What do you think's going on? MILES Could be anything. JACK Been checking your messages? MILES Obsessively. JACK Huh. MILES They probably think my book is such a piece of shit that it's not even worthy of a response. I guess I'll just have to learn how to kiss off three years of my life. JACK But you don't know yet, so your negativity's a bit premature, wouldn't you say? Miles says nothing. JACK Or fuck those New York publishers. Publish it yourself. I'll chip in. Just get it out there, get it reviewed, get it in libraries. Let the public decide. Giving Jack a look that says Jack has no idea what he's talking about, Miles takes a stance over the ball and focu ses. JACK Don't come over the top. Stay still. MILES Shut up. JACK Just trying to be helpful. (a moment later) It's all about stillness, Miles. Inner quiet. Miles drops his club and turns to Jack. MILES Shut up! Shut up! Shut up! What's the matter with you, man? SHUT UP! JACK Why are you so hostile? I know you're frustrated with your life right now, but you can choose not to be so hostile. (holding out a cup of wine) Here. Still fuming, Miles begrudgingly accepts the wine and has a taste. He's immediately distracted from his woes. MILES What is it? JACK I don't know. Got it from Stephanie. Miles downs the rest and is intrigued by the taste. MILES Huh. Let me see the label. Suddenly a golfball THUDS against the hard fairway directly behind them. JACK (whirling around) What the fuck? Way back on the tee box, some 200 yards away, are a FOURSOME of two couples. One of the MEN is waving his driver. HUSBAND #1 (shouting, barely audible) Hurry it up, will you? Jack looks at Miles, the two incredulous. MILES Fucker hit into us. JACK (yelling) Hey, asshole! That's not cool! MILES Throw me his ball. Jack walks over, picks up the offending ball and tosses it to Miles. Miles gets out his 3 -wood and -- THWOCK! -- cuts it back low and hard. JACK Nice shot. THE COUPLES duck for cover as the ball whistles over their heads. JACK AND MILES laugh hard. THE TWO HUSBANDS climb in their CART and hasten down the fairway toward Jack and Miles. JACK watches their approach, grinning. JACK Oh, this is going to be fun. (jerking a driver from his bag) This is going to be fun. Jack heads in their direction, brandishing the club like a medieval knight with a mace. As the husbands get a look at this sight, they turn their cart around and speed back toward their wives. JACK Hit into us again, motherfuckers, and I'll ass -rape all four of you!",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. GOLF COURSE CLUBHOUSE - DAY Jack and Miles are turning in their cart and hoisting their clubs over their shoulders. JACK Just don't give up on Maya. Cool smart chicks like that --they like persistence. MILES I don't want to talk about it. JACK All I know is she's beautiful. Lots of soul. Perfect for you. I'm not going to feel good about this trip until you guys hook up. Don't you just want to feel that cozy little box grip down on your Johnson? Nearby a GOLFER is with his YOUNG SON. GOLFER Hey, you mind keeping it down, buddy?",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. GOLF COURSE PARKING LOT - DAY Miles and Jack walk toward their car. JACK Is it the money thing? MILES Is what the money thing? JACK With Maya. MILES Well, yeah, that's part of it. Woman finds out how I live, that I'm not a published author, that I'm a liar essentially, then yeah, any interest is gonna evaporate real quick. If you don't have money at my age, you're not even in the game. You're just a pasture animal waiting for the abattoir. JACK Is an abattoir like a... like a... what is that? MILES Slaughterhouse. JACK Abattoir. Huh. But you are going to get the good news this week about your book. I know you are. I can feel it. Jack's CELLPHONE rings, and he checks the caller ID. JACK It's Steph. (picking up) Hey, baby. Yeah. Oh yeah. Yesssss. I mean I would, but let me see. Hey, Miles... Oh fuck it, we're going. We'll be right there. Me too. He snaps his phone shut and turns to Miles. JACK We're on. MILES What's happening? JACK We're going to have some fun. Remember fun? We're going to have some of it. Okay? MILES What exactly are we going to do? JACK I said okay? MILES You have to tell me -- JACK I SAID OKAY? Miles finally smiles. MILES Okay. OMITTED BIG FUN MUSIC BEGINS OVER:",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DOWNTOWN LOS OLIVOS - DAY A HIGH WIDE SHOT -- The Saab pulls up where Stephanie and Maya await with bottles of wine and a PICNIC BASKET. The girls climb into th e back seat, and the car speeds away.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. THE SAAB - DAY They're going FAST, hair whipping around. MAYA Hey, Miles, I heard you came by the restaurant last night looking for me. MILES Oh, yeah. No. I mean yeah, I stopped by for a drink. Didn't see you. MAYA I had class. MILES Well, nice to see you now. MAYA You too.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. BEAUTIFUL ROAD - DAY WHOOSH! That car's going a little too FAST!,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. LA PURISIMA MISSION CHURCH The two couples wander around this historic site.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. IDYLLIC PICNIC SP OT - DAY INTO DUSK The girls have led them to a beautiful spot. IN A SERIES OF SHOTS -- we see the progress of their picnic. We don't hear them, but there is a growing intimacy about their int eraction. Even Maya and Miles seem to be overcoming residual awkwardness from the other night. Jack and Stephanie lean on each other as they eat and sip wine. Finally, the two couples are SILH OUETTED against the SUNSET.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. WINERY #3 PARKING LOT - EVENING The parking lot is crowded. The foursome join others headed toward the main building.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. WINERY #3 - EVENING A LECTURE by British wine sage LESLIE BROUGH is in progress. He holds aloft a RIEDEL BURGUNDY GLASS containing one of the few but growing number of local reds worthy of his attention. IN THE AUDIENCE -- As our foursome listen attentively, Jack leans over to Miles. JACK You ever actually read any of this guy's books? MILES He wrote a great one on Burgundy, and I used to get his newsletter, but then there were doubts about whether he does all his own tasting. Plus a couple of times he declared certain years vintages of the century, and they turned out to be turkeys. Fucker never retracted. JACK Huh. Stephanie leans forward and signals to Maya with a YAWN or a GAGGING FINGER IN MOUTH that they hightail it. Although Miles protests at first, they stand and leave. AT THE BACK OF THE ROOM -- Stephanie finds a DOOR which she tests to see whether it is open. It is! She leads her pals furtively inside --",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. WINEMAKING ROOM - CONTINUOUS This is an enormous, dimly -lit chamber filled with stainless steel FERMENTATION TANKS and stacks of OAK BARRELS. As the two couples walk in the near -darkness, they are entranced. Maya takes Miles's hand and leads him away. LATER -- In the background, Stephanie and Jack lean against a tank, kissing. CAMERA DOLLIES to reveal Miles and Maya among the barrels in the foreground. They are shy with each other, on the verge of kissing but holding back. THE MUSIC CONTINUES...",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. STEPHANIE'S LIVING ROOM - NIGHT THREE BOTTLES OF WINE sit empty on the coffee table. WIDE -- The four friends sit on the floor around the coffee table. They drink wine and pass a JO,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. Suddenly they explode in LAUGHTER. A sleepy Siena appears at the hallway door rubbing her e yes. Stephanie gets up, but Jack stops her, gathers Siena in his arms, and takes her back to bed.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. STEPHANIE'S HOUSE - NIGHT The Saab pulls away from the house.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. SAAB - NIGHT Miles sits in his own passenger seat as Maya tries her hand at the Saab.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MAYA'S APARTMENT BUILDING - NIGHT Maya leads Miles up her back stairway. They're both a little woozy from the hours of drinking. AT THE DOOR -- Maya searches through her purse for her keys while Miles hovers directly behind her, staring at her ear. Her ear? Just as Maya puts the key in the lock, he impulsively leans forward to kiss the nape of her neck. Maya's reaction is immediate -- she turns to embrace Miles, giving him a long KISS. Then she opens the door, pulls him inside and close s the door in our face. The camera PANS to the nearby ROOFTOPS. MUSIC ENDS AND SLOW DISSOLVE TO: THE SAME VIEW BY DAY, SUPERIMPOSED WITH -- THURSDAY The CAMERA PANS back to Maya's door, tilting down to find a blue-wrapped NEW YORK TIMES. The door opens, and Maya's hand picks up the newspaper. The CAMERA FOLLOWS Maya inside to --",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MAYA'S APARTMENT - CONTINUOUS It is a small, clean apartment furnished with simple taste. Maya is dressed in a ROBE and holds a COFFEE MUG. She drops the paper on the dining table and continues into -- THE BEDROOM -- where Miles lies on his stomach DEAD TO THE WORLD. His stubbly face is squished against the mattress and he SNORES lightly. Maya looks at him for a moment before shaking his foot.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FARMERS' MARKET - DAY This is a weekly event in a big PARKING LOT -- organic produce, candles and incense, honey and cider. Maya and Miles are shopping. Miles carries the bags.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ORCHARD - DAY Across from each other at a PICNIC TABLE, and surrounded by the remnants of BREAKFAST, Miles and Maya read the NEWSPAPER. Miles is doing the CROSSWORD PUZZLE. MAYA You guys should stop by the restaurant for lunch today. MILES Great. What's the latest we can get there? MAYA About two -thirty. MILES Okay. MAYA (noticing) Did you hear about this Bordeaux tasting dinner down in Santa Barbara Saturday night? It's a little pricey, but if you wanted to go, I'd be into it. Why don't you stay through the weekend? Miles has just figured out a difficult clue. As he writes it down -- MILES No, we've got to get back Friday for the rehearsal dinner. MAYA What rehearsal dinner? Miles stop s writing. MAYA Who's getting married?",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PARKING AREA NEAR THE ORCHARD - DAY Maya leads the way toward the Saab. MAYA Were you ever going to say anything? MILES Of course I was. I mean, just now I could have made up some story, but I didn't. I told you the truth. Maya turns to confront Miles with a look of ""Give me a break."" Miles reaches out to touch her. MILES Maya. MAYA (jerking away) Don't touch me. Just take me home.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SAAB - DAY Miles drives, glancing occasionally at Maya, who stares straight ahead. MILES I've told him. I've told him over and over, but he's out of control. MAYA Do you know what he's been saying to her? MILES He's an actor, so it can't be good. MAYA Oh, just that h e loves her. That she's the only woman who has ever really rocked his world. How he adores Siena. How he wants to move up here and get a place with the two of them and commute when he has to. MILES I'm sure he believed every word. A stony silence. MILES Please believe me. I was even on the verge of telling you last night, but... MAYA But you wanted to fuck me first. MILES Oh, Maya. No. MAYA Yeah.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MAYA'S APARTMENT BUILDING - DAY Miles brings the car to a stop. Maya opens the door and begins to get out. MAYA You know, I just spent three years trying to extricate myself from a relationship that turned out to be full of deception. And I've been doing just fine. MILES And I haven't been with anyone since my divorce. This has been a big deal for me, Maya -- hanging out with you, and last night. I really like you, Maya. And I'm not Jack. I'm just his... his fre shman roommate from San Diego State. Maya wants to let Miles's words reach her, but she can't just yet. MAYA Could I have my paper, please? Unsure what she wants at first, Miles reaches into the back seat for the New York Times. He hands it to her and watches until she goes inside.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. WINDMILL INN - DAY Miles pulls up and parks.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MOTEL ROOM - DAY As Miles enters, a shirtless Jack drops the Barely Legal and is immediately upon him, grabbing him in a big BEARHUG. The TV is on, perhaps showing an E! True Hollywood Story. JACK Yo! Yo! Here's my boy! Here's my boy! Who's your daddy, boy? Who is yo' daddy? MILES Put me down, Jack. Jack continues his paean to Miles's triumphant night. MILES I said put me down. Jack! Still gripping Miles in a bearhug, Jack flings the both of them onto the bed. Now on top of Miles, Jack KISSES both cheeks. JACK I'm so proud of you! Le t me love you! Now they get up off the bed. JACK So tell me everything. Details. I like details. MILES No. JACK What? MILES It's private. JACK You're kidding, right? Tell me what happened, you fucker, or I'll tie your dick in a knot. MILES Let's leave it alone. Jack looks at Miles, his face frozen with incomprehension. JACK You didn't get any, did you? (off Miles's silence) You're a homo. MILES Just stop, okay? Make something up, and that's what happened. Whatever you want. Write my confession, and I'll sign it. Just stop pushing me all the time! I can't take it! You're an infant! This is all a big party for you, but not for me! This is serious. And y ou -- Just... leave me alone, okay? You're fucking me up. JACK Wow. Okay. Calm down. Sorry. Miles begins to calm down. Jack grows concerned and sensitively puts one arm around his friend. JACK Did you have trouble performing? Yeah, that's... MILES Shut up! Shut up, Jack! The phone RINGS and both men look at it, silenced by the ominous sound. MILES Don't answer it. But Jack is drawn to it as though enticed by a strange game of Russian roulette. MILES I'm telling you, don't. Jack picks up the receiver and puts it to his ear. JACK Hello? Oh, hey, honey. How you doing? Uh-huh. Uh-huh. (mouthing) Christine. Miles lies on his bed and clamps both hands over his ears. His face is dark with resentment. JACK Listen, honey. Let me call you back. Miles and I are in the middle of something. No, it's nothing serious -- Miles is just having one of his freak - outs. Yeah. Love you too. I'll call you right back. Jack hangs up. MILES This whole week has gone sour. It isn't turning out like it was supposed to. (deadly serious) I want to go home. JACK Who's being selfish now? I'm the one getting married. I thought this week was supposed to be about me. MILES We gotta slow down. (closing his eyes) I'm so tired. Let's just get out of here. JACK I know what you need.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SEARS - DAY Jack watches Miles be fitted for SNEAKERS. A SALES ASSOCIATE ties Miles's laces. SALES ASSOCIATE There you go. Miles gets up and walks in a circle. MILES Do you like them? JACK Yeah, they're great. Sporty. They're really sporty. MILES Are they too sporty?",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MALL - DAY The boys exit S ears, Miles wearing his new shoes and carrying a PLASTIC BAG with a string handle. JACK Feel better? Miles shrugs. JACK (noticing something) Oh here, wait a second. I want to run in here real quick. He heads toward a TOYS STORE. JACK (over his shoulder) I want to get something for Siena. Mildly concerned, Miles watches Jack go into the store.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SAAB - DAY Miles is slumped in the passeng er seat as Jack drives. They pass a BIG COMMERCIAL WINERY. Jack slows down, preparing to turn in. JACK How about this one? We didn't hit this one. MILES Yeah, it's Frass Canyon. It's a joke. JACK You ever actually been in there, Miles? MILES I don't have to. JACK (turning the wheel) I say we check it out. You never know.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LARGE WINERY PARKING LOT - DAY The Saab finds a place in the large parking lot. A TOUR BUS, whose flank reads ""Solvang Wine Tours,"" is in the process of letting out WINE TOURIST S, many of them elderly.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LARGE WINERY - DAY The room boasts not only a large TASTING BAR but also display after display of t -shirts, golf shirts, olive oils, chocolate sauces and other go urmet tourist items emblazoned with the winery's logo. In the corner an ACOUSTIC GUITARIST with a small amp plays soothing Windham Hill -ish music. The tasting bar is packed three -deep with TASTERS attended to by HARRIED POURERS. Finally the POURER gets to their glasses. Miles chews a sip and swallows, then downs the rest in a single gulp. MILES Tastes like the back of a fucking LA schoolbus. Probably didn't de -stem, hoping for some semblance of concentration, crushe d it up with leaves and mice, wound up with this rancid tar and turpentine mouthwash bullshit. Fucking Raid. JACK I don't know. Tastes okay to me. (looking at the tasting sheet) Hey, they got a reserve pinot. MILES Let me use your phone. JACK (handing it over) What's up? MILES I can't take it anymore. I've got to call Evelyn.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LARGE WINERY - DAY Walking across the lawn outside, Miles holds the cellphone to his ear. ASSISTANT (ON THE PHONE) Evelyn Berman -Silverman's office. MILES Hi, it's Miles. ASSISTANT (ON THE PHONE) Oh, hi, Miles. Let me see if I can get her. (a moment later) You're in luck. I'll put you through. EVELYN (ON THE PHONE) Miles. MILES Hey, Evelyn, it's your favorite client. EVELYN (ON THE PHONE) How's the trip? MILES Good, good. Drinking some good wines and kicking back, you know. So what's happening? Still no word? EVELYN (ON THE PHONE) Actually there is word. I spoke to Keith Kurtzman this morning. MILES And? EVELYN (ON THE PHONE) And... they're passing. Conundrum's passing. He said they really liked it. They really wanted to do it, but they just couldn't figure out how to market it . He said it was a tough call. MILES Huh. EVELYN (ON THE PHONE) I'm sorry, Miles. (off his silence) So I don't know where that leaves us. I'm not sure how much more mileage I can get out of continuing to submit it. I think it's one of those unfortunate cases in the business right now -- a fabulous book with no home. The whole industry's gotten gutless. It's not about the quali ty of the books. It's about the marketing. Miles is at a loss for words. A distant RUMBLE begins to sound, the familiar harbinger of an anxiety attack.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. DEEP CANYON - INSERT Once again we see the narrow ROPE BRIDGE extending vertiginously across a great CHASM.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LARGE WINERY - BACK AGAIN EVELYN (ON THE PHONE) Are you there? Miles? MILES Yeah, I'm here. EVELYN (ON THE PHONE) I'm sorry, Miles. We did all we could. You've been a real trooper. (loudly, to her assistant) Tell him I'll call back. MILES So I guess that's it. EVELYN (ON THE PHONE) You're a wonderful writer, Miles. Don't be discouraged. MOMENTS LATER -- Miles STAGGERS toward the tasting room, unpocketing his Xanax and downing a couple, as Evelyn's clichés of consolation continue in his head. EVELYN (ON THE PHONE) Just hang in there, and who knows? After you get something else published, we can revisit this one. And next time we can try a different title. Once back a t the tent, he leans against it in a vain attempt to steady himself. The RUMBLE grows deafening.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LARGE WINERY - DAY Now inside, Miles grabs the first DIRTY WINE GLASS he finds and shakes it out as he approaches the closest tasting station. He pushes his way to front. The pourer offers the usual one -ounce dollop. Miles jacks it back, immediately extending his glass for more. MILES Hit me again. The same small amount is poured and downed. Once again Miles holds out his glass. MILES Pour me a full glass. I'll pay for it. POURER This is a tasting, sir. Not a bar. Miles slams a TWENTY -DOLLAR BILL on the table. MILES Just give me a full goddamn pour. The pourer turns away to serve another party. Miles looks around indignantly, as though everyone should be sympathetic to this injustice. Now Miles boldly reaches over and pours himself a glass right up to the brim and beyond. POURER Sir, what are you doing? MILES I told you I need a drink. POURER Then buy a bottle and go outside. The pourer grabs Miles by the wrist before he can drink. POURER Put the glass down. In the ensuing struggle, the wine spills, and everyone nearby steps back. POURER You're going to have to leave, sir. The pourer signals to a SECURITY GUY at the door. Across the room Jack notices the disturbance and heads over. Miles hoists up the SPIT BUCKET, holds it aloft and starts to GUZZLE it. Wine cascades down the sides of his face, onto his shirt and even onto his shiny new shoes. The Security Guy yanks the bucket away from Miles, and drags him toward the EXIT. Jack catches up. JACK (to the horrified onlookers) It's all right. His mother just died.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BEACH - DAY Two PELICANS soar low over the water. One of the DIVES, crashing into the water and disappearing from view. Jack and Miles sit on the hood of the Saab, gazing at t he ocean, sharing a bottle of wine. JACK Just write another one. You have lots of ideas, right? MILES No, I'm finished. I'm not a writer. I'm a middle -school English teacher. I'm going to spend the rest of my life grading essays and reading the works of others. It's okay. I like books. The world doesn't give a shit what I have to say. I'm unnecessary. (a dark laugh) I'm so insignificant , I can't even kill myself. JACK What's that supposed to mean? MILES You know -- Hemingway, Sexton, Wool f, Plath, Delmore Schwartz. You can't kill yourself before you've even been published. JACK What about that guy who wrote Confederacy of Dunces? He committed suicide before he got published, and look how famous he is. MILES Thanks. JACK Don't give up. You're going to make it. MILES Half my life is over, and I have nothing to show for it. I'm a thumbprint on the window of a skyscraper. I'm a smudge of excrement on a tissue surging out to sea with a million tons of raw sewage. JACK See? Right there. Just what you just said. That's beautiful. A thumbprint on a skyscraper. I couldn't write that. MILES Neither could I. I think it's Bukowski. Unable to respond, Jack looks up and down the beach.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BUCOLIC ROAD - DAY ZOOM! There goes the Saab. The CAMERA lingers behind and PANS to reveal THE DEAD DOG, now covered with FLIES AND MAGGOTS.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. WINDMILL INN - DAY Jack and Miles pull into the parking lot. JACK (lighting up) Oh, look. There's Steph! He smiles broadly and honks his horn. Miles turns to see -- STEPHANIE seated halfway up on the motel stairs, her HELMET in her lap, watching patiently as -- THE SAAB pulls to a stop in a parking space. Miles masks his con cern as he gets out of the car and reaches in the backseat for his Sears bag. JACK (calling out) Hey, baby. Stephanie stands up and slowly descends the steps, as Jack reaches into the trunk and pulls out a BIG CUDDLY LION DOLL. JACK Look what I got for our favorite girl. Stephanie walks toward Jack as he waddles toward her hugging the lion. When they get close, Stephanie's face transforms with rage. STEPHANIE YOU MOTHERFUCK ER! She swings her helmet and HITS JACK FULL IN THE FACE. Jack falls, blood spraying out of his nose. Stephanie stands over him and continues to BEAT HIM with her helmet as he rolls back and f orth, protecting his head with the stuffed lion. Miles ineffectually attempts to stop her, dancing just out of range. MILES Stephanie! Stop! STEPHANIE You fucking bastard! Lying piece of shit! You're getting married on Saturday? What was all that shit you said to me? JACK I can explain. STEPHANIE You said you loved me! You fuck! I hope you die! With that she backs away. Glancing at her bloodied helmet, she tosses it onto the pavement before getting on her bike. STEPHANIE Fuckface! (to Mile s) You too! As she speeds away, Miles is left to comfort his wounded friend. The lion lies nearby, staring blankly at the sky.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SAAB - DAY Seated in the passe nger seat and in great agony, Jack presses a BLOOD-SOAKED TOWEL against his face. MILES Aren't you glad you didn't move up here and marry her? JACK Don't need a lecture. You fucking told Maya, didn't you? MILES No, I did not. Must have been Gary at the Hitching Post. I think we mentioned it to him the first night. JACK You told him. I'm fucking hurting here. MILES Keep it elevated.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOSPITAL ER WAITING ROOM - DAY CLOSE ON A COSMOPOLITAN open to an article titled ""24 Ways To Please Your Man."" WIDER -- Miles reads, while nearby a YOUNG BOY dry -heaves into a garbage can held by his FATHER. An OLD WOMAN parked in a wheelchair faces the wall. LATER -- Miles is at a PA YPHONE. As he speaks he tries to peel off the metal LONG DISTANCE STICKER. MAYA (ON THE PHONE) Hi. It's Maya. Please leave a message. MILES It's Miles. Listen, I don't know if you even care, but I had to call and tell you again how much I enjoyed our time together and how sorry I am things turned out the way they did. I think you're great, Maya -- always have. From the first time you waited on me. (bracing hims elf) And while I'm at it, I guess you should know that my book is not getting published. I thought this one had a chance, but I was wrong. Again. Don't bother reading it -- you've got better things to do. So you see I'm not much of a writer. I'm not anything really. The only real talent I seem to have is for disappointing people and now you know that firsthand. We're leaving in the morning, and I want you to know that I take wi th me wonderful memories of you. I'm sorry. I'm really sorry. What else to say? He hangs up. He returns to his seat. A moment later he extends his legs to look at his new SHOES now STAINED WITH WINE. LATER -- Jack emerges unsteadily from the bowels of the emergency room, his face purple and swollen beneath the HUGE WHITE BANDAGE that holds th e NOSEGUARD in place. Miles walks with him toward the exit. MILES Well? JACK I'm going to need an operation. Maybe a couple of them. They have to wait for it it to heal first. Then they break it again. MILES Good thing you have a voice-over career. JACK Gonna fuck that up too. I should sue her ass. Only reason I won't is to protect Christine. MILES That's thoughtful. JACK (disgusted) Yeah. They walk by us and out the door.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. STREET IN SOLVANG - DAY Jack sits in the Saab's passenger side with the seat almost fully reclined. When his agony allows him to open his eyes, he glares at the DANISH THEMED STORES lining the street. An ABELSKIVER MAKER plies his lofty trade in a nearby window. He hears a strange CLOMPING NOISE and turns his head to see a MAN IN WOODEN CLOGS walking noisily down the street, dressed in a TRADITIONAL DANISH COSTUME and carrying a TUBA. Jack takes a slug of wine. Just then Miles gets back in the car. JACK I hate this place. Miles tears open a paper bag and removes a bottle of pills. A closer angle reveals them as VICODIN. MILES Take a couple of these, and you'll learn to love it. Miles opens the bottle and hands Jack two PILLS. MILES Two for you. And two for me. Jack washes down the pills and passes the bottle to Miles, who follows suit.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. WINDMILL INN JACUZZI - EVENING Jack and Miles sit across from each other. For the first time we see LARGE PURPLE BRUISES on Jack's arms and chest. JACK So how did Stephanie know it was Saturday? We didn't get into that with Gary. MILES Huh. Let me think. JACK You sure you didn't say anything to Maya? MILES Sure I'm sure. And just what are you implying? I'm really pissed off at you about all this, if you want to know the truth. What's Maya going to think of me now just for associating with you? You're the one who's sabotaging me, not the other way around, pal. Not by a longshot. Jack takes a long lie -detecting look at Miles. JACK I don't know. Just seems fishy.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MOTEL ROOM - NIGHT The boys lie on their respective beds staring at the TV. Jack gets up and lumbers slowly to the dresser MIRROR like a large dog who has just been neutered. JACK What's it look like to you? MILES Looks like you were in a bad car accident. Jack turns to Miles, nodding and thinking. Then he looks back in the mirror. JACK I'm hungry.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. A.J. SPURS BARBECUE - NIGHT Establishing. Thursday night is Cajun Wings Night.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. A.J. SPURS BARBECUE - NIGHT Miles and Jack are finishing their SALADS in the rustic - themed restaurant festooned with animal trophies. JACK You know what I'm thinking? MILES What's that? JACK I'm thinking it's time to settle down. One woman. One house. You know. It's time. MILES Uh-huh. Jack nods his head with no self -awareness or acknowledgment of the irony. NOW TWO PLATES ARRIVE mounded high with ribs, slaw, beans and butter -whipped mashed potatoes. JACK Mm. Mm. Their cheery, saftig blonde WAITRESS removes several FOIL PACKETS from her apron and places them on the table. WAITRESS And here're your Handi -wipes. JACK Oh, so that's what those are? For a second there I thought you guys were promoting safe sex. The waitress OVER -LAUGHS and swipes a hand at her naughty customer. WAITRESS I'll be right back with more corn bread. Jack watch es her go and leans in close to Miles. JACK I bet you that chick is two tons of fun. You know, the grateful type. MILES I don't know. I wouldn't know. Now she comes back toward the table carrying a BIG BASKET. Beneath the hideous uniform, her nylons SH -SH-SH as she walks. When she arrives, she replenishes their corn bread basket using big TONGS. Jack watches attentively. JACK Nice technique there... (checking her name tag) ...Cammi. CAMMI It's all in the wrist. (a moment later) You know, you look really familiar. You from around here? Where'd you go to high school? JACK No, we're from San Diego. Why? CAMMI I don't know. You just seem really familiar to me. Never mind. Enjoy your meals. JACK Hang on. Did you ever know a Derek Sommersby? CAMMI Doctor Derek Sommersby? You mean from ""One Life to Live""? Miles looks away and sighs. JACK You have to imagine him with a bandage and shorter hair. As Cammi stares at Jack, her face transforms in astonishment. CAMMI No. Way. No way! Jack smiles and nods. CAMMI Oh, my God! MILES Could you tell me where the bathroom is? CAMMI (her eyes barely leaving Jack) Uh, sure, it's right over there, right past the buffa lo. IN A WIDE SHOT -- Miles gets up and heads toward the bathroom as Jack's flirtation with Cammi continues. The camera PANS with Miles as he walks by us and goes through the bathroom door, which closes behind him, filling the frame with the word ""MEN."" LATER -- A TOOTHPICK DISPENSER as a finger tips it forward to dispense one. WIDER -- Miles stands by the cash register and PICKS HIS TEETH as he watches Jack finish speaking with Cammi and head his way. JACK She gets off in an hour, so I think I'm just going to have a drink and then... make sure she gets home safe. MILES You're joking, right? (seeing that he isn't) What are you doing? Un -fucking- believeable. Can we just go back to the hotel and hang out and get up early and play nine holes before we head home? Jack rests one hand on Miles's shoulder and drops his head, thinking how best to put it. JACK Look, Miles. I know you're my friend and you care about me. And I know you disapprove. I respect that. But there are some things I have to do that you don't understand. You understand wine and literature and movies, but you don't understand my plight. And that's okay. CLOSE ON MILES -- as the disappointment in his friend deepens by the moment. FADE TO BLACK: UNDER BLACK, SUPERIMPOSED -- FRIDAY Now comes the sound of hysterical KNOCKING.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MOT EL ROOM - DAWN Despite the knocking, Miles remains motionless in bed, his expression serene. Finally he awakens and drags himself toward the door, opening it to find -- JACK silhouetted against the first rosy fingers of dawn. He is barefoot. In fact he is clad only in his UNDERWEAR. Hugging himself, he PANTS and SHIVERS. JACK Jesus fucking Christ, it's freezing. He limps past Miles, yanks off the bed covers and wraps them around himself. JACK Vicodin. Where's the Vicodin? My nose. Miles hands him the bottle, and Jack frantically pops a couple of pills, chewing them like candy. He sits down and bends over at the waist as though preparing for an airplane cra sh. JACK Fucking chick's married. MILES What? JACK Her husband work s a night shift or something, and he comes home, and I'm on the floor with my cock in his wife's ass. MILES Jesus, Jack. Jesus. And you walked all the way back from Solvang? JACK Ran. Twisted my ankle too. MILES That's five clicks, Jackson. JACK Fucking-a it's five clicks! At one point I had to cut through an ostrich farm. Fuckers are mean. Miles has now awakened to take in the absurdity of the whole scene, and he LAUGHS HARD. The blanketed bulge just sits there. Finally it looks up and shows its pitiful visage. JACK We gotta go back. MILES What? JACK I left my wallet. My credit cards, cash, fuc king ID, everything. We gotta go back. MILES Big deal. We'll call right now and cancel your cards. JACK You don't understand. The wedding bands. The wedding bands are in my wallet. MILES Okay, so they were in your wallet, and you left your wallet somewhere. Some bar. Christine'll understand. JACK No. She ordered them special. Took her forever to find them. They've got this design on them with dolphins and our names engraved in Sanskrit. We've got to go back. Christine'll fucking crucify me. MILES No way. No way. JACK (a pitiful whine) Please, Miles , please. MILES Forget it. Your wallet was stolen at a bar. Happens every day. Jack stares straight ahead, breathing through his mouth as he considers this. Then -- JACK No, we've got to get my wallet! Those rings are irreplaceable! We've got to get them, Miles! I fucked up! I know I fucked up, okay? I fucked up. You gotta help me. You gotta help me. Pleeeease! Jack now descends to a level of wretchedn ess and desperation that Miles has never seen before in Jack, or in anyone else for that matter. JACK Oh, God, please... Oh God. I know I'm bad. I know I did a bad thing. Help me, Miles. Just this one thing, this one last thing. I can't lose Christine. I can't. I'm nothing without her. Please, Miles, please... uuuuu... uuuuuu.... uuuuuuu...... No longer able to form words, Jack is reduced to emitting low, primitive sounds. Snot flows from beneath his bandaged nose.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT./,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SAAB - MORNING Miles drives in the early -morning light. Jack is now subdued, quieted by his pain and exhaustion. MILES She tell you she was married? JACK Yeah. MILES So what the fuck were you thinking? JACK Wasn't supposed to be back till six. Fucker rolls in at five. MILES Cutting it a little close, don't you think? (off Jack's silence) So how was she? Compared to Stephanie, say. JACK Horny as shit. Flopping around like a landed trout.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. LOW -RENT STREET - MORNING The Saab creeps around a corner.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SAAB - MORNING Jack scans the street. JACK Yeah, this is the block. Just keep going... (spotting an AMC Pacer) Yeah! This is it. There's her car. Miles pulls over and cuts the engine. MILES So what's the plan? JACK The plan is... you go. MILES Me? JACK My ankle. Just go explain the situation. MILES (sarcastic, clearing his throat) Uh, excuse me, sir, but my friend was the one balling your wife a couple hours ago, and he seems to have left his wallet behind, and we were wondering... JACK Yeah, yeah. Like that. Just like that. Miles gives Jack a withering look. Jack reaches for the DOOR HANDLE. JACK Fuck you. I'll get it myself. MILES (grabbing Jack's shirt) Hold on.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. CAMMI'S STREET - MORNING Miles crosses the street and approaches --,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CAMMI'S HOUSE - MORNING Miles presses his ear against the front door. Nothing. Then he notices -- A SLIDING GLASS DOOR a few feet away, just barely cracked open. MILES creeps over, sticks his hand into the open space and pulls back the curtain to reveal -- A LIVING ROOM the is hideously MESSY. Draped over a deformed beanbag chair are JACK'S LEVI'S. Miles gathers his courage, carefully slides open the glass door, and creeps inside.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAMMI'S H OUSE - CONTINUOUS A furtive search of Jack's pockets reveals NOTHING. Then Miles notices a HIGH -PITCHED SOUND wafting from an open door down a short HALLWAY. Miles feverishly begins foraging t hrough the debris on the floor. Again nothing. Meanwhile the noise from the bedroom grows louder -- female MOANING in odd rhythmic unison with a MAN'S VOICE. IN THE HALLWAY -- Miles gets on ALL FOURS and starts crawling, weaving his way through a trail of shoes and clothes. Nearing the open door, the sounds grow more distinct -- MAN You don't think I fuck you, bitch? I'll fuck you. CAMMI I'm a bad girl. I'm a bad girl. Miles peers around the corner of the open door to see --",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAMMI'S BEDROOM - CONTINUOUS Cammi is TIED to the faux brass headboard. A BIG GUY slams away at her. In the corner a soundless TV shows a PRESIDENTIAL PRESS CONFERENCE. MAN You picked him up and you fucked him, didn't you, bitch? CAMMI I picked him up and I fucked him. I'm a bad girl. MAN And you liked fucking him, didn't you, you fat little whore? CAMMI I liked it when yo u caught me fucking him. Whoa! Miles manages to tear his eyes away from this nature documentary and scan the room. IRIS IN -- to the WALLET atop the dresser. Miles's eyes dart back and forth between the couple and the wallet. His HEART BEATING LOUDLY, he goes for it. He scrambles to his feet, dashes across the room, seizes the walle t and tears out. Behind him he hears -- MAN (O.S.) The fuck was that? CAMMI (O.S.) The wallet! He took Derek's wa llet!",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CAMMI'S HOUSE - CONTINUOUS Miles comes flying out of the sliding glass door, followed swiftly by the man, who is of course STARK NAKED. And he's fast for a man his size. CAMMI (O.S.) Get him!",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SAAB - MORNING Jack is reclined in the passenger seat FAST ASLEEP. On the radio NPR'S CARL KASSEL reads the news. THROUGH THE DRIVER'S WINDOW -- Miles comes sprinting towards us, mere steps ahead of Cammi's naked husband. Finding the car door locked, Miles knocks loudly on the glass, startling Jack awake. MILES Open up! Jesus! Open the goddamn door! Jack flips the electric locks just in time for Miles to get in before -- WHUMP! The guy' s BELLY hits the window. He pounds on the roof before trying the door, now re -locked. MAN You motherfuckers! I'll kill you! I'll kill you motherfuckers ! Miles starts the car and begins to drive away. The guy tries to keep up but can't, running barefoot on asphalt. Jack turns to look -- OUT THE BACK WINDOW -- The guy recedes in the distance. JACK removes the rings from the wallet. JACK You did it! You fucking did it! They LAUGH and SLAP HANDS. CLOSE ON MILES -- For all his failures, this time he did something right.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MOTEL ROOM - DAY The shades are drawn. Jack is CRASHED OUT on the bed, snoring loudly. Miles folds his sh irts and trousers -- readying his bags for departure. At one moment he stops and watches his friend sleep. A KNOCK at the door. Miles goes to answer it, but once his hand is on the knob, he pa uses. If we're perceptive, we will know he's hoping against hope that it's Maya. He opens it. It's just the MAID with her big CART. MAID Housekeeping. OMIT.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. 101 FREEWAY - DAY The Saab enters the freeway and heads south.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SAAB - DAY Miles drives while Jack stares out the window, WATCHING THE LANDSCAPE CHANG E as they leave wine country. MILES Hey, Jack. Jack. JACK Hrnrnrn? MILES That was quite a day yesterday. Jack's eyes close, but his lips spread into a smile. JACK Yep. Quite a day. MILES Quite a week.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. 101 FREEWAY - DAY A driving shot.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FILLING STATION - DAY Miles pumps the gas, while nearby Jack stretches his legs. As Miles puts the nozzle back i n place -- JACK Want me to drive? MILES No, I'm okay. JACK Hey, why don't you invite Maya to the wedding? MILES Somehow I don't think inviting Maya to your wedding is the right move. In fact, after your bullshit, it's going to be hard for me to even go to the Hitching Post again. JACK You're so negative. Miles replaces the hose and screws on the gas cap. JACK Come on, let me drive. MILES I'm fine. You rest. JACK I feel like driving.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SAAB - DAY As the car makes its way back toward the freeway, Jack looks over at Miles and slows the car to a stop. MILES What's wrong? JACK Nothing. Buckle up, okay? Miles obeys. Without hesitation, Jack accelerates and JUMPS THE CURB, heading into --",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. VACANT LOT - CONTINUOUS The Saab plows INTO A TREE.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. SAAB - CONTINUOUS MILES What the fuck! JACK (pointing at his face) You said it looked like a car accident. MILES What the fuck! JACK I'll pay for it.,FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. VACANT LOT - DAY They get out to inspect the damage. The hood is slightly crumpled, and the front fender is bent. MILES Look at this! JACK I don't know. Doesn't look like anybody got hurt in this one. MILES Oh, no. Oh, Christ. No, you don't. JACK You need a new car anyway. Miles looks at his friend, incredulous. JACK I said I'd pay for it. MOMENTS LATER -- The trunk is open, and the guys are unloading their cases of wine. Miles notices that one box is DRIPPING. MILES You broke some. JACK Whatever. Sorry. MILES No, not whatever. You fucking derelict. MOMENTS LATER -- Miles looks on as Jack hoists a FOUNDATION BLOCK toward the open driver's door of the Saab. JACK You ready? Miles waves his hand in a gesture of ""Get it over with."" Grunting with effort, Jack leans inside the car and drops the foundation block onto the GAS PEDAL. Direct hit! Jack leaps ba ckward and hits the dirt just in time. Miles and Jack watch the driverless Saab race toward the tree, its speed increasing. But just before hitting it, the car drifts to one side and SAILS RIG HT PAST. MILES Oh, fuck! The car zooms wildly across the vacant lot and, missing the tree, continues on until CRASHING THROUGH A FENCE and finally toppling headlong into a CEMENT TRENCH. Only the back of the car remains visible. The whole thing is finished in a matter of seconds. Still frozen in place, Miles and Jack turn slowly to each other. JACK It's okay. I've got Triple A.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. 101 FREEWAY - DAY From in front of the Saab, we see its now CRUMPLED HOOD and FENDER, a couple of BUNGEE CORDS h olding the whole thing together.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. PALOS VERDES STREET - DAY The Saab approaches the end of the line.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ERGANIAN HOUSE --DAY AT THE FRONT PORCH -- Miles has helped Jack carry his bags and the wine. He plops the last case down. MILES Well. That about does it. JACK Why don't you come in? MILES Uh-uh. You're on your own. JACK So I'll see you at the rehearsal. MILES Yeah. They give each other a brief manly back -slappy hug. JACK Love you, man. MILES Back at you. Miles heads toward the curb. JACK Hey, don't pull away till they see the car. MILES (over his shoulder) Yeah. (turning around) Hey, why wasn't I injured? JACK (big smile) You were wearing your belt. BACK AT HIS CAR -- Miles gets in and watches through the side window as Mrs. Erganian opens the front door and welcomes Jack with shock and disma y. Jack points back at -- MILES raising one hand in a feeble wave. The camera slowly MOVES CLOSER as he continues to watch -- JACK -- weaving his story of woe. He's a great actor when he wants to be. Mr. Erganian and a mortified Christine come to the door too. Mr. Erganian takes a few steps toward the car to get a better look. VERY CLOSE ON MILES -- watching the dra ma play out. Then his eyes drop as he momentarily loses himself in melancholy. This reverie is interrupted by -- THE VOICE OF AN ARMENIAN PRIEST Startled, Miles turns to look at -- A PRIEST who is singing the BLESSING OF THE RINGS. We are now in --",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ARMENIAN APOSTOLIC CHURCH - DAY The church is packed. CLOSE ON THE RINGS as the priest holds them aloft. If those rings could talk... Jack shoots a quick look at Miles, who looks right back. The priest continues his blessing.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ARMENIAN CHURCH - DAY AT THE TOP OF THE STA IRS -- The WEDDING FAMILIES greet the exiting guests in a RECEIVING LINE. Smiling and exuberant, Jack seems utterly at home as the new groom. AT THE BOTTOM OF THE STEPS -- Miles watches the scene, not without melancholy. Then -- VICTORIA (O.S.) Hey, Miles. Miles turns and looks up to see Victoria, standing one step above him. Just behind her is her NEW HUSBAND. He exudes the quiet confidence of a successful businessman who played college football, takes expensive skiing and sailing vacations, and hasn't read a novel sin ce high school. MILES Hi, Vicki. (taking her in) You look beautiful. VICTORIA Thanks. Um, this is Ken Cortland, my husband. From his spot hovering over Miles, Ken leans down and offers his hand. KEN How are you ? MILES Hi. How you doing? You're a lucky guy. KEN Thanks. (to Victoria) I'll wait for you at the car. (to Miles) Nice to meet you, Miles. MILES Ken. Exit Ken. MILES That was big of him. VICTORIA Yeah, he's good that way. Very considerate. MILES That's great. VICTORIA So how're you doing? MILES Since the last time we spoke? I don't know. Could be better. Could be worse. VICTORIA So what's happening with your book? MILES Universally rejected. Strike three. VICTORIA Oh, Miles. That's awful. What are you going to do? MILES Back to the drawing board, I guess. Or not. So... you're married. Congratulations. You look happy. VICTORIA I am. MILES Seems like everyone's getting married. A year ago it was all divorces. Now it's all weddings. Cyclical, I guess. VICTORIA I guess. Just then a BLACK LINCOLN NAVIGATOR pulls up alongside the curb. The passenger side window is halfway down, and the sounds of Adult Contemporary Jazz waft out. Victoria gives Ken a little wave. MILES (shifting gears) Well, let's go have some champagne, shall we? Toast all the newlyweds. VICTORIA Not me. I'm not drinking. MILES You quit drinking? VICTORIA I'm pregn ant. MILES (hit in the solar plexus) Oh. Huh. Well... (rallying) Congratulati ons again, Vicki. That's wonderful news. VICTORIA (going to the car) See you over there, Miles. MILES Yeah. As she gets in the car and cruises away, Miles glances back at -- THE RECEIVING LINE -- where Mike Erganian is introducing Jack to some dear old FRIENDS. Mike throws a loving arm around his new son -in-law, and Jack is drawn into Mike's bosom.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. STREET - DAY A HAND-PAINTED SIGN, attached to a STOP SIGH and decorated with balloons, reads: ""RECEPTION THIS WAY!"" with an arrow pointing RIGHT. One by one, CARS are making a right turn. But when his turn comes, Miles turns LEFT.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MILES'S APARTMENT COMPLEX - DAY The Saab pull up outside. Miles leaves the car idling as he sprints inside. Moments later he sprints back to his car, this time carrying SOMETHING. OMIT",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FAST FOOD PLACE - DAY His bowtie undone, Miles sits at a booth eating. He washes down a bite by draining the contents of a big wax -coated soft drink cup. He brings the cup to his lap and refills it from a BOTTLE OF WINE hidden next to him. As he sets the bottle back down, we glimpse the label: 1961 Cheval Blanc. He takes another sip. As the camera MOVES CLOSER, all the complex emotions inspired by the wine ri pple across Miles's face. 14-YEAR-OLD BOY (O.S.) ""The marrow of his bone,"" I repeated aimlessly. This at least penetrated my mind. Phineas had died from the marrow of his bone flowing down his blood stream to his heart.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MIDDLE SCHOOL CLASSROOM - DAY The voice belongs to one of Miles's PUPILS reading aloud in class. Other students follow along silently from their own copies of A Separate Peace. SUPERIMPOSED -- FIVE WEEKS LATER Miles sits behind his desk at the front of the class. 14-YEAR-OLD BOY I did not cry then or ever about Finny. I did not cry even when I stood watching him being lowered into his family's straight -laced burial ground outside of Boston. I could not escape a feeling that this was my own funeral, and you do not cry in that case. The students look up. 14-YEAR-OLD BOY Do you want me to keep reading the next chapter, Mr. Raymond? MILES (as though coming to) Hrnrnrn? No, we'll pick up there on Monday.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MILES'S APARTMENT - EVENING Miles enters his tiny apartment. He loosens his tie and puts down his satchel. On his way to the kitchen, he presses a button on his ANSWERING MACHINE. As it plays, he opens the REFRIGERATOR and looks inside. ANSWERING MACHINE One new message. MAYA'S VOICE Hello, Miles. It's Maya. Miles FREEZES, not wanting to miss a single syllable. MAYA'S VOICE Thanks for your letter. I would have called you sooner, but I think I've needed some time to think about everything that happened and what you wrote to me. Another reason I didn't call sooner is that I wanted to finish your book, which I fin ally did last night. Miles's heart pounds. MAYA'S VOICE I think it's really lovely, Miles. You're so good with words. Who car es if it's not getting published? There are so many beautiful and painful things about it. Did you really go through all that? It must have been awfully hard. And the sister character -- Jesus, what a wreck. But I have to say I was really confused by the ending. Did the father finally commit suicide, or what? It's driving me crazy. And the title.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SAAB - DAY THROUGH THE WINDSHIELD -- We see ourselves taking the BUELLTON EXIT. MAYA'S VOICE Anyway, it's turned cold and rainy here lately. But I like winter. So listen, if you ever do decide to come up here again, y ou should let me know. I would say stop by the Hitching Post, but to tell you the truth I'm not sure how much longer I'm going to be working there. I'm going to graduate soon so I'll probably relocate. We'll see.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MAYA'S APARTMENT BUILDING - DAY Miles climbs the wooden steps and approaches Maya's back door. MAYA'S VOICE Anyway, like I said, I really loved your novel. Don't give up, Miles. Keep writing. You're really good. Hope you're well. Bye. Miles takes a breath. Finally he KNOCKS. FADE OUT. THE END",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CUMBERLAND, RHODE ISLAND HIGH SCHOOL - MORNING It's the early 1980's and everyone is arriving at school. We push through the parking lot crowd to a nervous, lanky kid, TED PELOQUIN. MAN'S VOICE (V.O.) When I was sixteen years old I fell in love... CLOSE ON - RENISE, a tough girl with stringy brown hair and a shiny forehead, as she turns toward the camera. TED Hey, Renise. She barely looks at him as he approaches, just drags on her smoke. RENISE Hey. TED So what's up? RENISE Eh. TED Great. Great. (beat) So listen, uh, I was wondering if maybe you wanted to go to the prom you know, with me. Renise looks unenthused. TED (cont'd) It's no big deal, whatever I mean, if you want. RENISE See, the thing is, I heard a rumor that this guy I like was gonna ask me. TED Uh-huh. RENISE Yeah, so...I'm gonna wait and see what happens there...But that sounds great, yeah. Ted nods, confused. TED Okay. (beat) So is that a yes or a no? RENISE I think I was very clear, Ted. If everything else falls apart, maybe. Renise throws down her butt and storms off. TED I'm gonna hold you to that. CUT TO:",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ANOTHER PART OF THE SCHOOL PARKING LOT ANGLE ON - a pretty girl, MARY, climbing off a ten -speed in the school parking lot. She's athletic and tanned and doesn't have a bad bone in her body. MAN'S VOICE (V.O.) Her name was Mary. She'd moved to our little Rhode Island town from Minnesota two years earlier. She locks up the bike and starts walking toward the school. MAN'S VOI CE (V.O.) Mary was very smart, and very cool, and she had a faceful of eyes that promised you a better life if you could only know her. As she approaches the camera, we PAN to see Ted watching her. He's sitting on a picnic table with two FRIENDS. FRIEND #1 Hey, dirtbud, who you going to the prom with? Finally Ted takes his eyes off Mary. TED Ah, I don't know if I'm even gonna. You know, not my style. FRIEND #2 You have a style? FRIEND #1 Why don't you be a gentleman and ask Rosey? TED (perks up) Who? Friend #1 makes a jerk -off motion. FRIEND #1 Rosey Palm, your girlfriend. God knows you spend enough fucking time with her. The guys LAUGH. TED (out of ammo but doesn't know it) Yeah, and who are you gonna take, your own palm? His friends stare at him. FRIEND #1 Clever. I like the way you just spun that around on me. Friend #2 notices Mar y talking to her FRIENDS. FRIEND #2 I wonder who she's going with. FRIEND #1 Some guy named Woogie. TED Who? FRIEND #1 Big guy--goes to Barrington high school. This irks Ted. TED Woogie from Borrington high? Sounds like a loser. FRIEND #1 Loser? Woogie was all -state football and and basketball and valedictorian of his class. FRIEND #2 I heard he got a scholarship to Princeton but he's going to Europe first to model. This takes the wind out of Ted's sails. FRIEND #3 Yeah and he's got a huge cock. Everyone looks at him. FRIEND #3 (cont'd) I heard. Suddenly Friend #1 NOTICES something. FRIEND #1 Hey, check it ou t. THEIR POV - A large, goofy YOUNG MAN with an unfashionable crewcut comes walking up the street. He's in his early twenties and though the weather is mild he's WEARING EARMUFFS. He approaches a GROUP OF KIDS sitting on a car hood. EAR-MUFF GUY You seen my baseball? CAR HOOD KID #2 No. The kids watch as the Ear -Muff Guy approaches another group. EAR-MUFF GUY You seen my baseball? ON CAR HOOD KIDS CAR HOOD KID #1 (to his buddies) This guy must be in the 'tard squad. (to Ear-Muff Guy) Hey, buddy, come here, I think I know where your ball is. The Ear-Muff Guy heads back to the car. EAR-MUFF GUY You seen my baseball? CAR HOOD KID #1 Yeah, I seen it. That girl over there, she has it. Car Hood Kid #1 points to a BUSTY GIRL leaning against another car talking to her large BOYFRIEND. CAR HOOD KID #2 (cont'd) 'Cept she doesn't call it a baseball. She has another name for it... CUT TO: ON BUSTY GIRL - The Ear-Muff Guy marches up to her and her boyfriend. EAR-MUFF GUY You seen my pecker? GIRL What?! EAR-MUFF GUY You seen my pecker? The Boyfriend grabs him by the collar. BOYFRIEND You son-of-a-bitch, I'll kick your ass! The Boyfriend throws the Ear -Muff Guy to the ground and is about to pummel him when Ted intervenes. TED Take it easy, Smokey. BOYFRIEND/SMOKEY This fucking pervert just came on to Nance! TED All right, just be coo l. (under breath) He looks like he's not all there, you know what I mean? A crowd starts to gather which only incites Smokey more. BOYFRIEND/SMOKEY Get the fuck out of my way, man! Smokey tosses Ted out of the way and moves toward the Ear -Muff Guy. Just then Mary shows up and steps between them. MARY What's going on here? She bends down and helps the Ear -Muff Guy off the ground. MARY (cont'd) Are you all right? EAR-MUFF GUY Mary, you seen my baseball? MARY No, I haven't seen your baseball. Jeez, Warren, you know you're not supposed to leave the yard by yourself. BOYFRIEND/SMOKEY (to Mary) You know him? MARY He's my brother. BOYFRIEND/SMOKEY Oh. (beat) I didn't realize he was...you know... At this, Smokey and his girlfriend reluctantly head toward the school, along with most of the crowd. Mary turns her attention in the direction Ted wa s thrown. MARY You okay? HER POV - Ted is sitting in a mud puddle. He stands and brushes himself off. TED Oh yeah. Fine. MARY Thanks a lot, Ted. CLOSE ON - Ted. He can't believe what he's just heard. As Mary helps him up, she turns her attention to Warren. MAN'S VOICE (V.O.) That she knew my name blew my mind. Some of my best friends didn't know my nam e.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SUBURBAN STREET - MORNING Mary and a muddied Ted are walking Warren home. Warren lags behind, mumbling to himself. Mary notices that Ted is limping. MARY Hey, you're limping. Did you just hurt yourself? TED No, it's an old football injury. MARY Oh, are you on the team? TED No, a couple of the players and me were joking around and, uh, I fell off the school. Warren approaches and motions for Ted to hop on his back. WARREN Piggyback ride? MARY Warren, come on, leave Ted alone. Warren pats his back again. WARREN Piggyback ride. TED (to Mary) I don't mind. If you think he can hold me. MARY Oh he can hold you. He weighs two-hundred-and-thirty pounds. TED A real Clydesdale, huh Warren? Ted hops onto Warren's back. TED (cont'd) Giddy-up. Warren walks about five feet and stops. WARREN My turn now. Off Ted's reaction, we CUT TO: EXT . MARY'S HOUSE - DAY Muddy sweat is running down Ted's face as he struggles up a hill with Warren on his back. TED (straining) We're here, Warren. You wanna get off? WARREN Giddy-up. Ted rolls his eyes and continues toward the front door. Mary looks on, amused. MARY So who you taking to the prom? TED Huh? MARY The prom --you going? TED Oh, I don't know. I think proms are pretty dumb. MARY 'Cause I thought maybe you and I could go if you weren't already taking someone. TED I mean dumb in the sense that they only happen once a year. She smiles at this. MAN'S VOICE (V.O.) From that moment on the guys at school looked at me in a whole new light. CUT TO: CLOSE ON FRIEND #1 FRIEND #1 You're a fucking liar!",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CUMBERLAND HIGH SCHOOL - DAY PULLBACK TO REVEAL - Ted is leaning against his locker surrounded by a group of guys. FRIEND #2 You expect us to believe you're goi ng to the prom with Mary? What about Woogie? TED They broke up. She said he started getting weird on her. FRIEND #1 I got twenty bucks says you're full of shit. TED Oh come on, why would I lie? FRIEND #1 Because you're a loser, and in some warped way this gives you a momentary sense of worth. FRIEND #2 Put me down for fifty. FRIEND #3 I'm in. As the others join in, we CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. MARY'S HOUSE - TWILIGHT A tuxedoed and smiling Ted dri ves up in his parent's station wagon.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MARY' S FRONT DOOR - TWILIGHT Ted knocks on the door and Mary's gruff DAD answers. MARY'S DAD Yeah? What do you want? TED Um, hi, I'm Ted P eloquin. I'm here to take Mary to the prom. MARY'S DAD Prom? You're about twenty minutes late. She just left for the prom with her boyfriend Woogie. Ted looks devastated. Suddenly the door swings open revealing MARY'S MOM. MARY'S MOM Charlie, that's mean. Come on in, Ted. Don't listen to Mr. Wise Guy here. He's a joke a minute. TED Oh. (relieved) Oh, that's a good one.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MARY'S HOUSE - TWILIGHT Ted nervously enters and sees Warren watching T.V. in the den. TED Hey, Warren. Warren doesn't look his way. Just then Mary comes down the stairs looking as if the directors had really taken their time casting this role. Ted can't believe his eyes. MARY Hi, Ted. TED Hi, Mary. MARY'S MOM Poor Teddy --he's been getting it both barrels from the Wisenheimer here. MARY Dad, have you been busting Ted's chops? Mary's Dad shrugs. MARY (cont'd) Warren, did you say hi to Ted? WARREN (not looking up) 'Bout ten times. TED Hey, Warren, I think I know where your baseball is. This finally gets Warren's attention. WARREN You seen my baseball? We see Ted discreetly pull a BRAND NEW BASEBALL out of his pocket and palm it in his hand. TED Well, if it's a big white one with red stitching, I think I saw it right behind your ear .. Ted is reaching behind Warren's ear when suddenly Warren TAKES A SWIPE AT HIM, knocking him to the ground. MARY Warren!!! Ted HITS HIS HEAD on the coffee table. ON THE BASEBALL - as it rolls under the couch, stopping right next to the OTHER MISSING BALL. BACK TO SCENE - In a split second, Warren is up like a cat and DIVES ONTO TED. As MARY AND HER PARENTS SCREAM, Ted manages to free himself from the disabled man's clutches and GETS WARREN IN A HEADLOCK. MARY'S DAD (to Ted) What the hell are you doing?! MARY'S MOM Teddy, let him go! TED (out of breath) I'm trying...tell him to...calm down. The family jumps on Warren and finally break it up. MARY'S DAD (cont'd) (to Ted) Jesus Christ, guy, what the hell were you doing?! TED I was playing a trick. I -I-I had a baseball. MARY'S MOM What baseball? Where's a baseball? Ted looks around but there's no ball in sight. TED There was a ball I had a honest. As Mary helps Ted up, we see that his shirttail is out and his tie is hanging off. Mary's parents lead the frothing Warren back to the couch. MARY (to Ted) I'm sorry. I should've told you, he's got a thing about his ears. TED Oh. Okay. I gotcha. MARY Are you all right? TED Oh yeah. MARY'S MOM (to Mary) Honey, now you're all wrinkled. Mary looks down and frowns. MARY Ted, will you just give me one more minu te? I have to iron this thing. Ted starts to tuck his pants in as Mary and her mother head back up the stairs. Mary's Dad and Ted are left alone. And Warren. Ted rubs his head, sees a spot of blood. TED (to Mary's Dad) May I use your bathroom?",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BATHROOM - TWILIGHT Ted dabs his head with a tissue, then moves to the toilet. As he TAKES A LEAK he glances out the window to his left. TED'S POV - two LOVEBIRDS are perched on a branch. Ted smiles... ...at the SOUND of these beautiful tweeties singing their love song for themselves, for the spring, for Ted and Mary, and suddenly they fly away and we... SNAP FOCUS ...to reveal Mary in the bedroom window DIRECTLY BEHIND WHERE THE BIRDS WERE, in just a bra and panties, and just then her mother glances Ted's way and MAKES EYE -CONTACT with what she can only presume to be a leering Peeping Tom. ON TED... ...he loses the smile and ducks his head back into the bathroom, HORRIFIED. PANICKING NOW, he hastily zips up his fly and TED YEEEOOOOOWWWWWW!!!!!!!!!! TED GETS HIS DICK STUCK IN THE ZIPPER ! CUT TO:",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BATHROOM DOOR - NIGHT A concerned Mary, her Mom, Dad, and Warren are huddled outside the bathroom. MARY (knocking gently) Ted, are you okay? TED (O.S.) (pained) Just a minute. MARY'S MOM He's been in there over half an hour. (whispering) Charlie, I think he's masturbating. MARY Mom! MARY'S MOM Well he was watching you undress with a silly grin on his face. TED (O.S.) (pained) I was watching the birds! They all look at one another. MARY'S MOM Charlie, do something. MARY'S DAD All right, kid, that's it, I'm coming in.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BATHROOM - CONTINUOUS A whimpering Ted huddles in the corner as Mary's Dad enters. MARY'S DAD (cont'd) What seems to be the situation here? You shit yourself or something? TED I wish. Ted motions for him to close the door and Mary's Dad obliges. TED (cont'd) I, uh...I got it stuck. MARY'S DAD You got what stuck? TED It. MARY'S DAD It? (beat) Oh it. All right, these things happ en, let me have a look. It's not the end of the world. Mary's Dad moves closer and puts his reading glasses on.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BATHROOM DOOR - CONTINUOUS As Mary, her Mom, and Warren listen in... MARY'S DAD (O.S.) OH FOR THE LOVE OF GOD! TED (O.S.) Shhhhhh!",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BATHROOM - CONTINUOUS MARY'S DAD (CALLS OUT) Shirley, get in here! You gotta see this! TED What?! No please, sir -- MARY'S DAD She's a dental hygienist. She'll know what to do. Mary's Mom comes in and closes the door behind her. MARY'S MOM Teddy, hon, are you okay? (moving closer, seeing the situation) OH HEAVENS TO PETE! TED Would you shhh! Mary's gonna hear us. MARY'S MOM Just relax, dear. Now, u m...what exactly are we looking at here? TED (dizzy) What do you mean? MARY'S MOM (delicate) I mean is it...is it...? MARY'S DAD (gruff) Is it the frank or the beans? TED I think a little of both. Suddenly we hear Warren from outside the door: WARREN (O.S.) Franks and beans! Ted hangs his head.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. BATHROOM DOOR - CONTINUOUS Mary and Warren are huddled outside the door. MARY (to Warren) Shhhh. MARY'S DAD (O.S.) What the hell's that bubble? Mary REACTS to this.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BATHROOM - CONTINUOUS TED One guess. MARY'S DAD How the hell'd you get the beans all the way up top like that? TED I don't know. It's not like it was a well thought-out plan. MARY'S MOM Oh my, there sure is a lot of skin coming through there. MARY'S DAD I'm guessing that's what the soprano shriek was about, pumpkin. MARY'S MOM I'm going to get some Bactine. TED No, please! Suddenly a POLICE OFFICER sticks his head in the bathroom window. POLICE OFFICER Ho there. TED (humiliated) Oh God. POLICE OFFICER Everything okay here? Neighbors said they heard a lady scream. MARY'S DAD You're looking at him. C'mere and take a look at this beauty. TED No, that's really unne ces-- But the Officer's already climbing in the window. Once inside, he turns his flashlight on Ted and WHISTLES. POLICE OFFICER Now I've seen it all. What the hell were you thinking? TED (frustrated) I wasn't trying -- POLICE OFFICER Is that bubble what I think it is? Mary's parents nod. POLICE OFFICER (cont'd) But...how...how'd you ge t the zipper all the way to the top? MARY'S DAD Let's just say the kid's limber. The Officer makes a face, then rolls up his sleeves. POLICE OFFICER Well, there's only one thing to do. TED No, no, no, I'll be fine. I'll just hang my shirttail out and work on it in the morning. POLICE OFFICER Look, son, this'll only hurt for a second. The Officer reaches down and takes hold of the zipper. TED No, no, please! MARY'S MOM Teddy, be brave. WARREN (O.S. ) Beans and franks! MARY (O.S.) Warren, shhh. Defeated, Ted holds his breath and braces for the worst. POLICE OFFICER It's just like pulling off a Band -aid. A-one and a-two and... CUT TO: PARAMEDIC We got a bleeder!",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MARY'S HOUSE - NIGHT TWO PARAMEDICS rush Ted out the front door on a stretcher. Mary runs alongside him holding a towel on his crotch. while a THIRD PARAMEDIC dabs at his crotch with a towel. Mary's Mom and Dad are out front along with two FIRETRUCKS, four POLICE CARS, and a crowd of about thirty NEIGHBORS. PARAMEDIC (to Mary) Keep pressure on it! Mary does as she's told. MARY (running along) Ted, I'm so sorry. Are you going to be okay? TED (irrational cockiness) You betcha! He gives her two thumbs up as they slide him into the ambulance.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. AMBULANCE - CONTINUOUS The doors SLAM shut and as the ambulance pulls away Ted starts to WHIMPER and we can see Mary fade into th e night, as we DISSOLVE TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PSYCHIATRIST'S OFFICE - PRESENT DAY Ted, now in his 30's, lays on his therapist's couch. TED ...Anyway, school ended a few days later and that July her father got transferred to Florida. The CAMERA PANS up to reveal that the CHAIR BEHIND HIM IS EMPTY. Ted has been telling all this to no one . TED (con t'd) It took me half the summer to pay off all those bets. (sighs) I never did see Mary again. That was about twelve years ago. Just then the door quietly opens and Ted's PSYCHIATRIST tip -toes back into the room and takes his seat. (He has a dab of mustard on his chin and has forgotten about the cloth napkin tucked into his collar.) PSYCHIATRIST Uh-huh. Interesting. The Psychiatrist notices the napkin and quickly wipes his chin, then tosses it aside. TED Anyway, it's not something you exactly forget about, but I guess I must've blocked it out of my head. Then a bout a week ago I'm driving on the highway and I got to thinking about Mary and suddenly I couldn't breathe...I couldn't keep up with the flow of traffic anymore I felt like I was going to die. I pulle d into a rest area, parked the car, and just started shaking. The Psychiatrist scratches his chin. PSYCHIATRIST You know...rest areas are homosexual hang-outs. TED Huh? PSYCHIATRIST Highway rest areas --they're the bathhouses of the nineties for some gay men. Ted thinks about this, then glances back at the shrink. TED What are you saying? PSYCHIATRIST (checking wristwatch) Oops, time's up. We'll have to delve into that next week. Off Ted's look, we CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DRIVING RANGE - DAY Ted and his friend DOM are blasting a couple buckets. DOM Gay? He said you were gay? TED He implied it. DOM Well you're a writer, and a lot of writers are gay. Look at Truman Capote. TED Yeah, but he was successful. DOM Let me ask you this: When you smoke a cigar, do you ever pretend it has balls? Ted appears to think about this. TED Come on, that wouldn't make me gay. DOM I'm going to fix you up with my new assistant. TED What's he like? Dom LAUGHS, then watches as Ted hits a ball. DOM You're leaving it out. Finish your swing. (beat) You're going to like this one --she's half Asian, half American. TED Good-looking? DOM I just told you, she's half Asian. half American . They're all good looking. You could mate Don Rickles and Yoko Ono and they're going to have a gorgeous kid. It's a foolproof combo. Ted thinks about it. TED What's the point? Let's face it, Dom, I'm in a slump. (SIGHS) Lately I've been feeling like...well...like a loser. DOM Loser? You? Ted shrugs. DOM (cont'd) Give me a break. Remember five years ago, when your kidneys failed? If you were a loser would they have been able to find a donor with an exact tissue match? What are the odds of that, one in a million? TED Oh, so I'm lucky because my brother got killed in an explosion? DOM I never said that. I'm saying your lucky those kids found his kidneys. (beat) Besides, your brother Jimmy never gave a shit about you. Ted gives him a look. DOM (cont'd) You know, you're a real glass -is-half-empty guy. You got a fucking guardian angel, man. Ted manages a small smile. Just then, Ted's cell phone R INGS. TED I gotta take this, it might be my boss. (flips phone open) Ted here. GARBLED VOICE (on phone) You're a cocksucking motherfucking piece of puke! Whoever it is HANGS UP. Without reacting, Ted closes the phone and puts it back in his pocket. TED Yep.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DOM'S HOUSE - DAY Dom and Ted are drinking beer while sitting on Dom's front steps. We see signs of kids everywhere: a tricycle, six -foot basketball hoop, dolls, etc. DOM'S WIFE comes out and hands them each a cigar. DOM'S WIFE I thought you guys might like these with your beers. DOM Thanks, baby. She goes back inside. TED See, that's what I want. I don't need these bimbettes you got me chasing. I want what you have. A family....Someone to...you know...love. These guys don't usually talk about this crap, and Ted gets a little embarrassed. TED (cont'd) It must be great with a wife like that. DOM Each day is better than the n",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","ext. (beat) Have you ever been, you know...in love with someone? TED Nah. DOM Never? TED Well once. Mary. Dom SIGHS. DOM Mary again. TED Look, I admit it was brief, but it was definitely love. Crushes don't last twelve years. DOM Whatever happened to Mary? TED I told you, her family moved to Miami. DOM I mean since then. TED I don't know. DOM Well why don't you look her up? TED (sarcastic) Yeah, right. DOM Why not? TED Because I guarantee she's married and has a couple kids. Girls like Mary don't stay single. DOM What if you're wrong? You just said she's the only girl you ever loved, what have you got to lose by calling her? TED I did try calling her. (sheepish) A few years ago. She wasn't listed. DOM So that was it? One bump in the road and you gave up? TED I also called Unsolved Mysteries . DOM You're kidding? What did they say? TED They told me they don't help out stalkers. (beat) Look, maybe they're right, it's been a long time. DOM I got it --you hire a private eye, fly him out there, he follows her around a couple days, she'll never know a thing. Ted considers this. TED No. No fucking way. That's too creepy. Dom thinks a moment, then SNAPS his fingers. DOM Wait a second. There's a guy named Healy in my office who might be able to help you out. He's a claims investigator and he goes to Miami every couple weeks. As Ted thinks about this, we CUT TO: ESTABLISHING SHOT of a big insurance company - MORNING",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PROVIDENCE UNION INSURANCE COMPANY - HALLWAY - MORNING Ted and Dom are walking down a hallway. TED I don't know about this, Dom. DOM Relax, this guy owes me a big one. A couple years ago he got in a jam up in the Boston office; some bullshit about padding his resume--like we haven't all done that. Anyway, they were going to let him go but his mother wrote a tear -jerker letter that ended up on my desk. TED His mother? DOM Yeah, I guess he still lives with he r. Seemed like a sweet lady --got diabetes or something --so I went out on a limb and got him transferred down to Providence. TED And you think he could find out her number for me? DOM He'll do better than that. I'll send him down to Miami on business, you throw him a couple bucks on the side, and he'll track her down. Ted thinks about this. DOM (cont'd) Just let me warn you --This guy runs a little hot, but he gets the job done. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEALY'S CUBICLE - MORNING Ted is seated inside a small cubicle across the desk from PATRICK HEALY, a shaggy -looking guy in a mis -matched three -piece suit. Healy looks more like a used -car salesman than an insurance investigator. HEALY So, Dom tel ls me you're looking for some lady-friend you knew in high school. TED Uh-huh. HEALY Any idea where I might start looking? TED She moved to Miami Beach twelve years ago. I checked directory assistance down there and she's not listed. She might've moved ten times since then. HEALY (skeptical) All you want i s a phone number? TED Well, I know you're busy HEALY Don't play games with me, Ted. TED I don't know, maybe you could poke around for a half day and see if she has five kids and a Labrador. HEALY I don't buy it. TED You don't buy what? Suddenly Healy is in his face. HEALY Ted, I'm the kind of guy who shoots from the hip. Now I want you to level with me: Did you knock this skirt up? TED (indignant) No. HEALY She's blackmailing you, right? TED (more indignant) No. HEALY You want her dead, don't you? TED You can't be serious. HEALY Do you really expect me to believe this is a straight stalker case? TED I'm not a stalker ! She's a friend of mine. HEALY Sure she is. That's wh y she got an unlisted number and you haven't heard squat from her in a dozen years. Oh you're good, Ted. You're a real piece of work. TED (stands) Look, let's forget it. Let's forget the whole thing. HEALY I get one hundred a day plus expenses. TED (LAUGHS at Healy's nerve) You get fifty a day, period. It's a business trip, they'll pay for your expenses. Healy thinks about it. HEALY Okay, Ted, I'll do it. But if this chick turns up with a toe tag, I'm rolling over on you. CUT TO: ESTABLISHING SHOT - of Miami Beach",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. COLLINS AVENUE - DAY Healy waits alone on a corner carrying one bag and a RACK OF BEERS. Suddenly a '89 Chrysler Lebaron convertible with a GREAT DANE in the back SCREE CHES to a halt in front of him. The driver, SULLY, is a muscular, well -groomed man in his thirties. SULLY Healy you dog! HEALY (checking out car) Fucking Sully! Look at you! SULLY (Boston accent) You hot shit. Ya look fuckin' pisser.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CHRYSLER LEBARON - DAY The dog is catching wind in the backseat and Sully hands Healy a packet. SULLY Here's the info you asked for. HEALY Thanks. SULLY You should thank me --that girl was not easy to find. What'd she scam you out of -some insurance dough? HEALY Nah, some guy threw me a few bucks to track down his high school girlfriend. SULLY Stalker, huh? HEALY Big time.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SULLY'S APARTMENT - DAY This place is modest and clean but it has a direct view of South Beach. Healy puts his bags down and looks around. HEALY Very nice. SULLY I'm doing okay. (checks watch) I gotta get ready for work. Sully ducks into the bedroom and Healy looks around the apartment. HEALY Okay? With this pad, the killer wheels? Looks like yo u really cleaned up your act. SULLY (O.S.) What can I tell you? It's a healthier lifestyle down here, and it's easier to succeed when your head's clear. Those guys I worked with back in Boston, they were a bad influence. HEALY Fuckin' animals. Hey, what do you say we go grab a couple drinks. SULLY (O.S.) Not for me, buddy. I don't drink anymore. HEALY Yeah, and you don't drink any less, right? Suddenly a huge Boa Constrictor slithers up on Healy's lap. HEALY (cont'd) What the...?! Sully comes back in th e room wearing a police uniform. SULLY Take it easy, that's Bill. HEALY Tell Bill to get the fuck off! SULLY (smiling) Relax, he just ate. Healy just stares at his friend. SULLY (cont'd) (proudly) Nineteen months I been sober. HEALY What are you talking about? You were never an alky, you were a cokehead. SULLY Yeah, well when you quit blow, you gotta quit the booze, too. HEALY Is that right? Well good for you, Sull, I'm proud of you . Healy pops open one of his beers and hands it to Sully. HEALY (cont'd) Here, just have one of these then. SULLY Healy, what I just tell you? HEALY This is a light beer. You can't have a light beer? SULLY No I can't. Healy stares at him, baffled. HEALY Sully, it's one fuckin' beer for Christ sakes. (holds up beer) Ooh, the big bad beer's gonna get ya. Sully stares at the beer, weakening. HEALY (cont'd) I'm worried about you, man. You better learn to have a pop once in a while or you're gonna fall off the wagon. You're being a fanatic and that ain't healthy. SULLY Am I? HEALY Bet your ass you are. Now I don't want to hear anymore o f your happy horseshit. You gotta learn how to bend a little or believe me...you're gonna break. Finally, Sully takes the beer. He stares at it a moment and then sips. SULLY Jesus, you know what? This shit doesn't even taste good to me anymore. HEALY Ah, fuck ya then, you big pussy. What are you, spotting? Healy takes the beer from Sully and as he chugs it, we CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CHRYSLER LEBARON - DAWN Healy is on a stakeout. He's dozing. He's been here for hours, food wrappers litter Sully's car. He's wearing Walkman -type HEADPHONES which are connected to a RADIO SURV EILLANCE MICROPHONE attached to a pair of BINOCULARS. Suddenly MUSIC explodes through his headphones --Healy's jolted awake. Who threw the grenade? Recovering, Healy aims the binoculars toward... HEALY'S POV - MARY'S APARTMENT ACROSS THE STREET Healy has a clear, unobstructed view into Mary's apartment. The music is coming from Mary's clock radio. MARY sits up in bed and shakes herself awake, like someone's just poured cold water over her. She cranks the music even LOUDER. Mary hops out of bed, wearing only her panties, and though she's a little older now, she still looks well cast. CLOSE UP - ON HEALY - he's become extremely interested in his work. As much as Healy's enjoying the show, he's got a job to do--he speaks into a MICRO -CASSETTE RECORD ER: HEALY (into recorder) Okay, Ted, I found your Mary. Her current address, two -niner-eight Euclid Avenue, Miami Beach. Husband, negative. Children and Labrador, negativ e. Extremely nice ass, affirmative.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MARY'S APT. - DAY Mary walks into the living room where we see an old woman, MAGDA, sitting on the couch LISTENING to a stack of RADIO SCANNERS. MARY Have you been up all night again? MAGDA Bet your ass I have. It's an important job, Neighborhood Watch is. MARY Neighborhood Watch? Is that what you call listening in on stranger's phone conversations? MAGDA These ain't strangers, they're neighbors . This only picks up signals in a half -mile radius. MARY Meaning? MAGDA Meaning these are the people you live amongst, you got a right to know if they're creeps. For instance, did you know there's a guy down the hall cheating on his wife? MARY (feigning shock) You picked that up on the scanner. We gotta move. MAGDA I confirmed it on the scanner. I knew something was up because Puffy used to bark like hell whenever he saw him and you know Puffy only barks at bad people. Magda pats her little dog PUFFY on the head. MARY Magda, Puffy barks at everyb ody. MAGDA That's because there's a lot of bad people out there. Hey, Puffy tried to warn you about that Steve guy you was seeing --he was a fucking asswipe --but you had to find out for yourself, didn't you? MARY Okay, you win. Now try to get some sleep, huh. Mary gives Magda a kiss and heads to her bedroom. CUT TO: MUSIC MONT AGE - as Healy follows Mary around town.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. EUCLID AVENUE - MORNING Mary exits her apartment and bounces out into the world. There is a HOMELESS MAN sitting on the sidewalk. Mary flips him an apple, then jumps in her Honda Civic and drives off.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. DRIVING RANGE - MORNING Mary is at the range HITTING a couple buckets of balls. ON HEALY - watching from the parking lot. HEALY (into mic) Looks like we got an athlete on our hands.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MACDONAL D'S DRIVE -THRU WINDOW - MORNING Mary waits in the drive -thru lane reading the SPORTS PAGE. Finally the window opens and she is handed a HUGE BAG OF FOOD. PAN TO Healy watching from his car. HEALY (into mic) Well, from her figure and her appetite, I'm guessing she's either got a bowel disorder or we've got a hurler on our hands.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SPECIAL ED. CENTER - MORNING Mary's brother Warren is wearing a walkman as he plays catch out front with a SPECIAL ED TEACHER while several other MENTALLY -DISABLED PATIENTS entertain themselves. Mary pulls up, gets out, and starts handing out Egg McMuffins. MARY Get in line. One at a time. A fat patient, GARY, approaches. GARY Can I have two, Mary? MARY Yeah, you can have two halves, just like everyone else. GARY Thanks. Gary takes his and walk s off. A couple more patients and then bucktoothed FREDDIE steps up to her. FREDDIE Will you marry me, Mary? MARY Oh yeah, pretty boy? And what about Dolores? Mary points to another PATIENT staring bashfully at Freddie. FREDDIE Would you marry us both, Mary? MARY Yeah, that'd be a good deal for you, wouldn't it? Freddie moves off and fat Gary is back, trying to be inconspicuous. MARY (cont'd) Wow, this is weird. There was somebody who looked just like you here a minute ago. Mary smiles and hands Gary another McMuffin. CLOSE ON Healy. HEALY (into mic) Ixnay on the big appetite. (beat) She's just got a big heart.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BEACH BAR - DAY Neighborhood restaurant and bar. After -work crowd. Mary and her friends, BRENDA, LISA, and JOANIE are sitting at a table under an umbrella. Lisa reads from the PERSONALS COLUMN in South Beach Magazine . LISA Listen to this one --'Seeking sensitive Wasp doctor to share candle lit dinners, long walks in Coconut Grove, marriage.' BRENDA What does this girl want, a corpse? You gotta be more specific: 'Seeking deaf mute with three pound cock and trust fund.' JOANIE No, it should be 'a hockey player with great pecs.' MARY Ugh, not pecs. Sounds like one of those guys with a fish -net shirt and a banana hammock. PAN TO the bar where we see Healy eavesdropping on their conversation. BRENDA (O.S.) (to Mary) I suppose you wouldn't like someone with a washboard stomach like Brad Pitt? BACK ON Mary and friends. MARY I'm just saying I don't mind a guy with a bit of a beer belly. It means he's a guy. You can have those pretty boys who hang out in a gym all day staring at their reflections. ON HEALY HEALY (quietly into mic) A girl after your own heart, Ted. BACK ON Mary and friends. JOANIE I can live with those reflections. MARY I'm sick of these calorie -countin' pansies. Give me a guy who likes kielbasa and beer and playing thirty -six holes and still has enough energy to take me and Warren out to a ballgame. JOANIE (sarcastic) Jeez, I don't know where you're ever going to find a guy like that. MARY But here's the rub. The guy I'm talking about has got to be self -employed. LISA You mean, like an architect or something? MARY Architect, yeah. BRENDA You mean creative, but not poor. MARY No, it's not the money. Creative, yeah, that's good, but it's the freedom I'm talking about. See, this guy has to have a job he could do anywhere. That way we could just up and leave at the drop of a hat. LISA And where would you and your beer -bellied architect be leaving to? MARY I don't know. The Super Bowl, New Orleans Jazz Festival...maybe a couple months in Nepal. JOANIE Yeah, and you'd probably dump the poor guy halfway to Katmandu. MARY What's that supposed to mean? JOANIE It means yo u're too hard on guys. MARY No I'm not. JOANIE Oh come off it, Mare. What about what's-his-name...Steverino? You could've at least passed the baton on that one. The girls LAUGH. MARY Yeah, Steve. Steve was all right for awhile. JOANIE All right for awhile? The guy's good-looking, rich, witty. He was a god. LISA At one point you were talking about marrying him. Come on, why'd you dump him? Mary thinks about this. MARY I don't know, it was complicated. He's in San Francisco, I'm in Miami. (dodging question) Besides, Magda's psychic dog hated him. JOANIE Is that old crab still with you? Mary, you said you were putting her up for a month--it's been a year and a half. MARY Ah, she's okay. LISA Mary, cut the crap, what really happened with Steve? MARY Nothing. I mean, you know my brother. (sighs) Warren. JOANIE What? Steve seemed to put up with Warren. MARY I don't want someone who'll put up with him. I want someone who will enjoy him, the way I do. Do you know what he told my friend Tucker? He said he would've popped the question a lot earlier if Warren wasn't in my life. (beat) Well he is in my life and I'm goddamn lucky to have him. The hell with Steve. Everyone is touched by this. Then: BRENDA Well, that's the last time I blow him behind your back. As the girls L AUGH, we CUT TO:",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MARY'S APARTMENT - NIGHT Healy sits out front in his car again waiting for Mary to get home. He picks up the phone, dials a number, and someone answers but doesn't speak. HEALY Hello...? Sully...? (beat) Sully, that you? SULLY (V.O.) (over phone) Who the fuck is it to you? HEALY Sully, it's Healy. What's going on over there?",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SULLY'S APARTMENT - NIGHT Sully is sitting on the kitchen floor in his police uniform, a ring of white around his nostrils. The room is littered with beer cans, he has another one in his han d, there's a pile of cocaine and a rolled -up bill on the breakfast table. The dog and the snake are in the doorway looking at him with concern. SULLY (into phone, sloshed) Fuckin' Patrick Healy, you think your shit don't stink. Well I got news for you--you're goddamn right it don't! How the hell are ya?!",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEALY'S CAR - NIGHT Healy looks at the phone, concerned. HEALY Uh, I'm fine. Just wanted to let you know I'll have your car back in a couple hours, I'm still staking out this girl's apartment. SULLY (V.O.) You found my car?! Just then Healy notices Mary pull up and park. He slides down in his seat. ON MARY - she gets out carrying a bag and approaches the Homeless Man, who is still sitting on the sidewalk. She hands him the bag. HOMELESS MAN Thanks, Mary. MARY You watch out for yourself, Herb. As Mary bounds up the steps of her building, we HOLD ON the Homeless Man as he happily takes a sandwich and soda out of the bag.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MARY'S APARTMENT - NIGHT As Mary rushes into the apartment, Magda is glued to her radio scanner, listening intently. MAGDA Jesus, Mary, you gotta hear this --some cop's staking out this broad's apartment. MARY No time, Magda, my show's starting. BACK ON HEALY ... ... he can hear the conversation through the SURVEILLANCE EQUIPMENT pointed at Mary's place. MAGDA (V.O.) This is a good one, Mare. Sounds like his partner's all lubed up. HEALY (quietly into phone) Call you back. SULLY (over phone) God, I miss ya, ya fuck - Healy hangs up abruptly.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MARY'S APARTMENT - NIGHT MAGDA Ah, Christ, I lost 'em. Mary runs into her bedroom, shuts the door and flips on the tube just as ESPN Sportscenter's OPENING THEME SONG is playing. Relieved, Mary lays back on her bed and starts watching. DISSOLVE TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MARY'S ROOM - NIGHT Mary is now watching Andy Griffith while SMOKING A JOINT and GIGGLING away in bed. ON HEALY - he's sit ting in his car, GIGGLING, too. HEALY Fucking Barney...he never learns...",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MARY'S ROOM - NIGHT As the show's end credits start to WHISTLE AWAY, Mary stands and starts to UNDRESS for bed. BACK ON HEALY - he sits up, very interested now. HEALY (into mic) Here we go, Teddo. Here comes the money shot. Healy quickly reaches in the back seat and pulls out a bigger, MORE POWERFUL PAIR OF BINOCULA RS. HEALY'S BINOCULAR POV - we're CLOSE ON the wrinkliest, saggiest, droopiest set of milkbags on the planet. ON HEALY - he cringes. HEALY (cont'd) Oooof. First chink in the armor, Teddy Boy.... HEALY'S BIN OCULAR POV - He moves his view up from the tits to reveal...MAGDA UNDRESSING for bed. ON HEALY - He flinches, sickened by his mistake, then repositions the binoculars dead left to the next window. HEALY'S BINOCULAR POV - moving over to the next window we see... Mary as she just finishes putting on some sexy t -shirt. ON HEALY - as he starts to drool. HEALY (cont'd) Oh sweet Jesus DISSOLVE TO:",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PROVIDENCE - THE HOT CLUB - DAY Ted is sitting alone having a beer when a smiling Healy approaches. HEALY I've got some very, very good news for you, my friend. TED Really? (perking up) Very, very ? Healy sits down and motions for a beer. HEALY I think your life's about to change. TED So you found Mary? HEALY Right there in Liberty City. And you were right, she's really something. TED (smiles) So she hasn't changed? HEALY That I couldn't. say. Let me ask you something: Was she a little big-boned in high school? TED No, not at all. HEALY Well she must've packed on a few pounds over the years. This doesn't dampen Ted's enthusiasm. TED Mary's a little chubby, huh? HEALY I'd say about a deuce, deuce and a half. Not bad. Ted's smile starts to fade. HEALY (cont'd) But you know, you shit out a bunch of kids, you're going to put on a few pounds. TED So she's married? HEALY Nope. Never been. TED Huh? HEALY Four kids, three different guys. TED Three different guys? HEALY Well I'm guessing. There's a black kid, two whites, and a midget. TED Oh my. HEALY Hyperactive little fuckers, too. Tough to keep up with in a wheelchair, I bet. TED She's in a wheelchair?! Ted looks completely drained. HEALY Don't look so shocked, it's been a long time. I bet you've changed a lot over the last twelve ye ars, haven't you? TED (shrugs) It's just that...Mary. I wouldn't have thought... HEALY Anyway, the good news is I have all the information you ne ed. Got it from her bookie--nice guy. You should definitely call her, Ted. I mean she's a real sparkplug, that one. She seems determined to get those rugrats off welfare and with your help I'll bet she does it. Ted stands and starts moping away. TED Thanks, Healy. Good work. HEALY Ted? Don't you want the name of the housing project? TED Uh, that's okay. HEALY You sure, big guy? I'll bet she'd love to hear from you before her mastectomy! As Ted leaves, Healy puts his feet up on the table and sits back.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TED'S APAR TMENT - NIGHT We PAN across the room of unopened boxes to Ted laying awake in bed. We hear HEAD -BANGER MUSIC coming from the apartment next door. Finally Ted gets up and walks over to his dresser. As he flips on a small light we see loose change, a balled -up Kleenex, a few golf tees, and Ted's wallet. Ted picks up the wallet and opens it. TED'S POV - Inside is an an old high school photo of a smiling Mary. As Ted looks at it, he can't help but smile, too.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PROVIDENCE UNION INSURANCE COMPANY - DAY ON HEALY'S CUBICLE - Healy's taking his last boxload of crap out of his cubicle when he spots Ted. He tries to duck back in but Ted sees him. Healy forces a smile as Ted approaches. TED What are you doing? HEALY Oh, uh, I resigned. Ted picks up a plane ticket off the desk. TED Miami? HEALY Yeah, this insurance business is too slow for me. I'm going to go down and try my hand at jai alai. TED Jai alai? HEALY Yeah, I don't know why but I always felt at home in the fronton. Healy starts walking out of the office and Ted follows. Healy is having a hard time looking him in the eye. So he doesn't. TED Look, uh, I've been thinking about everything you told me. HEALY Good good. TED Well I think you're right, I should look her up. HEALY Rollerpig? Are you nuts? TED But you said she was a sparkplug...? HEALY I said buttplug. She's heinous. Ted SIGHS and follows Healy out the front door.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PARKING LOT - DAY They walk across the lot toward Healy's car. TED All the same, I still want to call her. I know it sounds crazy --Mary sure has a lot of troubles in her life --but, I don't know, maybe I can help her out. (sighs) The poor thing's had it tough --she's in a wheelchair for Godsakes. HEALY It's a goddamn bunion. It'll heal. TED Oh. I thought (beat) That's not it anyway. I know this doesn't make any sense to you, but I just can't turn it off that fast. I still feel something for her. Healy comes to his car and puts his stuff in the trunk. HEALY Okay, tell you what: I'll get her number for you just as soon as she gets back from Japan. TED Japan? What's she doing in Japan? HEALY You've heard of mail -order brides? Well they go that way, too. Ted is devastated. TED Mary's a mail -order bride? HEALY Fetched a pretty penny, too. Don't forget, it's the Sumo culture, th ey pay by the pound there. Sort of like tuna. Off Ted's look, we CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. THE HOT CLUB - DAY Ted and Dom are having a beer and a dog. TED That's it, I'm making an oath. I'll never procrastinate about anything again. Life is too fucking short. DOM Hey, look on the bright side -- TED (interrupti ng) What's that, Dom? What's the bright side? DOM Well...at least now you know. TED I think it was better when I didn't. It was kind of inspiring to know there wa s someone so pure in the world. As Ted dwells on this, Dom bursts out LAUGHING. TED What's so funny? DOM I'm sorry, it's just that you're taking this all wrong, pal. Don't you see? You're liberated . I feel liberated. I mean here you've been in therapy thinking you blew it with the greatest girl ever, and it turns out that getting your dick stuck in your zipper was the best thing that ever happened to you! Ted flinches at this. TED Wait a second, I never told you that. DOM Christ, Ted, I was only four towns away. Ted thinks it over. TED Maybe you're right. I should look on the bright side. I mean, I've still got my health... (checks watch) I'm out of here. I've got to get up at six a.m. to move my boss's brother into his apartment. DOM What? On your day off? Do you even know the guy? TED Never met him. DOM Jesus, Ted, you've got to finish that damn novel so you can quit that stupid magazine. TED Amen to that. CUT TO:",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MIAMI - DRIVING RANGE - DAY Healy pays for a bucket of balls, then takes his clubs and strolls jauntily to... A GOLF TEE NEXT TO MARY'S Healy places a ball on the tee and takes a swing. He tops the ball and it dribbles about ten yards. HEALY Hit a house! Bite bite! (to Mary) Haven't swung the wrenches in a while. Mary nods. Healy takes another swing and duck -hooks one about fifty yards. Mary addresses her ball, takes a smooth backswing, and HEALY (cont'd) Hey, can you give me some tips here? She cracks her shot long and straight. MARY Yeah, don't talk in someone's backswing. HEALY Thanks. Mary tees up another ball and Healy puts down his club. HEALY (cont'd) I'm gonna get a soda, you want one? MARY (annoyed) No thanks. Healy pulls out a huge wad of change from his pocket . HEALY Oh cripes. Do you have change for a dollar? All I have is these stupid Nepalese coins. MARY (interested) Nepal? Have you been? HEALY Not in months. I don't even know why I bought the damn place. MARY You own a home there? HEALY Well...it's just a condo really. Right outside Katmandu. MARY Wow. That's a place I've always wanted to go. Is it true the mountains are so tall you can't see the tops? HEALY Not 'til you get about three hund red yards from the summit. That's been my experience anyway. She looks impressed. Healy looks at his watch. HEALY (cont'd) You know, I should just get going. I'll work on my game next w eek. He flips her a coin. HEALY (cont'd) Here. Spend it on your trip to Katmandu. MARY (smiles) Thanks. Healy starts to walk off. Mary doesn't know what to do. Will she ever see this guy again? MARY (cont'd) (CALLS after him) It was nice meeting you! Healy doesn't answer or turn around. He just raises his hand and gives her a little wave. Mary shrugs her shoulders. Oh well...",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DRIVING RANGE PARKING LOT - DAY Healy is sitting in Sully's Chrysler LeBaron, right next to Mary's Honda Civic. He watches the rear -view mirror, and the moment he sees Mary coming out from the driving range, he swings his legs out the door and starts changing out of his golf shoes. As Mary tosses her golf bag into the trunk, she notices Healy tying his shoes. A second chance. MARY Well, it was nice meeting you, again. HEALY Same here again. MARY By the way, what's your name? HEALY Pat Healy. There's an uncomfortable pause...W hy doesn't this guy ask the usual questions? MARY Don't you want to know my name? HEALY I already know it, Mary. MARY (surprised) How'd you know that? HEALY It's right there on your golf bag. Healy opens the back door to put away his golf shoes. Suddenly, rolls and rolls of paper come tumbling out. Mary bends over to help Healy pick them up. MARY What are you doing with all these blueprints? HEALY Some buildings I'm working on. MARY Are you...an architect? HEALY Well, just until I get my PGA Tour card. Mary stares at him, mouth agape. HEALY (cont'd) I'm kidding. Yeah, I guess you could call me an architect --it's just a job really, a way to keep me moving. My real passion is my hobby. MARY What's that? HEALY I work with retards. MARY (taken aback) I beg your pardon? HEALY You know... (flaps lips with fingers) ...the guys who ride the short bus. MARY (put off) Isn't that a little polit ically incorrect? HEALY The hell with that. No one's gonna tell me who I can and can't work with. MARY No, I mean HEALY --There's this on e kid, we call him Mongo on account of he's a mongoloid. He got out of his cage once and -- MARY --He's in a cage?! HEALY Well it's more of an enclosure really. MARY They keep him confined? That's bullshit! HEALY That's what I said, so I went out and got him a leash you know, one of those clothesline runners for the backya rd. He's got plenty of room out there to dig. The kid's really blossomed. Now I can take him to ball games, movies --you know, happy stuff. MARY That sounds like fun. HEALY Yeah, it's fun for them, but it's heaven for me. (getting emotional) Those goofy bastards are just about the best thing I have in this crazy old world. (checks watch) Ooh, hey, I gotta run. MARY (won back over) Look, uh, I was thinking maybe we should go have dinner sometime. Healy smiles at this and we CUT TO:",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PROVIDENCE APARTMENT - 7:45 A.M. A profusely sweating Ted has a DRESSER ON HIS BACK and EEKS his way toward the front door as his BOSS'S DISABLED BROTHER catches up to him IN A WHEELCHAIR. (The man is a quadriplegic w ho needs to use a MOUTHPIECE to operate his chair.) BOSS'S DISABLED BROTHER Hey, shit -for-brains, be careful not to scratch that thing, huh? TED (straining) What? BOSS'S DISABLED BROTHER You heard me. You already put a fucking nick in my piano. TED (biting tongue) I'll try to be more careful. BOSS'S DISABLED BROTHER S'matter with you? You look like you're fading. TED The thing's kind of heavy. BOSS'S DISABLED BROTHER Heavy? Heavy?! What I wouldn 't give to know what heavy feels like, you insensitive prick. TED No, I just meant... BOSS'S DISABLED BROTHER Yeah yeah. I'm going to the corner to get a cup of coffee. The Boss's Disabled Brother bites into the mouthpiece and ZIPS AWAY up the sidewalk. Ted takes a step. Rests. A step. Rests. ASSERTIVE WOMAN'S VOICE Hey you! Ted glances back toward the street to see a T.V. NEWS REPORTER from the CHANNEL 7 I -TEAM rushing toward him with a NEWS CREW on her heels. T.V. NEWS REPORTER (cont'd) Do you know that you're parked in a handicapped spot? CUT TO:",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DOCTOR'S OFFICE - DAY Ted is splayed out on a table in obvious pain while DR. LALONDE, an old high school pal, palpates his spine. DR. LALONDE (smirking) So...I see you made the news. TED (angry and embarrassed) It wasn't my truck --I was helping out a guy in a wheelchair. DR. LALONDE (dubious) Uh-huh. Where was he? TED Out getting coffee. DR. LALONDE Yeah, that's more or less what the others said, too. Out getting coffee...supposed to meet him here...picking up my grandma... Ted turns and GLARES at him. DR. LALONDE (cont'd) I'm just saying...They sure made you look dumb. Ted SIGHS. A couple big CRACKS of the neck. TED Bob, do you remember Mary? DR. LALONDE Who? TED Mary. DR. LALONDE From high s chool Mary? Yeah, I saw her about six months ago at a convention in Las Vegas. Ted sits up. TED A convention? How'd you see her at a convention? DR. LALONDE I'm an orthopedic surgeon, she's an orthopedic surgeon. The Doc SIGHS, still able to recall the feeling. DR. LALONDE (cont'd) What a babe... Ted sits up on his elbows. TED Babe? CUT TO:",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PROVIDENCE MUTUAL INSURANCE COMPANY - DAY A buckled -over Ted limps into Dom's office with a crazed look on his face. TED Mary's a babe! DOM What? TED My Mary--she's not in Japan, she's single, and she's got no rugrats. She does have a little gambling problem, she plays the football car ds a bit too much, but she's a babe, a surgeon babe! DOM Huh? But why did Healy? TED Well think about it. Ted folds his arms. DOM No You mean...? TED Uh-huh. DOM The lazy fuck just didn't bother to look her up. TED (nodding) That sneaky prick was probably practicing his jai alai. Dom shakes his head. Then: DOM Well then you've got to call her, man. TED Fuck calling her. I'm going down there.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MARY'S APARTMENT - NIGHT While Mary gets ready for her date, Magda sits in front of the radio scanner in her bathrobe with her little dog Puffy on her lap. MAGDA So who's the lucky guy? MARY Name's Patrick, I met him at the driving range. MAGDA Good lookin'? MARY He's no Steve Young.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEALY'S CAR - NIGHT 69 Healy, listening through his headphones, reacts to this. MAGDA (V.O.) What's he like? MARY (V.O.) I don't know. He's kind of a mook. MAGDA (V.O.) What's a mook? MARY (V.O.) You know, a mookalone, a schlep.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MARY'S APARTMENT - NIGHT MAGDA Then why you going out with him if he's a schlep? MARY Come on, Magda (SIGHS) It's like that movie Harold and Maude . MAGDA I don't watch the new ones. MARY This one's almost thirty years old. It's about a young kid and an old lady who fall in love. MAGDA That's exactly why I don't watch 'em anymore--it's bullshit! Why the hell would an old lady go for a young kid? Mary smiles at this. MARY The point is, love isn't about money or social standing or age, it's about connecting with someone , having things in common kindred spirits. MAGDA Fuck kindred spirits. My little Puffy here's gonna tell you all you need to know about this guy in about two seconds flat. If he starts yapping, he's a loser; if Puffy's relaxed...well, you got yo urself a keeper.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEALY'S CAR - NIGHT As Healy thinks about this, we CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. MARY'S APARTMENT BUILDING - NIGHT Healy enters the building.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MARY'S APARTMENT BUILDING - HALLWAY - NIGHT Healy tiptoes up to Mary's apartment door. He peeks through the mail slot. HEALY'S POV - Puffy is staring at him and GROWLING. Healy reaches in his pocket, pulls out a VALIUM and a DOGGY TREAT. Healy shov es the pill into the treat's soft center, examines it, then thinks what the hell and SHOVES IN ANOTHER ONE. Puffy GROWLS LOUDER. Healy pops the treat through the mail slot and listens as the dog DEVOURS IT. Healy looks at his watch, then sneaks back outsi de to wait a few minutes for the drugs to kick in. CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MARY'S LIVING ROOM - NIGHT Healy is sitting on Mary's couch with Puffy spread -eagled upside-down on his lap, KNOCKED OUT COLD. Mary and Magda look on in amazement. HEALY (baby talk) Oh, Pufferball likes his little tum -tum rubbed, doesn't he now? MARY Wow, I've never seen him like this. He doesn't usually like guys. MAGDA You mean he doesn't like bad guys . HEALY 'That right? MAGDA He can tell you're an animal nut. You are, aren't ya? HEALY Truth is I usually get along better with animals than with people. In Nepal the villagers call me 'Kin -tan-tee', which means 'man who is loved by many animals... (babbling) ...who love him a lot, too...and so on.' Magda stares dreamily at Healy, smitten. MAGDA Would you like a glass of tea or somethin g? HEALY You got a brew? MARY Sure. (noticing Magda's trance) Uh, Magda, why don't you get some more cheese and crackers...? MAGDA Oh, yeah, of course, dear. The two women go into the kitchen and Healy is left to pet the MOTIONLESS DOG. Suddenly Healy notices that the dog is A LITTLE TOO MOTIONLESS. Healy checks Puffy's pulse. He looks at his watch to time the r ate. MARY (O.S.) (CALLING out) Sorry, Pat, out of beer. You like vodka? HEALY (CALLING out) Great. He starts SHAKING THE DOG, but Puffy doesn't move. Healy goes into action. He starts pressing on his heart, PERFORMING DOGGIE CPR. One-and-two-and-three, he continues trying to revive him. MAGDA (O.S.) (CALLING out ) Would you like a little clam -dip, honey? HEALY (CALLING out) No, thanks. (panicking) Love a little bundt cake if you have some!",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MARY'S KITCHEN - SAME Magda and Mary are on their way out the door when they stop. MAGDA Bundt cake? MARY (shrugs) Must have a sweet tooth. See if you can find some cookies. As Magda starts to go through the cupboards...,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MARY'S FAMILY ROOM - SAME A panicked Healy is giving the little mutt MOUTH -TO-MOUTH now. Then back to the heart, the mouth, the heart, the mouth.... HEALY (quietly, desperately, to Puffy) Come on, man, stay away from the light! Healy resumes blowing into the dog's snout, pumping his chest, with no results. Desperate, he picks up the cheese knife and quickly SLICES THE WIRES ON TWO TABLE LAMPS. Healy grabs the two wires and TOUCHES THEM TOGETHER LIKE A DEFIBRILLATOR on the little pooch's chest. ZZZZZTTTTTT - the dog BOUNCES a couple feet off the couch as SPARKS FLY. Healy takes his pulse again. Nothing. He ZAPS him once more with the LIVE WIRES. ZZZZZTTTTT - Still nothing. Healy gets to his feet and peeks into the kitchen. When he turns his back, we see PUFFY IGNITE IN FLAMES. When Healy turns back, he's horrified at what he sees. He grabs a vase of flowers and POURS THE WATER ON THE BURNING DOG. With this, Puffy flinches and comes to, GASPING FOR AIR! MAGDA All I had was some Funny Bones --how does that sound, honey? Healy picks up the stunned pooch and swaddles it in a blanket as Magda ENTERS the roo m followed by Mary. HEALY (petting dog) Fine. Fine. MARY Here you go. (sniffs) What's that smell? Mary hands Healy his vodka and as he dow ns it, we CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MIAMI MUSEUM - NIGHT Healy looks slightly disoriented as Mary leads the way into the courtyard area by the main building. HEALY The museum? I thought we were going out to dinner? MARY We will, but first I have a surprise. HEALY A surprise? MARY The architecture exh ibit! My friend Tucker is going to be here. He's an architect, too. You guys will have tons to talk about. CLOSE ON HEALY'S FACE as he starts to panic.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ARCHITECTURE EXHIBIT Mary and Healy walk through the exhibit area. Mary sc ans the room for her friend. Healy's face is ashen. MARY I know he's around here someplace. HEALY (chipper) What say we get outta here and go crush a bucket? MARY We just got here thirty seconds ago. Isn't this stuff great? Mary points to an architectural model. MARY (cont'd) Is this one art deco or art nouveau? HEALY Deco. MARY Would you call that a portico or a vestibule? HEALY That...? Vestibule. MARY How about --? HEALY When you look at architecture, try not to concern yourself with the pieces --look at the building in its totalitarianism. Mary gives him a look. Suddenly, Healy draws a couple of invisible sixshooters at her. HEALY (cont'd) Stone crab time! Come on, let's get outta here, goofy. He turns to go but Mary notices something O.S. MARY Tucker! Mary leads Healy over to her friend TUCKER, a distinguished -looking man in his fifties. Healy looks like a dog that's being dragged to the vet. Mary and Tucker embrace. TUCKER (still hugging) Come on, like you mean it. Mary LAUGHS and hugs Tucker tighter. Then: MARY Tucker, this is my friend Pat Healy. Healy and Tucker shake hands. TUCKER Pleasure to meet you, Patrick. HEALY Same here. MARY Pat's an architect, too. TUCKER Hey, no kidding? Where are your offices? HEALY (keeping cool) Mainly I work out of Boston. TUCKER Boston, huh? Did you get your degree up there? HEALY Yes yes, I did get my degree up there. TUCKER Harvard? HEALY You bet. TUCKER (pleased) Did you study under Kim Greene? HEALY Among others. TUCKER Kim and I are close friends! HEALY Well, I'll tell her I ran into you. TUCKER You mean him. BEAT. HEALY Well...that's debatable. Healy makes a h and-gesture to imply that Kim's sexuality is in doubt. TUCKER Really? But he's been married for twenty years--they've got six kids. HEALY Nice smokescreen, isn't it? Tucker can hardly believe his ears. MARY Pat does projects all over the world. TUCKER (impressed) Where would I have seen your work? HEALY Have you been to (thinking hard) Let's see --Santiago, Chile? TUCKER Absolutely! I was there twice last year. Which building is yours? HEALY Do you know the...soccer stadium? TUCKER Did you build the Estadio Olympico? HEALY No...just down the street, the Amigo Tower. TUCKER I'm sorry, I'm not familiar with it. What style? HEALY Uh, sort of nouveau deco...with a big vestibule. Check it out next time you're up there. Tucker starts to look a little suspicious. TUCKER You know, I really should take your card. HEALY (noticing something) Oh look, it's Doob! Will you excuse me a minute, Tucker? Healy drags Mary acro ss the room toward a MAN who's looking at an exhibit. HEALY (to Man) Dooby, you old sheep -fucker! How the hell are ya? MAN My name's Mel. HEALY Oh, sorry. Anyone ever tell you you look just like Jim Dubois? MAN The sheepfucker? Healy shrugs and the man walks away angrily. CUT TO:",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. HIGHWAY - NIGHT A two-door Toyota Tercel flies by the camera.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TOYOTA TERCEL A determined Ted is cruising along the highway in his rent -a-car. He has a cup of coffee in his hand and a HITCHHIKER in the seat beside him. The Hitchhiker sits with a LARGE RED DUFFEL BAG between his legs. HITCHHIKER Thanks for picking me up. TED No prob, I could use the company. I've been on the road going on fifteen hours straight. HITCHHIKER I know how you feel --I been standing in the same spot for the last five hours. You know it's against the law to pick up a hitchhiker in this state. TED That must make it tough. HITCHHIKER Sucks. So what's up? You some kind of salesman or something? TED Nah. I'm...I'm nothing. HITCHHIKER Oh. Well I am. TED Hm? HITCHHIKER A salesman --that's what I am. I mean, I'm gonna be anyway. I'm starting my own company--video sal es--just as soon as I get enough seed money. TED 'That right? Good for you. HITCHHIKER Yeah, you wouldn't believe my idea --it's a home run. You ever hear of Eight-Minute Abs? TED The exercise tape? Sure, I've seen it on T.V. HITCHHIKER Two million copies it sold last year. Two million, man . But not next yea r--my idea's gonna blow them outta the water. Get this: (dramatic pause) Seven-Minute Abs . BEAT. TED I see where you're going. HITCHHIKER (big smile) Think about it. You walk into a video store and you see Eight-Minute Abs and right next to it you see Seven-Minute Abs--which one you gonna spring for? TED I'd go with the seven. HITCHHIKER Bingo. Especially since we guarantee you'll get every bit as good a work -out. TED How do you guarantee that? HITCHHIKER Well it's the company motto: 'If you ain't happy we'll send you the extra minute.' TED Huh. That sounds great. (beat) Unless someone else comes out with Six-Minute Abs. Ted CHUCKLES, but the Hitchhiker just GLARES at him, unamused. TED (cont'd) (unaware) I'm gonna pull over. I gotta take a leak.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. REST AREA - NIGHT The Toyota Tercel pulls in and parks. Ted gets out and walks into the bushes to whiz. ON TED - as he steps into the dark brush UNZIPPING his fly he TRIPS over something and FALLS TO THE GROUND. TED What the --? Suddenly WHOOSH, WHOOSH, WHOOSH --several huge SPOTLIGHTS illuminate the area revealing TWO DOZEN FRIGHTENED MEN scurrying to pull their pants up all around him. POLICE OFFICER (O.S.) THIS IS A RAID! ANGLE ON a startled Ted ON HIS KNEES directly in front of ANOTHER MAN, making it appear that he's been BLOWING THE GUY. REVERSE ANGLE reveals a DOZEN POLICE OFFICERS holding the spotlights and moving in for the arrests followed by a CAMERA CREW. TED (deer caught in headlights) Wait a second, it's not what you think. A GUY with his pants at his ankles jumps on the bandwagon. PANTS AT ANKLES GUY That's right! I -I-I was just pissing! Ted glares at him. TED No! I was pissing! POLICE OFFICER Yeah, I'll bet you all were. Come on, in the truck. As they grab Ted and the others and hustle them away, we PAN TO the Hitchhiker sitting in the Toyota watching the raid unfold. The Hitchhiker is clearly PANICKY at the sight of all the cops. Quietly he OPENS THE CAR DOOR, ducks down, and then SPRINTS AWAY INTO THE WOODS UNSEEN, LEAVING HIS BIG RED BAG BEHIND . CUT TO: CLOSE UP OF TELEVISION SCREEN as the bust continues. Each of the men COVER THEIR FACES as they pass by the camera, EXCEPT FOR TED who is extremely visible. TED (to Cop) Okay, take it easy, you don't have to push. REVERSE ANGLE REVEALS a shocked Dom and his wife watching this on their television. DOM Oh my God. Is that...? DOM'S WIFE (matter-of-fact) Told you he was gay. BACK ON THE TELEVISION - The COPS struggle to get the feisty Ted into a police van. TED I was taking a leak! T.V. ANNOUNCER (V.O. ) We'll be right back with more of our special edition of COPS - LIVE IN THE BIBLE BELT! CUT TO:",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MIAMI STREET - NIGHT Healy and Mary are walking home at the end of their date. Healy is eating a big, wild cone of COTTON CANDY and drinking a beer. HEALY That grandmother of yours --she's really something. MARY Magda? She's not my grandmother --actually she rents the apartment right next to mine. Her husband passed away a couple years ago so she doesn't like to be alone. HEALY And it doesn't cramp your style? MARY Sadly, no. Well except for the l",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int. HEALY Lint? MARY Yeah, I think it's that dog of hers running around on the rug all day --just makes for a lot of l",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int. Look at this... Mary lifts her shirt, revealing a BIG CLUMP OF COTTON CANDY STICKING OUT OF HER BELLY -BUTTON. MARY (cont'd) See? That's just one day. Healy CRACKS UP and then gazes at her. What a babe. HEALY You know, sometimes I wish I could be like Magda and not go home. I'd like to just bounce around for awhile, do a little travelin g... MARY Why bounce when you have your own condo in Nepal to go to? It's clear Healy forgot about that one. HEALY Ah, I'd sell that. Start fresh in a new place, quit the architect game, slow things down, read more books, see more movies... MARY You're a movie buff? HEALY Try to be. It's tough going with the crap they make today. If Dumb and Dumber 's the best they've got to offer I say thanks but no thanks. MARY Have you seen it? HEALY No. But the Boston Globe critic Jay C arr hated it. MARY A fucking moron. HEALY Huh. I guess I just wish they made them like they used to. You know, something like The Heartbreak Kid ...or Harold and Maude. Mary can't believe her ears. MARY Harold and Maude is my all -time favorite movie. HEALY Ouch. Come on, don't bust my chops. I know it's corny, but I do love it. MARY Pat, I'm not kidding. I really think it's the greatest -- HEALY --Love story of our time. Mary smiles. Is this guy for real? MARY Yeah. HEALY Wow. I thought I was the only one. They come to her apartment building and stop. It gets a little awkward. MARY So... HEALY Yeah...I guess this is it, huh? MARY I guess. HEALY Well, I'll see ya. Healy turns to go but stops. HEALY (cont'd) Mary ah, forget it. MARY What? HEALY No, forget it, it was stupid. MARY Come on, what were you going to say? HEALY Nah, really, it was moronic. She grabs him by the shirt playfully. MARY Just say it. Healy takes a deep breath. HEALY Could I feel your bosoms before I go? Mary just stares at him. MARY (beat) Knock yourself out. Healy reaches out and cups her breasts. He doesn't kiss her, she doesn't kiss him, he just fondles her breasts. Then: HEALY Okey-dokey, so tomorrow night? She smiles and as Healy walks away we CUT TO:",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SOUTH CAROLINA PRISON - DAY Ted is sitting alone at a table in a small interrogation room. PULLBACK to reveal that h e is being observed through a two -way mirror by two detectives, FRANEK and CAVALLO. DETECTIVE FRANEK Man, they never look like you'd expect. DETECTIVE CAVALLO That's probably how he go t the victim to drop his guard. DETECTIVE FRANEK Where'd they find the body? DETECTIVE CAVALLO In a big red bag on the front passenger seat. All hacked up --fucking gruesome --a real psycho, this one. The Detectives ENTER the room.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. INTERROGATION ROOM - DAY Ted stands as the Detectives take a seat across from him. TED (agitated) I'm telling you, I did not solicit sex! I was just stopping to go the bathroom, next thing I know I tripped over something --well someone--and, POOF, there's cops and lights and -- DETECTIVE FRANEK Okay, calm down, Ted, we believe you. (beat) The problem is we found your friend in the car. As Ted sits back down the Detectives just stare at him. Finally Ted thinks he gets it. TED Oh. The hitchhiker. (CHUCKLES) That's what this is all about. Ted puts his head in his hands and smiles. TED (cont'd) Isn't that just my luck --I get caught fo r everything. DETECTIVE CAVALLO So you admit it? TED Guilty as charged. I'm not gonna play games with you. I could give you a song and dance but what's the point? I did it and we all know it. (laughs) The hitcher himself told me it's illegal The irony. The Detectives are surprised by his forthrightness. DETECTIVE CAVALLO Well, uh, can you tell us his name? TED Jeez, I didn't catch it. The Detectives flinch at his glib demeanor. DETECTIVE FRANEK So he was a stranger? It was totally random? TED (confused) He was the first hitcher I saw, what can I tell you? Now cut to the chase, how much trouble am I in? The Detectives look at one another. DETECTIVE FRANEK First tell us why you did it. TED Why I did it? (scoffs) I don't know. Boredom? I thought I was doing the guy a favor. The Detectives look at each othe r. DETECTIVE CAVALLO This wasn't your first time, was it, Ted? How many we talking? TED Hitchhikers? I don't know --fifty...a hundred maybe --Who keeps track? Finally Detective Cavallo EXPLODES across the table and starts WAILING on a shocked Ted. DETECTIVE CAVALLO You sonofabitch! You're gonna fry!!!! CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. MARY' S OFFICE - MORNING Mary pulls up in her Honda Civic. She parks out front and enters the building. PAN ACROSS THE STREET TO REVEAL - Healy is parked in his car. His surveillance equipment is pointed toward Mary's office.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MARY'S OFFICE - MORNING Mary walks into the office and sees a MEDICAL ASSISTANT standing near the coffee maker. MARY Mornin', Jane. MEDICAL ASSISTANT #1 Good morning, Doctor. Your friend Tucker's in your office to see you. Mary nods and heads toward her office.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MARY'S OFFICE - SAME Mary walks into her office and sees Tucker seated at her desk. (SHOT FROM behind Tucker so we only see the back of his head.) TUCKER What's up, Doc? MARY Tucker, you look different some how. Did you do something with your hair? MARY'S POV - Tucker's got two TONGUE DEPRESSORS under his upper lip making him look like a walrus. TUCKER The teeth, the teeth. I got 'em capped. ON MARY - smiles. MARY Oh yeah, they look great.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEALY'S CAR - SAME He's got his listening gun fixed on Mary's office. TUCKER (V.O.) You don't think they're too big? MARY (V.O.) No no, the bigger the better. (beat) But I must say, they could be a little brighter. Nothing's sexi er than a mouthful of pearly whites. Healy looks at his teeth in the mirror. Not exactly pearly.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MARY'S OFFICE - CONTINUOUS Tucker pulls the tongue depressors out of his teeth and laughs. He stands up, and when Mary tries to squeeze past him he gives her a kiss on the cheek. TUCKER You ever been laid in this office? Mary pushes past him. MARY Behave yourself, Tucker. (smiles) Come on, what are you doing here? She sits in her chair and leans against her desk. TUCKER I wanted to talk to you about your friend Patrick.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HEALY'S CAR - CONTINUOUS Healy almost flies out of his seat . MARY (O.S.) He's a nice guy, isn't he? TUCKER (O.S.) Well that's what I'm trying to figure out. How long have you known him?",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MARY'S OFFICE - CONTINUOUS Tucker has a look of concern. MARY Not long at all, but I really like him. (off Tucker's look) Okay, I know he's a little different, Tucker, but that's what I like about him. He's a guy. A real guy. He dresses like a dork and eats corndogs and he isn't always politically correct and he probably farts, too. And that's okay with me. TUCKER That's what you've bee n looking for --a farter? MARY I've been looking for a guy--not one of these South Beach pussies. TUCKER (SIGHS) Look, it's just that something ab out him struck me as odd last night. He gave me this funny vibe. Anyway, I called some friends back east. They don't know of any architect named Patrick Healy and he's not listed as a Harvard alumnus.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HEALY'S CAR - SAME Healy SLAMS his hand on the steering wheel. HEALY Fuck!! MARY (O.S.) Huh...that's strange.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MARY'S OFFICE - SAME TUCKER I thought so. Anyway, I hope you don't think I'm being meddlesome. I just think you should be careful with this guy. MARY (concerned) No no no, Tucker, thank you. TUCKER I mean let's face it, Mary, you're beautiful, you've got money, you trust people--I'm just saying, there's a lot of psychos out there. MARY (small smile) I appreciate you looking out for me. CUT TO:",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SOUTH CAROLINA PRISON - DAY CLOSE ON - Detective Franek as he SPEAKS, sheepishly. His remorseful - looking partner Cavallo stands behind him. DETECTIVE FRANEK On behalf of the entire South Carolina law enforcement community, I would like to offer our heartfelt apologies for any pain or temporary inconvenience we may have caused you, Mr. Peloquin. REVERSE ANGLE - reveals that Ted is lying on his prison bed being spooned by a 300 -pound SLEEPING INMATE.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PRISON HALLWAY The two Detectives and an apoplectic Ted walk down the hallway. DETECTIVE FRANEK At exactly 10:48 this morning a man was apprehended not far from where you were arrested. He was identified as an escaped mental patient and subseq uently confessed to the murder that you were being held for. Lab tests confirmed a fingerprint match on the bag. TED (fragile) So...I'm free to go? Detective Cavallo stops and holds out his hand. DETECTIVE CAVALLO No harm, no foul? TED (stunned) I guess. Still traumatized, Ted shakes the man's hand, then mopes to ward the door. DETECTIVE FRANEK By the way, there's somebody here to see you. CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TED'S CAR - DAY Dom is driving; a bruised and somber Ted is in the passenger seat. DOM You are one lucky sonofabitch, you know that? TED I am? DOM Didn't they tell you? That hitcher was just about to cut your throat when you stopped to take a leak. You got a fucking horseshoe up your ass, man. TED Yeah feels like it. Ted grimaces and shifts in his seat. TED (cont'd) How the hell did you get here anyway? DOM Flew. (beat) Told my wife I was going to a Promise Keepers convention. Ted gives him a look. DOM (cont'd) I hate to ruin your day, Ted, but I have some bad news for you. Ted SIGHS. TED (resigned) Shoot. DOM Remember our friend Healy? Well, I didn't know where to mail his last paycheck so I sent my assistant by his mother's apartment. Turns out there is no diabetic mom. Landlord said she's been dead for ten years. TED And this adversely affects me how...? DOM Don't you see? --Healy lied to us about everything ! The landlord said when he got back from Miami he kept ta lking about falling for some doctor named Mary! Ted is stunned. TED Huh? What? No... My Mary? Mary wouldn't go for him....would she? Dom hands Ted a SLIP OF PAPER. DOM His address in Miami. You know, when you think about it, we really don't know the first thing about this guy. Finally the implications of this dawn on Ted. TED Jesus Christ what have I done? CUT TO:",TWIST +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MARY'S APARTMENT - EVENING A confused Mary and her girlfriends are in the apartment while Magda listens to the radio scanner in the b.g. LISA You're not seriously thinking about going out with this guy again? JOANNIE Mary, he sounds like a psycho! MAGDA Would you hens quit ya cackling and let her do what she wants to do. Puffy liked him and Puffy's never wrong. The girlfriends roll their eyes. BRENDA Mary, the guy's full of shit. MARY What if he's not? What if Tucke r just made an honest mistake? LISA What if he didn't? It's clear that Mary is torn. MARY I don't know how I can bail now, he's going to be here any minute. JOANNIE Well then blow him off when he gets here. MARY But you didn't meet him. He seems so I don't know...perfect...kind of. BRENDA He has a big cock, doesn't he? Mary shoots Brenda a look. MAGDA Hey hey, what did you say Pat's last name was? MARY Healy. Magda's eyes almost come out of her head. MAGDA I think you better listen to this. Magda turns up the volume on her scanner and we can clearly hear Healy TALKING ON HIS CELLULAR PHONE. Mary and her girlfriends gather around. SULLY (V.O.) So where the hell are you, Healy? HEALY (V.O.) Ah, I got a date tonight with that Mary girl I told you about. SULLY (V.O.) The sawbones? HEALY (V.O.) Yep. The girls all look at one another. BRENDA We hit the motherlode. MARY We shouldn't be listening to this. LISA AND JOANNIE Shhh. SULLY (V.O.) She still think you're a fucking architect? HEALY (V.O.) Oh yeah. SULLY (V.O.) Dumbshit. LISA Mr. Perfect, huh? Mary starts to feel like a fool. MARY (edgy) Turn it up, Magda. HEALY (V.O.) Hey, watch your mouth --she's a great gal. I'm the dumbshit for lying to her. SULLY (V.O.) Why didn't you just tell her the truth? HEALY (V.O.) I don't know. I guess...it just seems that women today are more impresse d by the mighty buck than by some schmo who spent the last seventeen years scraping by on Peace Corp wages. The girls all seem moved by this.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEALY'S CAR - NIGHT Healy is parked out front, the phone in one hand, a S CRIPT in the other, as he listens to Sully read the following words: SULLY (V.O.) But Jesus, Pat, if she's as special as you say, she's going to want to hear about the things you did. HEALY (dismissing this) Ahh.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SULLY'S APARTMENT - SAME A disheveled and wired -looking Sully is sitting on the couch in his underwear READING FROM THE SAME SCRIPT. There's COKE on the table, DOG SHIT on the floo r, and FLIES everywhere. In the B.G. we see the Great Dane SNIFFING at his empty bowl and the Boa Constrictor sprawled out on the floor, barely moving. SULLY (reading) Come on, you could tell her about the irrigation ditches you dug in Sudan, the orphan babies who cried in your arms in Romania... (does a line of blow) ...the hope you gave Freddie the leper in Calcutta... Suddenly th e dog snatches the page out of his hand and STARTS TO EAT IT. BACK ON Mary and friends. JOANNIE (welling up) I love this man. Magda folds her arms and gloats.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEALY'S CAR - NIGHT HEALY Look, I did all those things for myself. I'll be honest with you, I'm a selfish prick. I get a high from helping all of God's creatures. An honest to goodness high. Just then, Healy see s a bug on the car window and instinctively squashes it. ON SULLY - he has the phone wedged between his cheek and shoulder as he STRUGGLES with the dog to get the script. Sully still can't retrieve the script, nor his next line. SULLY (winging it) That's bullshit, man you, uh, you were on the front line. Remember the, uh, malaria the, uh, typhoon fever that vicious strain of genital herpes? ON MARY AND FRIENDS - they flinch at this. ON HEALY - he stares at the phone, horrified. HEALY (V.O.) Uh, sure. I cured a lot of nasty illnesses in third -world countries. ON MARY AND FRIENDS - as they let out a sigh. HEALY (V.O.) (cont'd) The bottom line is, I'm not going to use my philanthropy as some form of currency...especially after what I did. (SIGHS) I lied to this poor girl. Lied. man. She deserved better. SULLY (V.O.) Hey, love will make you do fucked -up things. HEALY (V.O.) You said it, mister. (choking up) I gotta go. ON SULLY - as he HANGS UP the phone and does another line, we PAN TO the Great Dane Hal as he looks around for something, anything to eat. He SNIFFS at a sock, then a beer bottle, before finally setting his sights on the Boa Constrictor Bill. Bill glances the dog's way nervously, SENSES TROUBLE, and wiggles his way into another room. As Hal TAKES OFF after the snake, we CUT TO:",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MARY'S HALLWAY - NIGHT Healy starts to knock on Mary's door, but, before he can, the door suddenly swings open revealing a beaming Mary. HEALY (startled) Oh Mary. Look, there's something I have to tell you. I'm not Before he can finish, Mary steps for ward and their mouths meet in a passionate KISS. DISSOLVE TO: MONTAGE OF MARY AND HEALY COURTING --As Mary watches, Healy plays TOUCH FOOTBALL with Warren and a few of his friends. Healy catches a pass then, trying a little too hard to impress Mary, he delivers a forearm shiver to his defender and gives Warren a vicious STRAIGHT -ARM. When Healy gets into the end zone he spikes the ball and starts talking trash to another defender. --Healy shows up at Mary's door sporting a set of OVERSIZED INCREDIBLY -WHITE CAPPED TEETH. He gives her a big horse smile and she reacts uncertainly. --Healy is in Mary's apartment as Mary finishes dressing for a night on the town. MARY All set. HEALY You look great. (beat) Hey, Mare, do I have a rip in the back of these pants? When she puts her head close to inspect his pants, he lets fly a THUNDEROUS FART. She pulls her head away, repulsed, but Healy just LAUGHS. --Mary and and the horse -toothed Healy are having dinner in a romantic restaurant. As he eats he tells an animated story but he's having trouble with the new choppers and chunks of foo d are spraying out of his mouth with every word. Mary has to BOB AND WEAVE to avoid being covered with debris. --Healy and Warren are playing monopoly. When Warren isn't looking, Healy cheats and puts a couple hotels on Boardwalk. In the b.g. we see one of Warren's buddies fall out of a palm tree. DISSOLVE TO:",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MARY'S APARTMENT - DAY A lovesick Healy is mauling Mary out on the sidewalk in front while Warren stands off to the si de LISTENING TO A WALKMAN. REVERSE ANGLE reveals a devastated Ted and Dom watching this from Ted's car. TED Fuck me. (sighs) Let's go home. DOM No! You've gone through way too much to back down now. Get over there and do something --I can't stand watching this. BACK ON MARY AND HEALY as Healy starts OVER -DOING IT and Mary has to break it off. MARY Whoa, whoa, how's my stomach taste? Healy LAUGHS. HEALY How's my stomach taste, she says. (shakes head) Hey thanks for picking up the lunch tab, Mare. Sorry I forgot my wallet. I f eel like a dog. MARY Forget it. It was...fun. ON TED AND DOM Ted recognizes Warren. TED Holy shit, there's Warren. BACK ON MARY. HEALY, AND WARREN Suddenly we see Warren PERK UP at something. WARREN Franks and beans! ON TED AND DOM TED Jesus, I think her brother spotted me. They both duck down in their seats. BACK ON MARY. HEALY. AND WARREN WARREN Beans and franks. MARY Give it a rest, War. You just ate. HEALY Aw, leave him alone, he's just got a big appetite. (to Warren) Am I right? Healy winks at Mary. WARREN Huh? Healy reaches over and lifts a headphone off Warren's ear. HEALY I said you've got a big app -- Suddenly Warren SUCKER -PUNCHES HEALY IN THE THROAT. HEALY (cont'd) Urrggghh... MARY Warren! ON TED AND DOM - as they flinch. DOM Attaboy! BACK ON MARY et al - Healy holds his throat, clearly in pain. MARY Are you okay? HEALY (cont'd) (raspy, to Mary) Not to worry. So...see you tonight, right? Right? MARY (cornered) Sure. Mary watches with a look of concern as Healy gets in his car and drives off. ON TED AND DOM Ted stares gazily. DOM Well? What are you waiting for? TED I don't know what to say. DOM Tell her the truth about Healy! Blow the schmuck out of the water. TED Are you crazy? I've unleashed a psycho on her. She's gonna be fucking pissed. (stares at Mary) She's even more beautiful than I remember. THEIR POV - Mary and Warren start to go in the apartment. DOM Get over the re, you pussy! She's leaving! Suddenly Dom HONKS THE HORN, then ducks down. Mary turns around and sees Ted. TED You asshole, what are you -- (CALLING OUT CHEERILY) Mary! Is that you? MARY (squinting) Who's that? Ted gets out of the car and hustles across the street toward Mary. TED It is you! It's me...Ted. From Rhode Island Ted. Finally she re cognizes him. MARY Oh my God...Ted. (big smile) What are you...? I can't believe this. I haven't seen you since -- TED Yup, that's right. Junior prom...kinda. MARY And did everything --? TED Oh yeah, healed right up. No visible scars. Mary LAUGHS. TED (cont'd) How are you doing, Warren? WARREN Good, Ted. Piggy back ride? TED I'm gonna take a rain check. Mary is stunned. MARY I can't believe he remembered you. He never remembers anybody. (beat) You know I tried to call you for weeks after that. TED Really? I never got a message. MARY That's weird. I talked to your brot her Jimmy five or six times. Ted is devastated to hear this. MARY (cont'd) By the way, how's he doing? TED He's dead. MARY (taken aback) Oh, Ted I'm so sorry to hear that. TED (bitter) No, it was a good thing. (off her look) I mean, good in that it was very quick. Ted pantomimes an exp losion. MARY Oh. So...what brings you down here? TED Funny story. You see, me and a buddy of mine decided to...ah...you know...just ...drive down. She stares at him. MARY Well you look great. Are you married, do you have kids? TED Nope, nope --dodged a few bullets. (smiles) God, I cannot beli eve I'm standing here with Mary Jenson. MARY Actually, it's Mary Brooks now. TED (taken aback) Oh...are you...? MARY Nope, haven't walked the plank yet. (off his look) There was this guy back in college who was bothering me...got kind of ugly --a restraining order, the whole bit. Anyway, when I got out of Princeton I changed my name as a precaution. TED Jeez...that sounds awful. Hey, what do you say we go out to dinner tonight, catch up on old times? BEAT. MARY Didn't we just do that? Ted doesn't know how to respond to this and then she smiles. MARY (cont'd) I'm kidding. I'd really love to, Ted, but the thing is I already have plans. How about tomorrow ni ght? TED Mary, we haven't seen each other in twelve years. (beat) Don't make me wait another day. Mary seems touched by this. MARY Tell me where you're staying. I'll pick you up at eight. Ted finally smiles and we CUT TO:",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEALY'S CAR - TWILIGHT A content Healy is parked out front of Mary's apartment, absently listening to her spill her guts to Magda while he reads the newspaper. MAGDA (V.O.) I'm buying bananas tonight. MARY (V.O.) Why? MAGDA (V.O.) Back when I was your age I always used to make myself a big banana split after sex. I think you're gonna need one tonight. MARY (V.O.) Don't get ahead of yourself. You'll probably need it befor e I will.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MARY'S APARTMENT - SAME Mary is skipping around the apartment while Magda sits on the couch. MAGDA Don't bet on it. Last time I had a pap smear the guy needed leather gloves and an oyster shucker. MARY So maybe I could find a nice gentleman to take you to the movies. MAGDA Knock it off, Pollyanna, just 'cause you're in love doesn't mean ever yone else has to be. MARY Love? Come on, I wouldn't call it love. MAGDA Oh no? I ain't seen you beaming like this since you broke ninety on the Blue Monster. BACK ON HEALY - he's reveling in it all. MARY (V.O. ) Well I am pretty psyched. I ran into a guy today I hadn't seen since high school. Healy loses the smile and sits up. MAGDA (V.O.) An old flame? MARY (V.O.) Kind of. Ted Peloquin --one of the sweetest guys in the world. Healy TURNS UP THE VOLUME. ON MARY MARY (cont'd) He was so shy and clumsy. ..I had a major crush on him. BACK ON HEALY as he nearly puts his head through the roof. He grabs hold of the steering wheel and pounds his head on it. HEALY No!!!!!!!!!!!!!!!! MARY (V.O.) (cont'd) We're gonna go out tonight. Oh, that reminds me, I've got to call what's-his-face and cancel. ON MARY MAGDA Do I sense a chill in the air? Mary sits down. MARY Oh, Magda, I let my head get in the way of my love life. I always pick guys on what I feel in here. (pats heart) But with this Pat guy my head kept saying ""Grow up, Mary . You have a lot in common with this one, you'll grow to feel something for him."" But it never happened. ON HEALY - he couldn't look more crushed. Suddenly his cellular phone RINGS. He stares at it for TWO, THREE, FOUR RINGS. Panic-stricken. Then he answers it. HEALY (jovial voice) Hey, Patty -boy here. Sorry I missed ya, but I'm out rustling up some champagne and roses in preparation for the greatest birthday of my life. Hope you and yours are having a good day, too. Healy makes a BEEP sound and then holds his breath. ON MARY - she stares at the phone, feeling cornered. MARY Uh, hi Pat, it's me, Mary. Just wanted to say I'm...looking forward to tonight. She hangs up. MAGDA You vicious bitch, how do you sleep at night? MARY I can't do it--I just found out it's his birthday. (sighs) I guess I've gotta cancel on Ted. ON HEALY - he blows imaginary smoke off an imaginary gun. Then he sits back and smugly listens to her DIAL THE PHONE. But then he hears something that concerns him --a KNOCK on the door and the dog YAPPING. ON MARY - she puts down the phone and answers the door. It's Tucker, the architect. MARY (surprised) Tucker...come on in. BACK ON HEALY pulling his hair out. He's on an emotional roller coaster heading downhill. MAGDA (V.O.) Well look who's here. BACK TO MARY'S APARTMENT - Tucker is carrying an unopened BOTTLE OF SCOTCH and absently flicki ng the YAPPING pooch off his ankles. TUCKER There she is --I brought you a little thirst-quencher, Mag. MAGDA Oh, you are sweet. TUCKER No, I'm not. I just want to get you -drunk so you'll pass out and I can have my way with Mary. Everyone LAUGHS. MARY Can I pour you one? TUCKER Thanks, but I've got to be going. Unfortunately, Doc, this isn't a social visit. Tucker's tone shifts and Mary grows concerned. MARY What's up? TUCKER Well...I've got a little more news about your friend Healy. Mary seems relieved. MARY I know what you're going to say, but he already told me everything. I know he's not an architect. Tucker pulls out a piece of paper. TUCKER (cont'd) I think you'd better sit down. MARY Tucker, I appreciate you doing all this, but I'm really strapped for time here and -- TUCKER Mary, the man's a killer. ON HEALY - he can't believe his ears. BACK ON MARY - as she lowers herself onto the couch. MARY (stunned) What...? TUCKER I've got a friend in the Boston police department. He faxed me this this morning. I'll just give you the highlights. (reading from rap sheet) After a short stint as a petty thief, Patrick R. Healy graduated to armed robbery by the age of fourteen. At sixteen he committed his first murder --a pretty teacher's aid named Molly Pettygrove. He was incarcerated until age twenty -two when, despite a grim psychological profile, the state was forced to release him. In his mid-twenties and again in his early thirties he was suspected of homicides in the states of Utah and Washington. Unfortunately, the bodies were so badly decomposed that there wasn't enough evidence to hold him, and on and on and so forth and so on. Mary looks like she's going to throw up. ON HEALY - he listens intently, his face ashen. MARY (V.O.) Holy shit... MAGDA (V.O.) Puffy, get over here. We hear the PITTER -PATTER of the dog's nails on the floor, then a LOUD THUMP followe d by a YELP. ON MARY MARY Magda! MAGDA The little shit lied to me about that guy! Mary picks up the startled dog and pets him. MARY (growing emotional) I can't believe this is happening. I'm supposed to be meeting him in an hour. TUCKER Okay, just calm down. It's going to be okay. Tucker puts his arms around her. MAGDA Why you two never hooked up is beyond me. Mary looks fondly at Tucker. MARY Magda's right, I'm so lucky to have you in my life. TUCKER Don't get all gooey on me now, you'll give me a big head. (smiles) The important thing, Doctor, is you've got to distance yourself as much as possible without pissing this psycho off. MARY Yeah, yeah. Okay, I think I know what to do. I'll call him right now. BACK ON HEALY - he looks stunned. His cellular PHONE RINGS. He stares at it, then picks it up. HEALY Hi, I'm out drinking champagne and roses...and I'm really happy. Leave a message. BEEP. MARY (V.O.) (nervous) Uh, hey buddy. Oh boy, am I pissed. You're not going to beli eve this --well, you'll believe it, there's no reason not to --but I just got beeped for emergency surgery. Well, um, sorry, but I'm going to have to bail on you. As we hear a CLICK, Healy stares at the cell phone , seething. DISSOLVE TO:",TWIST +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MARY'S APARTMENT BUILDING - LATER Tucker comes out the front door, looks around, then walks off down the sidewalk. ANGLE ACROSS THE STREET - on Healy, his steely gaze fix ed on Tucker. HEALY (under breath) You're gonna pay, fucker. Healy discreetly pulls out and slowly follows Tucker in his car. BACK ON TUCKER - He continues down the sidewalk, looking back once or twice, apprehensive. He rounds a corner, then stops next to an OLD FORD PINTO. He looks around nervously again. Then Tucker DUCKS INTO THE DRIVER'S SEAT and DRIVES OFF. Healy pulls into traffic and follows. CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOTEL ROOM - NIGHT Dom's mixing a drink while Ted paces nervously. TED Oh God, I'm fucking nervous. I don't know if I'm ready for this, man. DOM Just relax. Have you hit the cash machine? TED (pats his back pocket) Got cash. DOM Car clean? Plenty of gas? TED Check. DOM Mints? TED Copped a tin of Altoids at the car wash. Dom nods, satisfied. DOM Okay, sounds like you're all set. Just clean the pipes and it' s a go. TED Hm? DOM You know, clean the pipes. TED Pipes? What are you talking about? DOM You jerk off before al l big dates, right? Tell me you jerk off before your big dates. Ted just stares at him. DOM (cont'd) (incredulous) You don't jerk off before --?! Are you crazy?! That's like going o ut there with a loaded gun. No wonder you're nervous! Ted considers this. DOM (cont'd) Think about it: After you've had sex with a girl and the two of you are laying in bed, are you nerv ous? TED No. Dom shrugs...Duh. DOM Why's that? TED I'm usually too tired to be. Dom makes a game -show BUZZER sound. DOM Wrong. It's because you ain't got the baby batter in your brain any more. That'll fuck with your head, that stuff will. TED (starting to believe) Huh. DOM The most honest moment in a man's life is the five minutes after he's blown a load. That's a medical fact. And it's because you're no longer trying to get laid. You're actually thinking like a girl. They love that. TED Jesus Christ you're right. DOM You bet your ass I'm right. You don't go out with a loaded gun, you empty the barrels! TED (shakes his head) Holy shit, I've been going out with a loaded gun! DOM People get hurt that way. CUT TO:",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. HOTEL - EVENING Dom walks out of the lobby just as another cab arrives and Mary gets out. He sees and her and ducks behind a bush as she walks past him.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TED'S HOTEL BATHROOM - SAME Ted has a newspaper splayed out on the counter (open to the bra ads) as he furiously FLOGS THE DOLPHIN (chest -high side view.) We see some balled -up tissue nearby. After several frantic strokes, he takes a deep breath and slowly and loudly EXHALES, clearly having COMPLETED HIS MISSION. He draws a few more b reaths, picks up a face cloth, and goes to clean up. But something's missing: The Load. Ted looks down, checks his hands, pants, shoes, looks in the sink, finally glances at the ceiling, with no luck. The Load IS MISSING !!!! That's when the doorbell RINGS. Ted couldn't look more HORRIFIED. As he buckles his pants, he makes a last, panicky reconnaissance of the area. The doorbell RINGS AGAIN and Ted reluctantly goes to answer it.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TED'S HOTEL ROOM - SAME Ted opens the doo r and Mary is standing there looking as lovely as ever. TED Hey. MARY Hi, Ted. TED You look great. MARY Thanks. She notices something. MARY (cont'd) What's that? TED Hm? MARY On your ear, you've got something. MARY'S POV - a HUGE LOAD is hanging off of Ted's earlobe like a drop earring. MARY (cont'd) It looks like a gob of... Mary leans forward for a closer look. Ted is terrified. MARY (cont'd) (making face) Is that....hair gel? BEAT. TED Sure. MARY Oh great, I ran out. Before Ted can stop her, Mary grabs The Load off his ear and WIPES IT IN HER BANGS. CUT TO:",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. UPSCALE NEIGHBORHOOD - NIGHT Healy is still following Tucker in his car. Finally Tucker stops in front of a lavish Victorian home and gets out carrying a pizza and wearing a PIZZA DELIVERY HAT. Healy SCREECHES to a sideways stop, jumps out and POUNCES ON HIM. HEALY (cont'd) You motherfucker, you're a dead man! Tucker drops the pizza as Healy SLAMS HIM into a tree. TUCKER (cowering) Okay, Pat, take it easy --don't do anything stupid. HEALY Who the fuck do you think you are making up that bullshit about me?! Healy SLAMS HIM AGAINST THE TREE AGAIN. TUCKER Whoa, whoa --I don't know what you're talking about. HEALY Maybe this'll jog your memory. Healy SLAPS him across the face. HEALY (cont'd) I'll give you a hint --it's got something to do with me being a murderer. Healy raises his arm again and Tucker tries to shield himself. TUCKER Okay, okay, I might've gotten some bad information. Healy grabs him by the collar. HEALY That stalker Ted got to you, right? You're working for him, aren't you, you little shit? TUCKER Who? Healy throws Tucker to the ground and takes off his sport coat. HEALY This is your last chance, you fuck. Now either you come clean or I'm going to kick your ass from here to Tallahassee. Healy grabs Tucker by the hair and cocks his arm. TUCKER I LOVE HER, OKAY?! Tucker suddenly gets emotional. Healy stops and looks at him. HEALY You what? TUCKER You heard me, goddamnit. I...I love her. Healy slowly lets go. TUCKER (cont'd) I'm a phony --just like you, man. HEALY What do you mean? TUCKER I mean I'm a fucking fraud. I'm no architect. Don't be a putz --who's been to Santiago twice in a year? (scoffing) Estadio Olimpico --please! HEALY But...but you knew people at Harvard. TUCKER I knew shit. The only thing I knew was that you were a fake and I made up everything else. (sighs) My real name's Norm. I del iver pizzas. HEALY Bullshit! Tucker rolls his eyes and pulls out his PIZZA DELIVERY BADGE, with him pictured beside the name Norman Plante. As Healy let's this sink in, we CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BAR - NIGHT Ted's rolling a little wine around in a glass. He takes a sip, nods his approval. TED Thanks, that's great. The WAITER turns to Mary. WAITER Madame? ANGLE ON MARY - The light, puffy bangs that Mary started the night with are gone, replaced by a glazed, ACE VENTURA -STYLE WAVE up front. MARY Thank you. The waiter pours her a glass and leaves. TED Now by killer, you mean...? MARY I mean he murdered someone and did time back in Boston. The guy's a freak. TED (stunned) Jeez, Mary ...I'm... MARY Well, lucky for me I found out. Thank God I have friends like Tucker. (beat) Look, I'm sick of talking about stalkers. (big smile) Let's talk about you. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ANOTHER BAR - NIGHT Healy and Tucker are bonding over a beer. TUCKER ...So then in '94 I went back to Dade Community College for a semester and when the Wal-Mart cashier job fell through I hooked up with the Pizza Barn. HEALY And you met Mary how? TUCKER Just dumb luck. I deliv ered a pie to her one night and she answered the door in her nightgown --that was it for me. I went home that night, shaved my beard, and a week later I was laid out in her office with a broken back. HEALY How'd you manage that one? TUCKER (matter-of-factly) Friend. Baseball bat. HEALY Nice. TUCKER Oh yeah, the plan was going along just fine until you showed up. HEALY Hey, hey, hey, I'm not the one who started telling bald -faced lies about the competition --that's crossing the lin e! TUCKER What line? The day you first laid your oily rap on my future wife you started a war! HEALY Future wife ? Get real, man --you're nothing more than a glorif ied brother in her eyes. TUCKER Why you son of a -- Tucker grabs Healy by the jacket. HEALY Okay, calm down, calm down --the bottom line is neither of us are going to get her if we don't do something about that headcase she's with now. As Tucker slowly releases him, we CUT TO:",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DRIVING RANGE - NIGHT Ted and Mary are eating CORNDOGS at the snack bar. MARY You hit the ball pretty good for a fourteen. TED (shrugging) No short game. She smiles. MARY We should play some time...I mean, if you can afford to lose some money. TED (smiling) What are you? MARY Twenty-two. TED Bullshit, a twenty -two doesn't carry a one-iron--don't sandbag me, lady. Mary smiles coyly. MARY Okay, sometimes I'm a nineteen. TED That's more li ke it. (to Counter -Man) Two more nitrate -sicles please. COUNTER-MAN You got it. Mary is amused by this. MARY Nitrate-sicles--I like that. TED I say they should put more meats on a stick, you know? They got a lot of sweets on sticks --popsicles, fudgesicles, lollipops --but hardly any meat. MARY I agree ther e should be more. The Counter -Man hands each of them another corndog. TED You know what I'd like to see? Meat in a cone. You could put corned beef hash in a cone, or chopped liver. MARY I like it. And think of the toppings --cheese, mushrooms, mint jelly TED Not to mention ketchup and hot peppers. They smile at one another. MARY It's too bad you don't live down here, Ted. TED (pleased) Yeah? MARY We've got a lot in common. Ted takes a chance. TED Well...why don't you move back? MARY Ah, my roots here are too deep. I love my practice, the people I work with, Warren's got a nice thing going (joking) Why don't you ju st move down here and marry me? Mary smiles and Ted LAUGHS...perhaps a little too hard. CUT TO:",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MARY'S APARTMENT - NIGHT Ted and Mary are sitting on her front stoop SMOKING A BONE. MARY So you're a writer? TED Trying to be. MARY Well good for you. I bet it works out for you. TED We'll see. If it doesn't, what the hell, at least I gave it a shot. MARY That's right. And the good thing is you can do it anywhere. TED What about you, Mare? How the hell'd you manage to stay single? MARY I don't know...My friends think I'm too picky. I think I'm just a weirdo magnet. I did come close once --just last year, in fact. The re was this guy he lived in San Francisco. ANGLE ON the corner of building. We see Healy and Tucker SPYING ON THEM from the shadows. TUCKER (WHISPERING) That stalkin' son -of-a-bitch! HEALY Fucking sickening. Healy and Tucker duck back into the alley. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. MARY'S ALLEY - NIGHT Healy is throwing DOGGIE TREATS through an open THIRD -FLOOR WINDOW.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MARY'S APARTMENT - SAME We hear the TELEVISION and see Magda DOZING on the couch with a watery COCKTAIL IN HER HAND and the dog Puffy at her feet. Suddenly a DOGGIE TREAT flies through the window, landing on the rug. Puffy SNAPS TO ATTENTION and a pproaches the treat. He sniffs it, then GOBBLES IT UP. ANOTHER doggie treat lands beside him and he eats that, too. Then ANOTHER.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. MARY'S ALLEY - SAME Tucker keeps throwing the treats up and Healy looks concerned. HEALY How many is that? TUCKER Four. HEALY That seems like a lot of speed for a little pooch--you sure it won't kill him? TUCKER I never said that. As Tucker throws another...,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MARY'S APARTMENT - SAME The doggie treat LANDS IN MAGDA'S COCKTAIL, waking her up. Magda looks around, gets her bearings, and then DOWNS THE DRINK! CUT TO:",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MARY'S APARTMENT BUILDING - SAME Mary and Ted, still sitting on the stoop. Mary seems a little reflective. MARY ... and then it was all over. (SIGHS) We haven't spoken since. TED (sincere) Wow. That's too bad. He sounds almost perfect. MARY Yeah...almost. (beat) You want to come up and watch Sportscenter? TED Uh no. I think I'm gonna get out while I'm ahead. Mary looks a little disappointed. MARY Ted...you're not that far ahead. TED Look, Mar y, the truth is...I'll be in town for a while now but I don't think we should see each other for a few weeks. MARY (alarmed) Why not? TED Well...to be honest....I'm really crazy about you and it's making me nervous and when I get nervous I'm not myself and I'm afraid I'm going to doing something really dumb before we get started so I think I should just lay back until I regain my composure. Mary sort of smiles. MARY That's really sweet, Ted, but you should save it for one of your books. TED All right, let's go. Ted jumps up and starts up the stairs two at a time.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MARY'S APARTMENT - NIGHT As Ted and Mary ENTER, we see Magda HOLDING UP THE COUCH with one hand and VACUUMING WITH THE OTHER. Mary doesn't know what to make of it. MARY Magda, what are you doing? Magda turns off the vacuum and we hear a BANGING SOUND coupled with the O.S. MUFFLED YAPPING of Puffy. MAGDA Oh, hi hon. Just straightening up. MARY Where's Puffy? MAGDA Ah, he was being a pest so I put him in the bathroom. As the O.S. YAPPING AND BANGING continues, Magda PICKS UP THE TELEVISION and starts DUSTING the TV stand. MARY (to Ted, concerned) Um, Ted, I need a moment with Magda --would you let the dog out of the bathroom. TED Yeah, sure. Ted walks down the hall, following the YAPPING AND BANGING SOUND until he comes to the bathroom door. The YAPPING is MUCH LOUDER now and he NOTICES SOMETHING THAT MAKES HIM HESITATE. TED'S POV - the bottom part of the door is being DENTED OUTWARD from the force of something BATTERING IT FROM WITHIN. TED (CALLING out) Uh, Mare, what kind of dog is Puffy? MARY (O.S.) (CALLING out) Toy poodle! Ted thinks about this, shrugs, and opens the door. BARING HIS TEETH like a Rottweiler, Puffy SPRINGS at Ted's jugular!",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MARY'S LIVING ROOM - CONTINUOUS Ted stumbles back into the living room with the hopped -up dog ON HIS FACE. He KNOCKS OVER A LAMP, tumbles o nto the floor, and fights for his life. Mary and Magda SCREAM as Ted and Puffy mix it up on the floor. Ted tries to CRAWL TOWARD THE DOOR but Puffy GRABS THE CUFF OF HIS PANTS. DOOR POV of Ted's anguished face as he gets pulled back into the room. Ted manages to GET THE DOG IN A HEADLOCK. MAGDA Stop it, you're hurting him! TED (out of breath) Tell him...to calm down. Puffy gets a piece of Ted's wrist and Ted SC REAMS and drops him. Both man and toy poodle SPRING TO THEIR FEET. They start CIRCLING ONE ANOTHER. Puffy leaps at Ted and Ted SMACKS HIM into a wall. Unfazed, the dog gets a running start and LEAPS AT TED'S NECK. Ted manages to duck and PUFFY FLIES OUT THE OPEN WINDOW! DISSOLVE TO: EXT MIAMI STREET - DAY MONTAGE OF TED AND MARY FALLING IN LOVE --Ted and Warren are at the top of a giant WATER SLIDE Warren motions that he has decided this is not for him. Ted shoots him a look that makes Warren feel like a sissy. Convinced it's not too dangerous, Warren decides to go for it and Ted follows. --At the bottom of the slide Ted splashes into the huge pool of water, laughing, having a blast. Then he looks around...no sign of Warren. Concerned, Ted dives underwater and a moment later Resurfaces clutching a GASPING Warren.",FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. MIAMI STREET - DAY --Mary pumps Warren's stomach as he coughs water out of his mouth. Ted looks on sheepishly.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MIAMI STREET - DAY Ted and Warren walk down a city sidewalk. As they pass a shop Warren points to the window excitedly. THEIR POV In the window there is a mannequin dressed in a Super - hero outfit, i.e. a generic sup erman. Warren then pulls Ted into the store. CUT TO:",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MIAMI STREET - DAY Ted comes out followed by a beaming Warren dressed in the Super -Hero outfit. They continue walking again and a few steps later Warren excitedly points to another shop window. THEIR POV In the window is a mannequin dressed in a cowboy outfit, i.e. Lone Ranger (hat, badge, holster, chaps, vest, boots, spurs, etc.) Again, Warren pulls Ted into the store. CUT TO:",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. MIAMI STREET - DAY Mary is window shopping with a few bags in hand. She turns and reacts amused. HER POV Warren is now dressed in the cowboy outfit and a humiliated Ted follows dressed in the loose fitting Super-hero outfit.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SCENIC PIER - MIAMI - DAY --Ted and Mary are walking arm and arm on a SCENIC PIER where PEOPLE ARE FISHING. Right behind them are Magda and Herb (the Homeless guy) enjoying one another's company. Ted is on top of the world, feeling good, looking good -right up until he gets the HOOK IN HIS MOUTH. Suddenly he gets YANKED OUT OF FRAME.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SCENIC PIER - MIAMI - DAY --Ted is FLOPPING AROUND on the pavement and a FISHERMAN has his FOOT ON HI S FACE as he STRUGGLES TO REMOVE THE HOOK. Mary looks on, concerned.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. GROCERY STORE - MIAMI - DAY --Ted and Mary come out of the grocery store each HOLDING A COUPLE BAGS. Ted also is CARRYING PUFFY, IN A BODYCAST. Ted PUTS PUFFY ON THE ROOF, then sta rts putting the groceries in the back seat.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MARY'S APARTMENT - DAY --Mary pulls her car up in front of her apartment. AS Ted gets out of the passenger's side, he notices that PUFFY IS STILL ON THE ROOF. He quickly GRABS PUFFY before Mary notices.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BATTING CAGE - MIAMI - DAY --Warren is futilely taking swings in a BATTING CAGE while Mary looks on helplessly. Finally Ted goes into the cage, SIGNALS THE GUY TO STOP THE PITCHING MACHINE, and MOVES WARREN A LITTLE CLOSER TO THE PLATE. --A distraug ht Ted SITS SOMBERLY on a bench. Beside him, Mary comforts Warren whose LEFT EYE IS BLACK AND BLUE AND COMPLETELY CLOSED. DISSOLVE TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MARY'S APARTMENT - DAY Ted shows up at Mary's apartment door carrying a BOUQUET OF FLOWERS and a BASEBALL. When he KNOCKS, the door opens.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MARY'S APARTMENT - CONTINUOUS Ted peeks around the corner and sees a SOMBER Mary sitting on the couch. TED (chipper) Hey. Mary doesn't look up. Ted ENTERS, revealing his gifts. TED (cont'd) The flowers are for you and the ball's for Warren. I had a friend of mine Fedex it to me--it's signed by Tony Conigliaro. Mary finally looks up but doesn't smile. MARY Did you hire Pat Healy to follow me around? Ted tries to hide his horror. TED (lamely) What do you mean? Mary picks up a letter off the coffee table and hands it to him. Ted takes a quick look and then drops it on the table. MARY It's not true...right, Ted? Ted CLEARS HIS THROAT. TED Well, funny story there. You see, uh, it started out as a uh...yeah...it's true. = Mary stands up. MARY Get out. TED Wait, hold on, Mary --it's not as bad as it sounds. I certainly didn't know -- MARY That you put a murderer on my trail? TED Well yeah, I didn't know much about him. I just thought -- MARY What did you think, Ted? That you could spy on me and trick me into thinking you were someone I could...really go for? Mary starts to get emotional. TED Mary, I swear I wasn't trying to trick you. MARY Then what the fuck did you do it for? TED I did it because because I'd never stopped thinking about you and if I didn't find you I knew my life would never be good again. Mary looks away. MARY (softly) Please leave. TED (devastated) Mary, come on... MARY Go! TED (beat) Okay. And so Ted does. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MARY'S APARTMENT BUILDING - DAY Ted comes out of the building, a broken man. He paces back and forth on the sidewalk, manic with despair. Then he seems to grow angry. He rifles through his pockets until he finds a SLIP OF PAPER. TED'S POV - the paper reads: 'Healy's Miami address --229 Court Street, apt. 43.'",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. APARTMENT BUILDING - DAY Ted walks down a rather dark hallway until he comes to apartment 43. He KNOCKS on the door but no one answers. He tries the handle and THE DOOR OPENS.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SULLY'S APARTMENT - CONTINUOUS Ted ENTERS and immediately reacts to the STENCH. REVERSE ANGLE reveals that the place is a fucking PIG -STY. DOG SHIT is everywhere, FLIES fill the room, a MOUSE scampers across the carpet. TED Hello...? No answer. Suddenly he HEA RS SOMEONE out in the hall, so he ducks behind the door. Healy and Tucker ENTER the apartment and stop in their tracks when they see the MESS. HEALY Ho-ly shit. TUCKER Hey, this is a pretty nice place. HEALY Sully...! What the fuck happened here?! Again, no answer. Suddenly Ted SLAMS THE DOOR shut and grabs Healy by the collar. HEALY (cont'd) (alarmed) Hey, hey, hey! TED Surprised? TUCKER Hey, buddy, don't do anything rash now. TED (to Tucker) Who the fuck are you? HEALY He's in love with Mary, too. Ted releases Healy and glares at him. TED You fucked me, man? Why would you do that? HEALY (righteous) What do you mean 'why'? TED Answer the question, shitball. TUCKER I think everybody could use a drink. Tucker goes into the kitchen. HEALY Look, you asked me to follow your girl around, and I did and I started to like her, and then I realized I just couldn't in good conscience do it. TED (amazed) Do what? HEALY Turn her over to a stalker. TED What?! You're calling me a stalker? HEALY That's right --if you weren't you would've looked for her yourself! Suddenly they hear a SOUND and turn to see Bill the Boa slithering into the room with A HUGE, GREAT -DANE-SIZE LUMP in his midsection. HEALY (cont'd) (sickened) Oh Christ...poor dog. TED You're a sick man, you know that? HEALY Yeah well fuck you! You just can't stand the fact that it was my turn. TED Your turn? HEALY (getting emotional) That's right, hot shot! My turn. What's the matter with me, huh? Why can't I ever get the great girl? Give the big pig with the B.O. to Healy, right? Well I was sick of it, man! No more --it was my turn. It was time for me...time for me...to be happy. This is so pathetic that it actually gets to Ted. He sits down, runs his fingers through his hair. TED Well you didn't have to blow us both out of the water. Jesus Christ, just because she found out about you, why'd you have to take me down with you? HEALY I don't know what you're talking about. TED I'm talking about the letter, asshole. HEALY What? Ted stares at him. TED Are you telling me you didn' t send Mary a letter outlining our deal? HEALY Why the fuck would I do that? I'd be screwing myself. The guys stare at one another, then Tucker comes out the kitchen with a drink. They turn their attention to him. HEALY (cont'd) You little fuck. TUCKER What? HEALY You fucking prick, we had a deal --you said you wouldn't fuck me and I wouldn't fuck you until we had this fuck out of the fucking picture. (moves in on Tucker) You crossed the line, man. Tucker backs away nervously. TUCKER Whoa, whoa, you're getting crazy now. Why would I cross the line --what do you think I got no pride? Healy grabs Tucker by the neck. TUCKER (cont'd) I swear! I didn't tell her nothing! You probably did it yourself, you piece of shit. HEALY Oh that makes a lot of sense. Why would I rat myself out? TUCKER Like I'm going to try to figure out a guy who's idea of courting is blowing farts in the chick's face HEALY You were following us? TUCKER Don't flatter yours elf--I was following her, I always do. How the hell you think I got rid of Mary's boyfriend Steve? This gets Ted's attention. TED You mean...Steve didn't say all that stuff about Warren? TUCKER Are you shitting me --Mr. Goody -Two-Shoes? He was like a fucking eagle scout. You two should be kissing my balls --if it wasn't for me, she might've married that schmuck! Ted think s about this. TED The hell with you both --I'm out of here. Ted walks out the door leaving Healy and Tucker to stare each other down. Just then Hal the Great Dane walks out of the bedroom with a CEREAL BOX stuck on his h ead. Healy does a double -take, then looks back at the snake. HEALY (sadly) Oh...Sully. TUCKER Look, if it wasn't you who sent the letter, and it wasn't me w ho sent it? CUT TO:",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MARY'S APARTMENT - DAY CLOSE ON an alarmed Mary. MARY Woogie? What are what are you doing here? REVERSE ANGLE reveals Dom sitting on her bed. DOM Did you get my letter, Mare? The one about Ted? MARY You sent that? DOM Uh-huh. I was worried about you. MARY Well...thank you. But...you know you're not supposed to be within four hundred yards of me. DOM (excited) That's what I want to tell ya . I've been through two years of extensive psychotherapy and you know what? You were right--I needed help. MARY (cautious) That's great, Woogie, I'm happy you're better--you seem...good --but...you put me through quite an ordeal, you know. Dom nods aggressively. MARY (cont'd) I had to move, go to court, change my last name--you stole all my shoes! Dom stands up. DOM Look at me. Mary turns her head. DOM (cont'd) Look at me, Mary . On my mother's soul, on God above, on everything that is holy to me, I did not steal your shoes. MARY Woogie, I caught you red -handed. DOM All right, I did, but I was in a weird place then. He approaches her. DOM (cont'd) Give me a break, Mare, I was nuts! Mary backs into the living room. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEALY'S CAR - DAY Healy and Tucker are parked right out front LISTENING TO THIS CONVERSATION. They seem concerned. MARY (V.O.) Woogie, please, you're starting to scare me. HEALY Who the hell's Woogie? Tucker just shrugs. BACK ON Mary and Dom. =~ MARY I'm askin g you to leave. DOM (gentle) Oh, Mary, honey, you're taking this all wrong. (beat) I'm not leaving... BACK IN HEALY'S CAR DOM (cont'd) (V.O.) ...Not until I get a little something to remember you by. MARY (V. O . ) (clearly struggling) Stop that! No! Somebody help me!!!!! Healy and Tucker jump out of the car and RUN INTO THE BUILDING. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MARY'S APARTMENT - DAY Healy and Tucker STORM INTO THE ROOM and freeze at what they see. THEIR POV - Dom is cradling SEVERAL PAIRS OF SHOES in his ar ms and trying to crawl to the door while Mary holds him back. MARY Stop it! DOM Just one pair! You owe me that much, you heartless bitch! Healy and Tucker grab Dom and throw him down on the couch. HEALY Dom, you're pathetic, fucking over your friend Ted like that. DOM What? You fucked him over, too. HEALY He's no friend of mine. Suddenly Magda ENTERS from her bedroom. She's holding a half -eaten BANANA SPLIT. Herb, the Homeless Man, follows after her, sporting a Tom Jones and buttoning up his shirt. MAGDA What the hell's going on here? At first no one knows what to say. Then: HEALY We're in love with your roommate. MAGDA Aw, Christ, I can't take it anymore. I'm gonna pack my bags and go back to my own place. Magda heads back into her bedroom and Herb follows. MARY Tucker, where are your crutches? Tucker is stumped for a second, then: TUCKER (British accent) Interesting query, Mary... Healy slaps Tucker in the back of the head. HEALY Shut the fuck up and tell her the truth. Before he can respond, Ted ENTERS. TUCKER Well isn't this nice --now we've got the whole gang together. Ted can hardly believe Dom is there. TED Dom? What are you? DOM You stole her from me. Now I want her back. MARY (rolling eyes) Woogie and I went out for awhile in high school. TED (stunned) You're Woogi e? DOM Dom Wooganowski. Duh. TED But but you're married. You have kids a great wife. DOM If you're so happy with them, please, be my guest. HEALY If I may I have a proposal. Everyone turns to Healy. HEALY (cont'd) I say none of us leave this room until our young Mary here stops jerking us around and decides once and for all who she wants. Now Mary, I know this is difficult but you really will be doing them all a favor to tell them the truth about us. MARY Are you crazy? Why would I pick you? You're a murderer. Healy glares at Tucker. TUCKER Uh, well...not exactly. You see, I exaggerated a little there. MARY You mean he's not a criminal? HEALY God no! (pleased) I'm just a pathological liar! Mary looks at Tucker, confused. MARY Tucker...not you, too? Tucker lowers his head and reluctantly nods. TUCKER Name's Norm. I live up in Pompano with my folks. MARY Oh Jesus... Just then the door opens and B RETT FAVRE, the Packers quarterback ENTERS, with Warren (wearing a walkman) beside him. Everyone is stunned. MARY (cont'd) Brett...? BRETT FAVRE Hi, Mary. HEALY What the hell is Brett Favre doing here? BRETT FAVRE We're in town to play the Dolphins. TED I called him. I told him to pick up Warren and get over here. everyone turns their attention to Ted. TED (cont'd) Mary, I found out that your buddy Tucker there lied to you about Brett. Tucker lowers his head. TED (cont'd) Brett never said anything bad about Warren. He loves Warren...and from what he just told me on the phone, he loves you, too. (beat) He's the guy you should be with. BRETT FAVRE That's right, Mare. And you know I'll always be true to you. DOM Aw shit, this isn't fair. Mary manages a smile. TED (to Mary) I realized something tonight. I'm no better than any of these guys. None of them really love you...they just fixated on you because of how you made them feel. But that's not real love...Thank you for letting me s ee that. Now I can get on with the rest of my life. Tucker, Healy, and Dom scoff. TUCKER Oh please... DOM Don't listen to him, Mary. It's a ploy. HEALY You are so full of shit, Strohman. Are you going to stand here and tell us that you aren't in love with this girl? Ted looks into Mary's eyes. She looks vulnerable. TED Yeah...that's what I'm telling you. (winks) See you, Mare. Ted looks Mary in the eye, then starts for the door. TED (cont'd) (as he passes Warren) See you, Warren. WARREN Huh...? Ted lifts the earphones off Warren's ear. TED See you, Warren. WARREN Bye, Ted. Ted then WALKS OUT OF THE ROOM. They all stand there in silenc e for a moment, then Dom turns to Brett Favre. DOM Hey, Brett, any chance I can get you to autograph one of these pumps for me? CUT TO:",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MIAMI STREE T - DAY Ted is walking down the street BLUBBERING LIKE A SCHOOLGIRL. Everyone he passes stares at him. Suddenly Mary comes running down the OTHER SIDE OF THE STREET. MARY Ted! Ted stops and looks across the street at her. He wipes his eyes, hopeful. TED What what are you doing here? MARY You forgot your keys! She holds up a RABBIT FOOT KEY -CHAIN. TED (deflated) Oh. Thanks. They remain across the street from one another. MARY Did you mean what you said back there, Ted? Ted starts to well up again. MARY (cont'd) Ted...? TED (looking down) I...I just want you to be happy, Mary. MARY But I think I'd be happiest...with you. Ted just stares at her. TED You're fucking with me, right? Mary smiles. TED (cont'd) (wiping eyes) But but what about Steve? MARY Oh yeah, that'd make golf r eal fun--the guy doesn't even drink beer or gamble. Now Ted smiles. MARY (cont'd) Get over here. TED Really? MARY Really. The BEAMING Ted starts walking across the street. Suddenly a BUS WHIZZES BY AND SMACKS TED BROADSIDE. He bounces around under the bus like a rag doll, then finally squirts out the back end and TUMBLES TO A LIMP STOP. Mary SCREAMS and runs toward the body as a CROWD begins to gather. MARY Ted, no, no....! She starts giving him CPR. Somebody covers him with a blanket. Just then, another CAR WHIZZES OVER HIS FEET like speedbumps. The crowd winces. MARY (cont'd) Somebody hold up traffic! (beat) Come on, Ted. Come on. Tell me you're going to be okay. Then Ted takes a deep breath and his eyes flutter open. TED Mary....Oh Mary, I love you. Mary's smile is as bright as the light from heaven. MARY I love you too, Ted. (beat) I think I always have. As the two lovebirds kiss, a LADY CALLS OUT: LADY Over here! I found his foot! It was in the storm drain! ON THE LADY as she holds up a SEVERED FOOT in a cloth. MARY All right, everyone, let's fan out and look for the penis! As Ted REACTS to this, we pull UP, UP, UP, and FADE OUT. THE END",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BEL AIR B AY CLUB -- PACIFIC PALISADES, CA -- MORNING It’s a beautiful spring morning in the Palisade s. High atop the cliffs, lo oking out over the Pacific Oce an, sits the exclusive BEL AIR BAY CLUB. W orkers bustle a bout the lawn, setting up a high -end wedding. A STRING QUARTET war ms up. A team of FLORISTS arrange centerpieces. CAT ERERS set the whit e linen tables...",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BRIDAL SU ITE -- DAY A simple, clas sic wedding dre ss hangs on a c loset door in this sun-drenched bridal suite. Sit ting at the makeup table, surrounded by her bridesmaids, is the beautiful bride, TRACY TURNER, 20’s. She’s busy doing her makeup. Just then, Tracy’s rich, stern FATHER, 50’s, blows in. MR. TURNER Any word from Doug? The way he spits out “Doug” tells us a ll we need to know about how Mr. Turner feels about his f uture son-in-law. TRACY No, but I’m sure he’s-- Just then, Tracy’s C ELLPHONE rings. She quickly answers it. TRACY (CONT'D) Hello? INTERCUT WITH:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MOJAVE DESER T -- MORNING Heat-waves rise off the Mojav e. Standing at a lone, dust- covered payphone in the middle of the desert is VICK LENNONHe’s in his late 20’s, tall, rugged -- and c urrently a mess . His shirt is ripp ed open, his aviator sunglasses are bent, his lip is bloodi ed, and he clearly ha sn’t slept in days. VICK Tracy, it’s Vick. Parked on the dirt r oad behind Vick is his near -totalled 1967 Cadillac Deville convertible; it’s scratched, dent ed, filthy - - and missing its passenger side door. Slouched inside are TWO OTHER GUYS, also lookin g like hell. TRACY Hey Vick! VICK Listen, honey...T he bachelor party got a little out of control and, well...we l ost Doug. TRACY (her jaw dropping) What?! But we’re gettin g married in like four hours! Vick squints at the rising sun. VICK Yeah, that’s n ot gonna happen. CUT TO: TITLE OVER BLA CK: 40 HO URS EARLIER CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. THE 10 FREEWAY -- DAY The top down, The Who’s “Baba O’Riley” blast ing from the stereo, Vick’s pristine Cadil lac convertible rockets down Highway 10 tow ards Nevada. At the wheel is Vick , looking as sh arp as his Caddy in a half- open shirt and mint condition aviators. Sitting shotgun is the groom, DOUG BIL LINGS, late 20’s, handsome, barefoo t, crunchy -- an a ll around gr eat guy. Behind Vick si ts ALAN MERVISH, late 20’s, an anal tax attorney from Con necticut, his I zod shirt tucke d into his khakis. He’s c urrently applying sun screen to his forehead. Next to Alan is S TU PRYCE, late 20’s, former hi gh school linebacker and lo vably dimwitted fa ther of two. He drums the back of the front seat to the music, to tally pumped, like this is his first time out of the house in years. Be cause it is. STU Dude this is alre ady the best weekend ever ! VICK Stu, relax, we ’re still on the 10.2. STU Oh, did I show yo u pictures of my kids?! DOUG No, dude, show ‘em. Stu fishes pictur es out of his wallet and ea gerly shows them to Doug in the front seat. Do ug is clearly the core of this group, the glue that holds th ese childhood f riends together. STU Haylee is two, and Kaitlin is already four! Can yo u believe it?! DOUG (smiling at photos) How cute... Go od for you, man. Doug shows the photo s to Vick; he nods, impressed. VICK The one on the left is gonna be a hottie. The ot her one, not so much. Stu protective ly snatches the photo s back, muttering: STU Jesus, dude, thos e are my children -- ALAN (re: sunscreen) Hey, am I rubbed in? Stu glances over and sees un- rubbed-in su nscreen all over Alan’s face. STU Yeah, you’re good. DOUG Hey so Alan, a re you and Becky still together? But before Ala n can answer-- VICK Of course they are, Doug. Jesus, Alan’s been datin g Becky for 14 years. When they fir st met, Alan had braces and so ccer hair, and Becky had a fu nctioning hymen. 3. (MORE) Asking Alan if he’s still with Becky is like ask ing the sun if it still rises in the east. The guys try not to laugh; Al an scowls. DOUG She still pressur ing you to get married? ALAN Enh, we’ve moved pas t the pressure stage...it’s more like aggravated assault stage now ? Like at the last wedding we went t o, she threw a camera at my h ead, called me a closet fag, then ran out crying. The guys wi nce, oooo. ALAN (CONT'D) But we talked, and everything’s cool now. STU Maybe you could w ear a helmet to Doug’s wedding. ALAN Great idea, Stu. Thanks. DOUG (laughing) So Vick, how’s business going? VICK Oh, great . Yeah, I’m working on bringing the next big dessert craze to Los Angeles. I t’s gonna be huge . DOUG What is it? VICK Bavarian custard . We ran the numbers, and it’s gonna be bigger than fro yo. Doug and Stu n od, impressed; only Alan lo oks skeptical. ALAN Isn’t custard lik e a trillion calories--?4. VICK (CONT'D) VICK Our plan is to open three sto res in the Valley and th en franchise it. Shares are sel ling fast, but I can probably squeeze you guys in... DOUG Yeah, man, count me in. STU Me too, man! I love pudding! Alan just shak es his head, unbelievable. ALAN Is this gonna do better than the hip-hop label you st arted, Vick? Or the topless su shi bar? Or the mobile tatt oo parlor--? VICK Tattoo-To-You was an idea ahead of it’s time, Alan! And don’t come crying to me when there’s a Custard Cabana on every street corner in America and you didn’t buy in--! DOUG (laughing) All right, all right, save it for the party... Vick and Alan quiet. Stu is still drumming the seat. STU Dude! I can’t bel ieve I get to party all n ight, and then, tomorrow ...I get to sleep in! It’s almost too much! And FYI , if anyone gets really drunk a nd craps themself, just let me know, I can have you cleaned up and party ing again in under three minutes. No joke. I am a master of stool removal... They rocket off into the dese rt, LAUGHING... CUT TO: TITLE CARD: “F RIDAY, 5:12 PM”5.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LAS VEGAS -- MAGIC HOUR As the last ra ys of sun fade, the Cadillac c rests the final hill to reveal LAS V EGAS in all its il luminated splendor...",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LAS VEGAS BL VD. -- SUNSET The Caddy rolls down the fame d Strip. We are again reminded of the absurd scale of Las Vegas . The 5,000 room hotels, the eight lane roads, the 60 foot billboards...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MANDALAY BAY -- NIGHT The Caddy rolls up to the Mandalay Bay . The guys hop out, exhilarated. Vick throws the key to the VALET...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MANDALAY BAY -- NIGHT The guys enter th e glittering casino four men-wide, all smiling, all e xuding vibe. Passing WOMEN sne ak glances. Vick slides a drink off a nearby waitres s’s tray as the y make for THE FRONT DESK A perfectly press ed LEBANESE MAN waits behind the front desk. Vick strides up, smiling, sunglasse s still on. FRONT DESK MAN Welcome to the Mandalay Bay. VICK Checking in. L ennon comma Victor. The man types int o his computer. FRONT DESK MAN Yes, we have you down for a one night stay in an economy suite-- Vick glances at the man’s nametag; it reads “ATASHIR.” VICK Hold it right there, Atashir. This is my best friend from childhood, Douglas Billings. In two days, he is to marry a woman of great beauty and strong tee th, do you understand? A woman of gigantic bosoms who wil l give him many, many sons... Atashir looks con fused. Alan loo ks embarrassed.6. VICK (CONT'D) My two other chil dhood friend s have travelled great d istances, across many deserts, to be here. This isn’t a night in a hotel for us, Atashir: this is a family reunion . Perhaps you too have family situated great distances away, in a foreign country w ith much sand? Atashir looks like, sort of...? Vick r eaches over the counter and touches his arm, simpatico. VICK (CONT'D) Then I have but one question for you, friend: if t hey came to town, would you put the m in an economy suite? ATASHIR No, sir. VICK Well, then. I think one of us needs to get back on his litt le computer and find us a suitable room. Atashir frowns...but types away at his computer. ATASHIR All the deluxe rooms are taken. The Dean Martin su ite is av ailable, but I’d have to ask my-- VICK Dean-o will be fi ne. Send up a case of Cristal, two b ottles of Patron, four ahi sandw iches, and a crate of skinless mangos... Vick turns to the guys: VICK (CONT'D) You guys want anything? The guys stamm er, too stunned to speak. VICK (CONT'D) And have Je an-Marie cook up a dozen of those duck skewers I like so well. He knows the ones. ATASHIR And how would you like to pay?7. VICK American Express. Atashir looks up to accept the card. After a beat, Vick turns to Alan: VICK (CONT'D) Dude, give him your AmEx. ALAN What? VICK Don’t worry, we’l l hit you later. Alan stammers. VICK (CONT’D) Dude, come on, I paid for gas. Stop being such a Jew. Alan stammers some more -- then angrily pulls out his card. CUT TO:",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. THE DEAN MARTIN SUITE -- NIGHT The guys enter th e room, jost ling; Stu has Doug in a headlock. Then they freeze: t he Dean Martin Suite is massive , complete with lounge area, two flat screen TVs, full bar and multiple bedrooms. T he guys just gape. STU This is bigger than my house . Vick blows past them , totally unfazed. VICK Get dressed, ladi es. We’re wheels up in ten. Stu and Doug race off to find their bedrooms, l eaving Alan standing alone, j ust staring at the decadent suite. ALAN I am so not getting paid back.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DEAN MARTIN SUITE -- MASTER BEDROOM -- NIGHT Vick enters the bedroom, drops his bag, and sta rts changing his shirt -- when his cell phone RINGS. He answers. VICK This is Vick.8. Vick listens -- then grows a bit panicked: VICK (CONT'D) He’s in Vegas ?! You’re kidding me! (wincing) All right, I’ll g et it. All right. All right--! When Stu walks past, Vick turns away and covers the phone, trying to keep th e call co nfidential: VICK (CONT’D) I said all right, du de! How many more times you wa nt me to say all right?! (beat) All right. All right. Vick hangs up, lo oking uncharacteristi cally stressed...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. THE DEAN MARTIN SUITE -- BA THROOM -- SAME Doug brushes his teeth while, at the next sink over, Alan selects a facial wash from his high ly organized toiletries kit and begins wa shing his face. ALAN So, you ready for Sunday? DOUG Yeah. I thought I ’d be nervous, but I’m actually just really psyched. Alan nods, impressed. ALAN Tracy’s dad st ill hate you? DOUG Oh yeah. ALAN Any closer to fig uring out why? DOUG Enh, I think he w anted more for his girl. I mean, I’m a teacher who makes 45 grand a year, and he’s a titan of industry who makes 45 grand a day , you know? I sort of get it... (beat, brush ing teeth) Also, I’m banging his daughter. I’m not sure you ever get past that.9. Alan smiles, yeah , there’s that. Doug spits out his paste. DOUG (CONT'D) You got floss? Alan gestures towards his toiletries kit. Doug picks it up, starts looking for t he floss. Then Alan remembers something -- but it’s too l ate. Doug has found t he RING BOX ins ide Alan’s kit, and opened it to reveal a HUGE DI AMOND ENGAGEMEN T RING. DOUG (CONT'D) Holy Christ! Alan quickly reaches fo r the ring-- ALAN Ahhh yeah, I wasn ’t going to tell anyone abou t that-- Just then, Stu wande rs in, wearing only his COLORADO STATE BOXER SHORTS. His gut is sizable. STU Anyone got any nipple lube--? (seeing ring) Jesus would yo u look at th e size of that thing?! Stu grabs the ring from Doug. DOUG It’s Alan’s . For Becky . STU Jesus, who made t his thing? Diddy ? ALAN (clutching for ring) Actually, I-I was trying to keep it a secret, so-- Just then Vick blows in, sing ing, effeminate: VICK Boy Party in the bathrooooom--! (sees ring, snags it) Miner’s cut, 2.6 Carats, slight pink tint, street value: 26, 27K. Vick studies it in the light. Al an just rubs his temples. STU Dude, it’s for Becky ! Alan’s finally going to propose !10. VICK Well gosh-golly, Alan Mervish, good for you! Where’d you get the ring? ALAN Oh, it’s a family heirloom. My grandmother sm uggled it through the Holocaust, actual ly. I was going to propose to Beck this weekend. Doug throws his a rm around Alan, happy for him. DOUG Well: now we h ave two things to celebrate! CUT TO: TITLE CARD: “F RIDAY, 6:10 PM”",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MANDALAY BAY ROOFTOP -- NIGHT The guys, dres sed to the n ines, open the ste el rooftop door and file out onto the flat tar roof of the M andalay Bay; Vick is carrying a bottle of Patro n and four h otel glasses. Bringing up the r ear, Alan slides a wood block bet ween the door and the fram e so they aren’ t locked up here. The guys step out onto the da rk, windy roof and take in the stunning panorama ...the Strip... the mountains.. .the countless stars... It’s breathtaking. STU Thish is so great ! I love you guys! VICK Check it out, Stu ’s already wasted . Vick starts re filling everyon e’s glasses. ALAN We’ve only had two shots, man! DOUG Yeah, what happen ed, Stuey?! You used to be able to drink us all under the table! STU Dude, I’m a dad ! I don’t have time to get plaster ed anymore! It blows ! (quickly) Am I a bad dad for saying that? 11. DOUG What? No ! STU Because my dad wa s a bad dad. DOUG (patting his shoulder) That’s true, S tuey, but you’re different. We’ve tal ked about this. Stu just stares at t he guys, glassy -eyed. Beat. STU Have I showed you guys pictures of my kids yet--? ALAN & DOUG & VICK YES! Doug laughs and raises his gl ass for a to ast, heartfelt: DOUG Little toast: to Tracy, the coolest, kindest, most beautiful woman I’ve ever met. I can’t believe she let me come this weekend -- much l ess agreed to spend the rest of her life with me. I think both will prove to be massive errors of ju dgement on her part. The guys chuck le, hear-hear. DOUG (CONT’D) And to being here , with my best friends in the wo rld. There’s nowhere else I ’d rather be. The guys raise th eir glasses, touched. DOUG (CONT'D) That said, let's not get too stupid tonight, okay? I’ m getting married in 36 hours. ALAN & STU & VICK No, no. / We’l l be good. / Totally, dude. Doug lowers his g lass, laughing, co mpletely unconvinced.12. DOUG I’m serious, dude s! Nothing above the neck -- no piercings, no weird haircuts, no f acial tattoos. I gotta look decent on Sunday. VICK Jesus, what do yo u take us for? DOUG Vick: you shav ed Alan’s eyebrows off the night bef ore graduation! STU Oh yeah! That was hilarious ! And remember when I b lacked out at Homecoming and you wrote on my face with permanent ma rker?! That was awesome! What’d y ou write again? ALAN & DOUG & VICK “Respect me!” They all laugh. Stu throws his arm around Do ug, nostalgic. STU Ahh, good times, man . Good times... VICK We’ll be go od tonight, Doug. ALAN Seriously, man , we’re y our friends . STU Yeah, we’ve to tally grown up since then. Doug looks at them, highly dubious , then hoists his glass. DOUG Well then...to a night we’ll never forget. They CLINK glasses, shoot their shots, and SMASH CUT TO: THE NEXT MORNING Shafts of white d esert sunlight pour into13. THE DEAN MA RTIN SUITE THE CAMERA follows a LIVE CHICKEN as it walks through the totalled suite. Furniture is broken, the minibar ra nsacked, and th e floor is covered with remn ants of the nig ht before: empty beer cans, platefuls of room service food, a cowb oy hat, the Gideon Bible, half-eaten skinless mango s, a bra, a bat tle axe, etc. SNORING on the co uch, wearing on ly his jeans and one shoe, the word ASSHOLE written in Sharpie across his che st, is Stu. TITLE CARD: “S ATURDAY, 11:15AM” The chicken struts a cross the top of t he couch, un til it reaches a plastic coin cup fr om Bellagio blocki ng its path. Beat. Then the chicken pecks it off...onto Stu. The cup hits S tu in the face, and stale beer splashes all over him. Stu spasti cally jerks awake and flips off the couch, onto a pil e of newspapers. PILE OF NEWSPAPERS OWW! Get off! Get off! Jesus ! Confused, Stu cla mbers off the p ile of newsp apers -- to find Vick sleeping undern eath, on the fl oor, fully d ressed. Vick pulls himself ont o the couch, clearly in pain. VICK Damn, dude, why are you retarded? Both men ar e ragingly hungover . A long beat as both of them rub their faces, then: VICK (CONT'D) Um, Stuey? STU Yo. VICK Why do you have a mullet? Stu does, in fact, have a mullet haircut. Bu t he’s too hungover to understand. STU What?14. VICK You know, b usiness on top, party down the back? Stu still looks c onfused. This is e xcruciating for Vick. VICK (CONT'D) Your hair , dude. You ha ve a mullet. Stu touches hi s hair. Then he stumbles in to the bathroom. After a beat, we hear his voice: STU (O.S.) Dude...I ha ve a mullet . Then we hear ALAN ’S VOICE in the ba throom, groggy: ALAN (O.S.) Just give me t en more minutes, Beck... STU (O.S.) Whoa, did you sleep in the tub? Beat, then Stu po kes his head ou t of the bathroom. STU (CONT'D) Check it out: Ala n slept in the tub. VICK Get him up. I’m hungry. Stu disappears back into the bat hroom. We he ar the SHOWER turn on. Beat. Then we hear Alan slowly awaken: ALAN (O.S.) Wet. Water. Je sus, what’s--?! There’s a THUD as Alan falls out of tub. Beat. Then Stu and a ve ry confused, very hungover, very wet Alan stumble out of the bathroom. Alan appears to be w earing his polo sh irt from the night before. Only, as we PULL BACK, we see tha t his shirt is cut off at his che st -- he’s naked from there down. VICK Jesus, dude, put away your sack . Alan looks down at his hairy nakedness, totally bewildered.15. STU Yeah, and it might be time for some manscaping, bro. Your b ush looks like Yanni . Alan looks back up again, squint ing, hungover. ALAN What did we do last night? CUT TO:",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HALLWAY -- MOMENTS LATER The guys, now dre ssed, stagger out of their suite moments later. Stu walks incredibly bow-leg ged, like an aging cowboy. STU Dude, why is my ass killing me...?",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ELEVATOR -- MOMENTS LATER Looking like crap , the guys sile ntly descend in the elevator. BING! The elev ator opens to expose a NICE-LOOKI NG COUPLE waiting to get on. T hey see the guys and immediately step away from t he elevator. MAN We’ll...we’ll get the next one. The doors clos e. The guys contin ue to descend. Beat. VICK We might not s mell very good. The guys shake their heads , yeah, no. DISSOLVE TO:",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MANDALAY BAY -- BREAKFAS T BUFFET -- DAY The guys slouch in a booth, shoveli ng masses of buffet food into their mouths, washing it do wn with huge mugs of coffee. STU This might be the worst hangover anyone has eve r had, ever. ALAN I can’t taste anything.16. VICK Please stop talki ng. If I don’t focus on eating I’m going to throw up all o ver myself. The guys nod, right. They keep eating. After a long while: ALAN Hey... Are we mis sing something? The guys all slowly look arou nd. Then Stu po ints at Alan: STU Yes: I left my ha t in the room -- thank you, Alan. They continue eating . Alan looks up ag ain, still troubled. ALAN No. That’s not it... There’s something else... Vick nods at Stu as he stu ffs food in his mouth. VICK You gonna fini sh that cruller? Stu shakes his he ad, no. Vick ta kes it, packs it into his already stuffed mouth. Then A lan realizes: ALAN Doug. Guys, where’s Doug ? The guys look around. Hunh. STU Yeah. He’s not here. VICK Probably le ft him in the room. Vick pulls out hi s cell phone, starts dialing. VICK (CONT'D) I’ll call his cell. Then a phone RING S in Stu’s pock et. He answers: STU Good morning, thi s is Stu? VICK It’s me, meatdick.17. STU (to Alan, concerned) It’s Vick-- Then Stu re alizes. Oh. STU (CONT'D) This is Doug’s phone. Vick nods, ya. He’s already dial ing anoth er number. ALAN You calling the room? Vick nods, uh-huh. He l ets it ring, rubbi ng his templ es. Then he hangs up. VICK No answer. Vick goes back to eating. Alan frowns. ALAN Ummm...shouldn’t we look for him? Check-out is in l ike ten minutes. STU Yeah, and we told Tracy we’d have Doug back to LA by five. Vick just looks at b oth of them, his m outh full of food: VICK I’m eabing . ALAN What an asshole. Stu, check the pool and the casi no, I’ll check the room and the g ym. Maybe he’s working out or something... Stu nods, and the y slowly slide out of the booth. ALAN (CONT'D) And Vick, if you could keep a close eye on the buffet , that’d be really helpful. Th anks, man. Alan and Stu saun ter off. Vick y ells after them , mouth full: VICK HE’S FIME ! YOU’RE OB ERWEACTING!18. Vick scowls, and ang rily takes Alan ’s last cruller. CUT TO:",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DEAN MARTIN SUI TE -- MOMENTS LATER Alan weaves th rough the total led suite, h alf-awake. ALAN Doug...? Doug...? Wake up, man. Alan enters the bedroom where Doug slept, and stops. It takes him a second to r ealize what’ s wrong: THE BED IS MISSING There are four indentations on the carpet where it once lay. Alan scratches his head. ALAN That’s weird... CUT TO:",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MANDALAY BAY -- POOL -- DAY Stu, walking bow- legged, squinti ng painfully in the bright sun, tries to ins pect everyone lying around the huge pool. Doug? Doug? Se veral HOT WOMEN in bikinis sit up, disgusted! STU No, no. It’s c ool, I’m a dad . It’s totally cool... CUT TO:",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GYM -- DAY Alan stumbles throug h the gym, look ing for Doug . The place is packed with fit p eople, working out. Alan mu mbles to himself: ALAN I hate you all... CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CASINO FL OOR -- NICKEL SLOTS Stu wanders th rough the casino, calling out, incredibly loud: STU DOUG! DOUG! Two GAY MEN in identical tank tops pass by, holding hands. 19. GAY MAN Hey Stu. STU Hey guys. D OUG! DOUG--! Then Stu register s what just hap pened. He stops and turns around -- enh? -- bu t the gay me n are gone. Before he can commen t, however, he sees V ick and Alan talking to Atashir at THE RECEPTION DESKHe slowly bow-leg s himself over. STU You find Doug? ALAN No, I assume y ou didn’t either? Stu shakes his head, no. Then Atashir hangs up his phone. ATASHIR There is no Doug Billings at any of the area hospi tals, morgues, or police stations. The guys frown , starting to grow worried. STU Maybe he we nt for a jog? ALAN Dude. It’s 120 degrees outside. STU Or shopping? The guys just loo k at him like: you ’re an idiot. ALAN Great. So we’ve o fficially lost Doug. His wedding is in what, 22 hours? VICK Relax, it’s Doug , he’s probably crashed out on someone’s couch right now. All we have to do is retrace our steps from last night, and we’ll find him. 20. ALAN Okay, so last night... The guys wince, t rying to remember. It’s painful to think. VICK Well, we start ed on the roof... ALAN Right, that was like, 6ish...? VICK Then...I th ink...we had steaks at the Palm? ALAN Yeah. Then...we p layed craps at the Hard Rock...maybe? VICK That sounds right... Stu throws up his arms, alrea dy giving up. STU Okay, honestly? I don’t even remember going to dinner . VICK I vaguely reca ll...doing body shots ....at some point ? Is that...maybe? ALAN I’m pretty much b lank after The Hard Rock. VICK I think we went to the Flamingo after that...? An d then, I just remember a lot of blue light...and the overpowering smell of baby oil. ALAN So that was what, 10ish? VICK Give or take. STU Was Doug st ill with us? Vick rubs his tem ples, trying to fight through the hangover.21. VICK Yes. Yes. Doug wa s with us. I tackled him...for some reason. The guys no d, okay, okay. ALAN Okay. So we on ly have a 13 hour window where we c ould’ve lost him. They guys f rown. Shit . Stu puts his hands into his pockets, thinking... Then he feels something . A matchbook. He pulls it ou t. It’s from The Flamingo Nightclub. STU Hey! Look, we were at the Flamingo. A long beat of silence... Then the guys hurry to an empty BLACKJACK TABLE and start emptying their pockets of the de tritus from the night before. They find matchbo oks, receipts, roo m keys, a va let ticket... ALAN ATM receipt from the Rio at 10:37-- (reading it) For 600 dollars ?! VICK The valet ticket says we returned here at 4:57AM. STU We drove last night? The guys wi nce, jesus... ALAN Here’s a receipt fro m Sbarro. The meal was comped f or some reason-- VICK Why do we have a matchbook from The Golden Pony Al l Male Revue? The guys exchange a look, alarmed. ALAN Someone could’ve giv en that to us.22. STU (laughing, nervous) Yeah, totally ! There’s no way we went there! We ’re not g ay! Hahaha! They frown, then stare at all the clues lined up on the blackjack table. ALAN I think we should call Tracy. VICK Absolutely not. ALAN What if Doug call ed her? She might know where he is. Stu shifts uncomf ortably, tenderly adj usting his ass. STU Yeah, I’m with Alan on this one. VICK Of course you’re with Alan, you’re both gutless cowards. B ut we’re not calling Tra cy. You never call the bride from the bachelor party. Ever. If my balls were on fire and Tracy was sitting next door with a tall glass of water, I still wouldn’t call her . It’s a rule. ALAN But shouldn’t we at least tell her we’re gonna be getting home late? VICK She has a watch, she’ll figure it out. ALAN I think I’m beginnin g to see why you’re alwa ys single. VICK And I think I’m beginning to see why you’re alw ays a douche -- STU (clutching his ass) Guys, wait. I need your help -- oh my God -- like right now. Come on.23. ALAN Jesus, what is it? CUT TO:",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BATHROOM -- MOMENTS LATER Vick and Alan unh appily stand in the lavish, gold-ensconsed men’s room, watch ing Stu painful ly undo his jeans. VICK I can’t believe we’r e doing this. STU You don’t have to look up my butt, just at it. Something is terribly, terribly wrong... Stu’s jeans fall to the ground -- and everyone freezes. He’s wearing a snug FLUORESCENT PIN K G-STRING with “I < ROGER” written ve rtically down the fro nt. In glitter. ALAN Sweet mother of mercy... VICK Who’s Roger ? STU I-I-I don’t know? ! What do you think it means?! VICK What do I thin k it means ? Well, Stuart, your ass is all torn up and you’re wearing thong underwear declaring your love for another dude -- I don’ t think we need the CSI team fo r this one! You got reamed last night, man! Stu covers his mouth, horrified! ALAN I’m sure there ’s a perfectly logical explanati on for this... STU Really?! What ?! Alan tries to think of one.24. ALAN Yeah, maybe th ere isn’t. VICK Look, I’m sure Roger is a very nice, considerate young man-- STU Oh my God, guys: what if I’m gay?! VICK Come on, Stu, you ’re nowhere near cool enough. STU (gasping, realizing) I do watch Dancing With The Stars with the kids! ALAN Oh god, that does n’t mean you’re gay. VICK But sort of...it does? Stu grows incr easingly frantic. STU And once, I caught myself gazing at a topless photo of David Beckham! ALAN So what, he’s a g reat-looking dude-- STU And then I had th ose weird feelings for Vick that time in middle school, remember?! Everyone stops. V ick most of all. VICK Um, what ? STU Yeah, that weekend we were all camping -- I told you this. VICK Yeah, no you didn’t. STU I didn’t?25. VICK I think I’d re member, dude. ALAN Yeah, I think we’ d all remember. STU Yeah. I had weird feelings for you that weekend. Lik e really hot, really gay fee lings. But then they went away. Vick is just looking at him, stunned. ALAN Wait -- I was there tha t weekend. Did you have gay feelings for me? VICK Unbelievable. ALAN What?! I was a good-looking kid! VICK Please, you’re so not his type! STU Wait, what? Just then, a FATH ER and his YOUN G SON enter the men’s room and see Stu st anding there, p ants down, in his G string... VICK Look, Stu, one homosexual experience doesn’t mean you’re permanently gay, okay? A lot of guys test t he waters. ...the FATHER and SON wheel right b ack around and exit. ALAN All right, we’ re scaring the children. Let’s go. The guys head for the door. Stu quickly pull s up his pants. STU Wait -- so have either of you tested the waters? VICK No! We’re not gay!26. Stu looks highly confused as he follows them out onto THE CASINO FLOORThe guys power through the cr owded casino, towa rds the exit. Stu tries to keep up, genuine ly concerned. STU How am I going to tell my wife? VICK Quickly, and from a great distance. Alan’s hand ac cidentally hits a brass railin g and CLINKS... STU Jesus, what kind of father am I? Alan’s hand CLINKS a gainst the rail ing again, a nd this time it registers. Alan looks down -- and stops cold. ALAN Oh my God. STU (really scared) You think Erin will try to take the kids--? ALAN Oh ...my...God. VICK (turning, annoyed) What now? Alan holds up the source of his CLINKING: on hi s ring finger is a huge, tacky, silver WEDDING RI NG with a unicorn on it. STU (not getting it) Cool ring. Also, my Dad is gonna have a field d ay with this. Vick, however, recognizes the im plications of the ring, and starts back towards Alan. VICK Oh my God... Oh my God... STU What’s the big--? (finally realizing) Oh! OH! OH! 27. Alan steadies himself against a SLOT M ACHINE, a nd shakily takes off t he massive unic orn ring. STU (CONT'D) Maybe it’s not a wedding ring? ALAN (reading inscription) “To My Noble Husband, Alan.” The guys eyes bulge, oh shit! STU This is worse than my underwear! Vick takes the ri ng and reads th e rest of th e inscription: VICK “Now & Forever Wedding Chapel.” They guys exch ange a look. VICK (CONT'D) Well, at least it’s a lead. Beat. Then Alan turns and THROWS UP all over the slot machine. Nearby O CTOGENARIAN SLOT P LAYERS look over, disgusted -- b ut continue playing their nickels. CUT TO:",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MANDALAY BAY -- VALET ST AND -- DAY The three guys exit the hotel looking like crap . Vick hands his ticket to the valet. Alan chews mint gum. VICK So, we go to the wedding chapel, we find out what we did with Doug, we recover him, and we’ re back in LA before sundown . Easy as Stu’s ass. No one laughs. Te nse SILENCE as they wait fo r the car. STU Check it ou t, some idiot threw his bed out the windo w last night. Stu points over at a huge stone GRIFFIN in front of the hotel with an ENTIRE BED i mpaled upon its ear. ALAN That was us , dude.28. STU Really? ALAN Yeah, there’s no bed in Doug’s room. STU (frowning) Oh. Well, I’m sure we had a good reason for doing it. (beat) You think they’ll charge us for--? ALAN Yeah, Stu, I really do. VICK Guys, relax . Everything ’s gonna be cool... Just then the Val et drives up in VICK’S DESTROYED CADILLAC The exterior is s cratched and fi lthy, like it’s been off- roading. The hubc aps are gone, as is the front pas senger side door. A wisp of STEAM trails up fro m under the hood. The guys just sta nd there, agape. STU You okay, Vick? VICK I’m not emotio nally prepared to talk about it just y et, Stuart, but thank you. Vick dons his sun glasses and hea ds for his d estroyed car... DISSOLVE TO: THE GUYS ROLLI NG DOWN THE STRIP in their ridic ulous car. Cars full of FAMILIES, cute GIRLS, even NUNS, point and stare. Our guys j ust face for ward, each quietly suffering in their own personal Hell. ALAN Seriously: what am I gonna tell Becky? For 14 years she’s been begging me to get married...29. VICK Well, now y ou did. Just not to her. Alan glowers at the city going by... T hen he sits up-- ALAN Wait, is that hom eless guy wearing Doug’s shirt ? The guys turn to see a HOMELESS GUY weaving dow n the sidewalk in Doug’s DISTINC TIVE ORANGE SHIRT fro m the night before. Once they pass , the guys e xchange a look. STU Naaah. VICK Yeah, that was a different shirt. Alan doesn’t l ook so sure. They drive in silence. Then: VICK (CONT'D) Left turn. Stu, sitting shot gun, braces aga inst the empty doorframe so as not to fall out of the car as th ey turn left...",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. NOW & FOREVE R WEDDING CHAPEL -- DAY Sitting in an East Vegas strip mall, sandwiched between a laundromat and a pawn shop, is the pink Now & Forever Wedding Chapel. The Ca dillac parks in th e lot out front.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. NOW & FOREVE R WEDDING CHAPEL -- DAY Everything in the small, tacky wedding chape l is white plastic. White plastic plants, w hite plastic cross, white plastic chairs. T he guys enter. ALAN What if they don’t remember us--? VOICE BEHIND THEM AAAAYYYYY! The guys turn to find the hirsut e owner of t he chapel, STEVE GIANOPOLUS, 40’s, in a tight white sui t, his arms spread wide. Steve is all Vegas, by way of Long Island. STEVE How are you, y ou dumb bastards?!30. He warmly hugs the guys. T hey have zero memory of him, and it shows as they hug back weakly , unfamiliar... STEVE (CONT’D) CARLA, GET YOUR F AT ASS OUT HERE! ALAN AND THE B OYS ARE HERE! (to the guys) You here to pi ck up your wedding photos?! Alan starts to decline, when-- VICK Does the pope wear a funny hat?! Let’s do this thing! Steve CACKLES and guides them over to a tabl e; Alan scowls. STEVE And where is Chastity today? They all sit on w hite plastic chairs. ALAN W-Who’s...C hastity? STEVE (laughing) Your wife , man--! AWW, you’re just breaking my balls! Alan looks ill. L aughing, Steve ret rieves a folder and starts laying out a s eries of WEDDING PHOTOS on the table. Vick eagerly peruses them, enjo ying this. VICK Uh, it was such a lovely ceremony, wasn’t it? STEVE Hand to God, I’ve never seen two people more in love! VICK Sadly, I be lieve you... The guys look at the photos of Alan’s wedding f rom the night before. They’re t ypical wedding sho ts, only the guys are all wearing MEDIEVAL COSTUM ES, swords, bows, tig hts, even armor . They look incredi bly happy -- and incredibly drunk. The next photo is of Alan and hi s BUSTY BLONDE BRIDE. She’s having a blast in a white mediev al gown and tiara.31. VICK (CONT'D) Hello, Chastity... Alan just closes his eyes, oh God. ALAN I am never...ever ...drinking again. STU Jesus, she is stacked. VICK Stu, please, show some class. That’s Alan’s wife you’re talking about. STU (to Alan, guilty) Sorry. She loo ks really nice. But Alan is too b usy gaping at the nex t photo, of him and Chastity atop a UNICORN in th e chapel. (It is, of course, a rented pony with a lame horn strapp ed to its head.) ALAN We got a unicorn?! STEVE Oh, yeah, y ou got the e ntire Double Camelot Package. Alan just rubs his temples, oh no. ALAN A-And how much did that cost? STEVE 7 thousand dollars. Alan closes his eyes. Stu and Vick exchange a l ook, no way! STEVE (CONT’D) Yeah, you didn’t want to get it, either, but Vick insisted . Beat. Then Alan pounces across the table at Vick! ALAN I’m gonna kill you! VICK (fending him off) You can’t put a p ricetag on love, Alan! OW! You just can’t!32. Stu hops up and starts pulling Alan off of Vick. VOICE BEHIND THEM STOP FIGHTING IMMEDIATELY! The guys strai ghten like schoolb oys as Steve ’s wife CARLA, 40’s, enters. She ’s wearing a toga, sm oking a ment hol, and dollying in se veral large CARDBOARD BOXES. Then she grins: CARLA Ahhh! I’m just busting your nuts! She lowers the do lly and hurries over for hugs. CARLA (CONT'D) Good to see you, you stupid mooks! Stu and Alan f orce smiles, no idea who this woman is. Vick, on the other hand, steps f orward and hugs her tightly. VICK It’s good to be seen, Carla. It’s good to be seen. CARLA I brought the rest of your package. Carla begins unlo ading things from the cardboard boxes. CARLA (CONT'D) First: Two dozen commuter mugs... She unpacks 24 COMMUTER MUGS wit h Alan and C hastity’s photo emblazoned on them. Ala n winces, oh go d. Stu grabs one: STU No way! Awesome! STEVE A hundred DVDs of the ceremony... She lays out the stacks of DVDs. Vi ck nods at Alan: VICK For you and Chastity to watch on your anniversary... Alan just clen ches his jaw, I fucking hate you. CARLA The velvet wal l hanging... She pulls out a six foot air- brushed velvet WAL L HANGING of Alan and Chastity riding the uni corn together in outer space.33. VICK And it looks l ike real velvet, Alan, so no machine wash, okay? CARLA And the big finish: Vick and Stu do a DRUMROLL on th e table, excited... Then Carla pulls out a FOUR FOOT BRONZ E SHIELD with a bas- relief of Alan and Chastity MAKI NG OUT on it . Alan just closes his eyes. STU HOLY CRAP! VICK DUDE, YOU HAVE A SHIELD! STU I want a shield! VICK Me too! Hey, can Stu and I get a shield? ALAN I don’t suppose y ou have any sort of return poli cy, do you? STEVE Um...if you know ano ther couple who looks exactly like you guys, and who want two doze n commuter mugs, a wall hanging, and a shield...sure. Alan scowls. Then his cellphone RINGS. He angri ly answers it without looking at the Caller ID. ALAN What. We hear someone Y ELLING AT HIM. Ala n’s eyes bulge. ALAN (CONT'D) Oh, hey Bec ky! Hi! He steps away to take the cal l. Vick explain s to Carla: VICK That’s his gir lfriend of 14 years. I’m sure this’ ll only take a minute...34. Vick and Stu go back to looking at the wedding pho tos as Alan tries to ta lk to his furio us girlfriend. INTERCUT WITH:BECKY in her Laura Ashley bedroom, ang rily packing up her suitcase. She’s beautiful and preppy in pearls and a sweater set. BECKY Can you tell me w hy all the goddamn credit cards are maxed out?! ALAN No! I-I have no idea--! Then Vick calls over from the white plastic table, pissed: VICK HEY ALAN, HOW COM E I WASN’T YOUR BEST MAN, DUDE! STU YEAH, WHAT THE HE LL, ME EITHER! WHY’D YOU PICK DOUG ?! Alan waves at them, shut the hell up! But Becky has heard. BECKY “Your best man?!” What’s going on there, Alan?! ALAN Nothing! Baby, no thing, the GUYS ARE JUST BEING DICKS ! VICK HEY ALAN, Y OU WANT ALL YOU R WALLET- SIZED WEDDING PHO TOS, OR CAN I BOGART A FEW?! Alan furiously flips th em off, shut up! BECKY I really don’t appreciate being mocked right now, Alan, especially about weddi ng-related i ssues. You know how hard this w eekend is going to be for me. ALAN I know, baby! I know--35. BECKY So you’ll call the credit card company and strai ghten this out? ALAN Yes. I will . I promise . BECKY Okay. Okay... (beat, calming) Look, sorry I’m so tense... I’ll see you soon, okay? Love you. But Alan is ju st staring at t he BRONZE SHIELD of him making out with his blon de bombshell wife... BECKY (CONT'D) Alan? Hello? I said I love you?! ALAN Yes, no, I lov e you too! Becky hangs up, rolling her eyes , unbelievable. STAY WITH ALAN as he closes his cellphone. Exhales. STU Hey, how’s Becky doing, man?! VICK Yeah, did she ask about us?! Off of Alan’s hat e-filled glare, we CUT TO: STEVE AND THE GUY S SCHLEPPING ALL OF THE WEDDING CRAP through the strip mall parking l ot, back to the ir car. Alan sullenly carri es the GIANT BRONZE SHIELD. STU Look on the bright s ide, Alan. Vick found a great clue. VICK Turns out Doug was in all the wedding photos, which means -- if the time stamp was right -- we had him in our pos session until 11 pm.36. STU That’s another ho ur of last night that we can account for. Isn’t that great? ALAN (bitterly sarcastic) Amazing. VICK Hey, Steve, you don’t happen to know where we were heading when we left here last night, do you? STEVE Well, the Double Camelot Package comes with a five course wedding feast, so I assum e you went there. STU Great -- where was the feast? STEVE Sbarro, over in t he Fremont mall. CUT TO: ALAN (V.O.) I paid 7 grand for Sbarro ?!",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. VICK’S CAR -- MOMENTS LATER The beatup Caddy is packed with wedding crap . Vick is busy trying to reverse th e overloaded car o ut of the pa rking spot. Stu’s in the back seat with the huge shield, while Alan seethes up front. VICK Your negativity is like a little black cloud ov er our car, Alan. You’ve got to let go of this. ALAN Let go of what, exactly, Vick?! The fact that I marri ed a complete stranger last night? Or that my girlfriend’s a bout to leave me? Or that I’m br oke? Which one?! VICK You’re broke? I t hought you were loaded--37. ALAN I know you thi nk it’s like terminally uncool to be in a committed rela tionship, Vick, but I actually love Becky, okay? (sincere) I-I honestly don’t know what I’d do without her...I really don’t... Alan looks off, lost , sick. Vick st ops the car short. VICK Alan. Honey. Have you considered, even for a second, that maybe the things we do when we’re drunk are what we secretly want to do? ALAN (dripping wi th sarcasm) Yeah, no, you’re absolutely right, Vick, I’ve always secre tly wanted to marry a bottle blonde with big fake melon tits n amed Chastity ! STU I ain’t mad at cha, dude... VICK Or, after 14 year s, maybe you don’t have the balls to leave Becky, and this is your way of getting her to leave you. ALAN I was going to propose to her this weekend, yo u jackass! VICK All the more r eason to freak out. Alan opens his mo uth to respond, but n othing comes out. Vick nods, chew on tha t, and continue s slowly revers ing the car. VICK (CONT'D) I love you, Alan Mervish, I do, but you’ve alwa ys had a major pole up your ass. Mayb e last night was your inner cool per son trying to get out- ALAN I swear to God, Vick , if you say one more word to me, I will destroy you.38. STU Guys, come on, le t’s not use our angry words-- SMASH!A baseball bat SH ATTERS the w indshield! The guys all jump! Vick slams on the brakes! VICK What the--?! They look up to see two MASSIVE SAMOAN MEN in loud Hawaiian shirts, KALOLO FA NALUA and KIKIOLAN I, 30’s, standing on either side of the c ar. And they look pissed . KALOLO FANALUA Get out of the car, Vick. Stu and Alan r ecoil in terror. STU Who are these guys?! VICK Stu, please . (to Kalolo Fanalua) I think there’s been some sort of mistake, Mister...? KALOLO FANALUA I’m Mr. Shut The Hell Up And Get The Hell Outta The Car, an d this is my associate, Mr. Smash You In The Teeth If You S ay Another Word. VICK (beat, to Alan) Those so aren’t their real names. ALAN Vick, don’t be a dick--! VICK Alan? Relax. These m en aren’t going to hurt us. Th ey’re from Hawaii. SMASH! S MASH! SMASH! Kikiolani starts viciously smashing the car! KALOLO FANALUA We’re from Guam, bitch! Now get outta the car!39. VICK Okay, okay ! Cool it wit h the bat! Jesus, why is eve ryone trying to kill my car...? Vick undoes his seatbelt and reaches for his door handle. Kikiolani lowers his bat -- a nd Vick throws the door open, right into his nu ts! The huge Samoan s taggers back, OWWW, and Vick slams his door shut and FLOORS IT OUT OF THERE IN REVERSE! The Caddy side swipes a car, h ops the curb, and lands on the street! They SQUE AL AWAY, the hu ge bronze shiel d flying out of the backseat as they do! It CLATTER S on the pavement...",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. EAST VEGAS S TREET -- CONTINUOUS Vick drives like the wind, trying to see around the huge SPIDERWEB in the win dshield. Alan a nd Stu are f reaking out. ALAN Why’d you do that?! VICK (incredulous) Really? STU Maybe they just wanted to talk! VICK I honestly don’t kno w how you two are still alive. ALAN Do you think we stole something from them l ast night?! STU Oh my god I am such a bad dad! ALAN (producing cellphone) I’m calling the police. This is getting way out of control-- VICK No! No cops! ALAN “No cops?!” Who are you, Fitty Cent?!40. STU Yeah, Vick, wh at’s going on? VICK Nothing! I just t hink we should focus on finding Doug and not get distracted by every little thing! ALAN Every little thin g?! We were just assaulted by the Yakuza ! VICK Oh please, those guys are from Guam. Get a grip. ALAN They knew y our name , Vick! Which means they probab ly know who Stu and I are, too! STU If anything ev er happened to my family, Vick... VICK Fine. Let’s just go back to the hotel -- Doug is probably bac k from wherever he spent the night, we’ll get him, we’ll straighten out whatever we did to those angry Samoans, th en we’ll get the hell back to LA, okay? Left turn. Vick angrily takes a harder-than-neces sary left turn. Alan hangs on tight, almost flying ou t of the car. CUT TO: TITLE CARD: “S ATURDAY, 2:26 PM”",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DEAN MART IN SUITE -- DAY The boys hurry in to their room, stressed. VICK Doug? Doug? Alan quickly chec ks the room phone. ALAN No messages.41. STU Come on, let’s toss the place. Alan starts wadin g through the crap in the living room, while Vick and Stu head off to chec k the bedrooms...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BEDROOM Stu brushes aside beer bottles and roo m service dishes, looking for anyth ing relevant. He spots a LEGAL CONTRACT on the ground. Pi cks it up. STU Hey, check it out, V ick! I invested 30 grand in your custard store last night! Vick calls from t he other bedroom. VICK (O.S.) Smart move, man. Stu opens t he closet door -- and freezes. STU Hey, you wanna co me in here a sec?! Vick enters a mom ent later to find Stu staring into the closet. Vick f ollows his gaze and sees a SEXY WOMAN snoring away on the closet f loor, her blond e hair obscu ring her face. VICK Whoa. STU You think she’s w hat those Guamian dudes wanted? VICK No. I think she’s Alan’s wife. Stu covers his mouth, oh shit! Vick produces th e wallet- sized photos from Alan’s wedding , compares t hem, and nods. VICK (CONT'D) Alan? Wanna st ep in here, buddy? A second later Al an enters, what’s up? VICK (CONT'D) Alan, Chastity. Chastity, Alan. Alan looks down, sees C hastity SNORING on the c loset floor, her body all c ontorted, and free zes. Oh my God.42. ALAN What...what am I supposed to do? STU Wake her up, man! ALAN Why me?! VICK Because she’s your spouse , dude! Scowling, Alan slowly crouches down. Then, a little scared, he nudges her. Nothing. He nu dges her harder. VICK (CONT'D) Pinch her tit. It always works. Alan shakes her a bit harder and -- BRRAPPPP -- the girl lets out a massive burp a nd awakens, COUGHING. Alan jumps back up, terrified. The woman, CHASTIT Y, looks around, disoriented. CHASTITY Dang, did I sleep in the closet again...? Then she notices the guys staring down at he r. She smiles, recognizing them: CHASTITY (CONT'D) Oh hey, guys! What’s up? She shakily climbs to her feet to expo se a skimpy skirt, a snug tube top, and mascara sm eared all over her face. The guys have no idea what to say. She kisses Alan on the cheek, very in timate -- like, well, a hus band and wife. CHASTITY (CONT'D) Morning, honey... She exits into the living room, pic king her wedgie. Beat. Alan is speechless. STU She seems r eally cool. VICK Yeah, I really like her, man.43.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DEAN MARTIN SUI TE -- LIVING ROOM Chastity gathers her belongings -- jacket, purs e, G string -- from around the t otalled living room. The gu ys file in. VICK So, um, did you t ake Alan’s name? STU Yeah, are you Chastity Mervish now--? ALAN Listen to me. Just...did we, or did we not, have s ex last night? Alan braces, please say no, please say no... Vick braces, please say yes, ple ase say yes... CHASTITY Well...ya? Alan slumps, his life over. Vick pu mps his fist, YES! CHASTITY (CONT'D) But we waited til we were married. Alan GROANS. VICK What a respons ible, upstanding young Jew. The y don’t make ‘em like that anymore, am I right? Chastity smiles, sweet, as she straps on her 6 inch heels. CHASTITY I know -- he even wanted to use a rubber. Alan breaks into a COUGHING FIT. ALAN Wait-- we didn’t use a condom ?! CHASTITY It’s cool, I sponge. Alan leans against a wall, dizzy. ALAN Can someone ...please op en a window?44. Stu turns and tries to open a window. No luck. STU They don’t open. CHASTITY So you guys do n’t remember any of last night? VICK Yeah, not so much. CHASTITY Hey, been there before, right? (grabbing her sizable bra) Sucks, though. Th e wedding was really fun. I’m bummed you don’t remember it, Alan. She smiles, a lit tle saddened. S tu whispers to Alan: STU Dude, I think your wife’s mad at you. VICK You don’t happ en to remember what time we met yo u last night, do you? CHASTITY Sure, we met at the bar at like 10:00? Then we go t married on my smoke break, whic h was like 11:00? VICK It’s the Al l-American l ove story, isn’t it? What happened next? CHASTITY Well, I had to go back to work. But when I got off at 5:30, I met up with you guys back here. VICK And was Doug w ith us then? CHASTITY No. VICK Interesting... Do you have any idea where we went after the wedding?45. CHASTITY No, but I bet som e of my work friends do. You w ere partying with them pretty hard. STU Work friends? SMASH CUT TO: STRIPPERS Dozens of ‘em, dancing, gr inding, shim mying on poles.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CRAZY HORSE GENTLE MEN’S CLUB -- DAY Chastity leads the g uys through Veg as’s Most No torious Strip Club, The Craz y Horse. It’s b acchanalia writ large, complete with throbbing mu sic, flashing s trobe lights, a nd six stages of spinning flesh . The place is mob bed with PATRONS. Alan follows a fter Chastit y, horrified. ALAN You work here? Behind him, Vi ck SLAPS FIVE with Stu, psyched. CHASTITY Yeah -- and this is the pole where we first met! She stops at a pole, aroun d which a BRUNE TTE STRIPPER currently s pins. Alan l ooks ill. CHASTITY (CONT'D) It’s always been my lucky pole... ALAN Look, I don’t know how to tell you this, but-- CHASTITY HEY PLATINUM, CHECK IT OUT! She holds up her hand, showing o ff ALAN’S GRAND MOTHER’S RING to the stripper currently ups ide-down on the pole. PLATINUM TH E STRIPPER Get it, girl! CHASTITY Come on, let’s go meet my bridesmaids!46. She hurries off, but Alan can’t move. STU Dude. VICK I know. ALAN The Holocaust , man. Alan just stares into space. Vick takes him by the shoulder. VICK Look, we can get your grandmother’s ring back. We just g otta go about it in the right way. ALAN I have besmirched my people. STU Don’t be so hard on yourself, dude-- Just then Chastit y runs back ove r with two B LONDE STRIPPERS. CHASTITY These were my bridesmaids, Anastasia and Starr! STARR Hey, boys! Good to see you again! ANASTASIA Mazel Tov--! ALAN Please...don’t. Just then a SPOTL IGHT finds Chastity a nd Alan, and the SLEAZY PONYTAILED DJ up in the booth comes ov er the P.A. system: STRIP CLUB D.J. OKAY, GUYS! LET’S GIVE A CRAZY HORSE SHOUT-OUT TO OUR HAPPY NEW COUPLE, CHASTITY AND ALANNNN! The entire club CHEERS! Chastity holds up he r wedding ring and dances aro und, WOO HOO! Alan waves meekly. Thanks. STRIPPER D.J. IN HONOR OF THEIR MARRIAGE, WE’RE DOING TWO-FOR-ONE LAPDANCES! TWO SONGS FOR T WENTY BUCKS! 47. The DJ puts on Nine Inch Nails’ “I Wan t to Fuck You Like An Animal” and th e club gets hopping again. CHASTITY Oh my God, he’s p laying our song! (giddy, to Alan) This song was playin g when we met, remember?! You kept sliding twenties into my thong and saying “I will always love you. I will always love you.” Alan closes his eyes. ALAN Twenties ? CHASTITY Yeah, it was so sweet... ALAN Look, I don’t know how to say this, but my friends and I were very drunk last nig ht. We would never come to a place like this-- He glances over at Vick and Stu -- but they’re gone. ALAN (CONT'D) Guys? CUT TO: VICK AND STU T OASTING SHOTS OF JAGERMEISTER and downing them. PULL BACK to s ee that they ar e sitting in THE CHAMPAGNE ROOM getting lapdances from STARR and ANASTASIA. The Champagne Room is a dark, p lush private suite in the back of the Crazy Horse where st rippers ply their craft; the room is half full. Vick watches Star r lean over and ma ke out with Anastasia. VICK You are the be st bridesmaids ever . STU (huge boobs in his face) Dude: I might not be gay. Then Alan hurr ies in with Chastity; he looks pissed.48. ALAN What the hell are you doing?! VICK Two-for-ones, man. ALAN We don’t have time for this! We gotta find Doug! VICK What do you think we’re doing? ALAN What? VICK We’re getti ng into the mindset of last night, to see if it sparks any memories. (to his stripper) Now: is this exactly how you were dancing for me la st night, Starr? She nods. Vick nods, pensi ve, scientific. VICK (CONT'D) Yeah, still no me mories. Keep going -- and put you r back into it. ALAN You are so goddamn selfish, Vick. You really are . Stu, let’s go. VICK No. Stu, sit and enjoy your dance. Stu looks between them, torn. ALAN Dude: Doug is missing ! We have less than 18 hours til hi s wedding! We do not have ti me for this! VICK I’m trying to save your life here, Alan Mervish. ALAN Vick--!49. VICK I’m not kidding , man! Life is one long series of em ergencies, and if you don’t learn to stop and have a little fun along the way, you’re gonna grow into a joyless old prick like your dad. I’m sorry to bring Moshe Mervish into it, but it had to be said. Now yes, we have 18 hours to fi nd Doug -- w hich means we can affo rd to spend ten minutes celebrating the s pecial talents of these gifted young body-ar tists. So sit down, have a jager shot, and smell the godd amn roses fo r once in your miserable li fe. Chastity, honey? When you’re ready? Chastity pushes Alan onto the red leather banquette and starts dancing for him. He tries to squirm away: ALAN No, look-- I am like totally against this, morally and politically. P lus Becky specifically aske d me not to-- SMASH CUT TO: ALAN SITTING ON THE BANQUETTE, L OOKING AWESTRUCK as Chastity works a wildly erotic lapdance on him. She crawls onto his lap, she whips him with her long hair, she puts her tongue in his ear. Next to hi m, no longer ge tting lapdances, Vick and Stu just sit, staring at Chastity, entranced . STU I think I know why he married her. VICK Because if he hadn’t , I would’ve. They continue watchi ng on in silence. STU Is it weird that we’re sittin g this close watching? VICK Not for me. More watching in silence.50. STU I really shoul dn’t be here. I have daughters. Then both of t heir heads angl e the same way. VICK Not that can do that . STU How can she do that without dislocating her hip? VICK Because she’s been t ouched by God. They continue staring, ama zed. Just then, th e door is kicked open and KIKIO LANI and KALOLO FA NALUA burst into the Champagne Room, peering through the darkness, l ooking for our guys. Vick and Stu see the m immediately. VICK (CONT'D) Shit. They both hop up. Alan remains s itting, however , hypnotized by Chastity. V ick grabs him. VICK (CONT'D) Alan, come on, man, we gotta go! ALAN Whoa, whoa, I’m s melling t he roses-- Vick literally ya nks Alan up from the banquette. VICK Come on, man! We got company! Finally, the G uamians spot th e guys and l umber for them! VICK (CONT'D) Chastity, honey, is there a back way out of here?! Thinking fast, Ch astity grabs her clothes and dart s over to a darkened, unlab eled FIRE DOOR. CHASTITY Come on! The guys ra ce after her...51.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CRAZY HORSE -- BACK HALLWAY Chastity and t he guys sprint thr ough the bright, crowded back hallways of the C razy Horse, wea ving through strippers, cocktail wa itresses, an d barbacks. Behind them, t he two massive Sam oans try to fol low, but are slowed by all the foot traffic. Str ippers SCREAM as they’re bowled over by th e obese Islanders.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CRAZY HORSE -- MAIN STAGE A spotlight ho lds on a CLOSED CU RTAIN covering the main stage. Some sort of techno Limp Bizkit song is playing. STRIPPER D.J. (O.S.) ANNND ON STAGE ONE, PUT YOUR HANDS TOGETHER FO R...DOUBLE STAXXX! All the patrons t urn their atten tion to Stage One -- then Stu blows through the curtain, out of breath. Beat. The patrons look at Stu, confuse d. Stu looks at them, equally so. The patrons st art to BOOO, just as Vick, Chasti ty, and Alan blow through the cur tain after Stu. CHASTITY Come on! Chastity, in six inc h leucite heels, s prints down the main runway, leaps over the patrons sitt ing at the e nd, and hits the floor running! STU Did she just do that in heels?! VICK I’m really starti ng to like this girl. The guys all foll ow suit, sprinting do wn the runway and leaping over the patrons! Then the Guami ans blow throug h the curtain, panting, very upset. They lumber d own the stage -- a nd the patrons at the end of the runway clear the hell out of the way. CHASTITY AND THE GUYS RACE THROUGH THE STRIP CLUB Upsetting cocktai ls, hopping onto stages and th en off again, leaping over chai rs, spinning around strippe r poles, and, finally, sprinting o ut the front door!52. The massive Gu amians give chase, leaving a wide trail of destruction behind t hem, like two elep hants trampling through a forest. Just as they’re blowin g out of the do or, however, THEY’RE CLOTHE SLINED BY TWO CHAIRS being swung into their chests! S MASH! They b oth stumble backwards, and th en four roided- up STRIP CLUB S ECURITY GUARDS pounce on them , wrestling them to the ground. CRAZY HORSE SECURITY GUARD (to walkie talkie) Viper One, this is Rolling Thunder, we’ve subdued the targets, over.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CRAZY HORSE -- DAYChastity and the guys hurry arou nd the corner f rom the Crazy Horse, laughin g, exhilarated fro m the chase. STU Did you see them trample t hose tiny Japanese busin essmen?! I t hink they killed like four of them! Everyone laughs. Vick puts his arm around Alan. VICK Come on, Alan: te ll me that wasn’t just a little fun... ALAN That was... a little fun. Vick smiles -- ju st as a LAS VEGAS POLICE CAR hops the curb, lights flashing, and cuts them o ff! Two mustach ioed COPS get out and hurry for them, point ing, intense. LAS VEGAS POLICEMAN Victor Lennon?! Alan Mervish?! Stuart Pryce?! STU (scared) Y-Yes?! LAS VEGAS POLICEMAN You’re comi ng with us. CUT TO:53.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LAS VEGAS POLICE STATION -- INTERROGATION ROOM -- DAY The two LVPD c ops, OFFICER ME RRIWEATHER and OFF ICER BLADEN, 40’s, pace about thi s bare interrogati on room, while Vick, Alan and Stu sit behind the cold metal table. Vick looks tense, but in control. Stu and Alan are sweating, terrified . They’ve clea rly been her e a while. OFFICER MERRIWEATHER Where were you last night at 3am? VICK No idea. OFFICER BLADEN Okay, how a bout at 2am? VICK Ditto. Officer Bladen SLAMS the table with his fist. OFFICER MERRIWEATHER You think t his is cute , son?! You think this is a game ?! ALAN Whatever we did, we’re so sorry! STU Honestly, man, I will confess to anything you want! VICK Stu: stop talking . Alan: sit up straight. Officer Merriweather, I’ve told you twelve times now: we have no memory of last night. Now either charge us wit h a crime, or let us go. Merriweather scow ls and nods at Bladen, who ste ps over to a TELEVISION and tu rns it on. Merriwe ather, meanw hile, pulls out a photograph of a slick ASIAN MAN in a red suit, slides it onto the table. OFFICER MERRIWEATHER What do you know about Jimmy Lang? Vick flinches ever-so-s lightly, clearly k nowing something. Stu and Alan just look at the photo graph, confused.54. ALAN Nothing? STU Who is he? OFFICER MER RIWEATHER Jimmy Lang runs t he infamous Shiang- Xi crime organ ization, and is wanted in seven states for money laundering, dr ug smuggling, racketeering and murder . ALAN Oh my god-- STU Did we kill someone las t night--?! VICK We have no idea w ho this man is. OFFICER MERRIWEATHER Is that right? VICK Yeah, that’ s right. ON THE TELEVIS ION, grainy survei llance camera f ootage of a birthday party starts playing. In t he video, JIMMY LANG sits in an upscale restaurant, in front of a BIRTHDAY CAKE, as a table full of hip ASIAN GUYS serenade him with “Happy Birthday To You.” When the guys sittin g next to Ji mmy lean forward to help him blow out the cand les on his cake , however, we see that it’s Vick, ALAN, ST U, DOUG, and so me BLACK GUY, a ll very drunk! VICK & ALAN & STU & DOUG (ON TAPE) HAPPY BIRTHDAY DEAR JIMMMMY, HAPPY BIRTHDAY TO OO YOOOOU! Everyone appla uds. Vick dr unkenly hugs Jimmy Lang. VICK (ON TAPE) I love you, Jimmy Lang! Merriweather FREE ZES FRAME on Vick kissing the top of Jimmy Lang’s s haved head. In the interro gation room, Vi ck, Stu and Ala n sit, frozen. Silence.55. STU We’re in a lot of trouble, aren’t we. ALAN Officers, I swear, we have no memory of that ever occurring-- OFFICER BLADEN Okay. Maybe a nig ht in jail will jostle some thing loose. STU Oh no, sir, please don’t! ALAN We have a very important wedding--! VICK I know Jimm y Lang. Everyone stops, l ooks at Vick. ALAN You do?! VICK Jimmy and I tried to raise capital for Girl-nasiu m, a 24 hour fitness center and day sp a for tween-age girls, but it nev er got off the ground. It was an entirely legitimate ent erprise -- I had no idea he was a crimin al. We must’ve bumped into him l ast night, and he must’ve invited us to join his birthday celeb ration. No crime in that, is th ere, Officers? Merriweather gets in Vick’s f ace, intense. OFFICER MERRIWEATHER You actually e xpect me to believe that dung ? VICK (unblinking) Yes, Officer Merr iweather. I do. OFFICER MER RIWEATHER If I find o ut you’re lying to me, son, I will take all of you down, is that clear? 56. OFFICER BLADEN You boys wouldn’t last three hours in prison. VICK Stu might. Stu shakes his he ad, unbel ievable. VICK (CONT'D) Now: are you gonn a charge us with something, or are we free to go? The cops look at each other, sco wling. Beat. OFFICER BLADEN Get outta here. Stu and Alan quic kly hop to thei r feet and make for the door. ALAN Oh, thank y ou, Officers! STU It was really nic e meeting you--! OFFICER MERRIWEATHER If you know what’ s good for you, you’ll get the he ll out of Vegas. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LAS VEGAS POLICE STAT ION -- NIGHT Day has turned to night. Vick , Stu, and A lan descend the steps of the police station. The mood is grim. ALAN Did you have to be such a dick?! VICK We got out, didn’t we? ALAN Yeah, four hours later! If we’d just cooperated with them-- VICK If we’d cooper ated with them, we’d be in jail right now, Alan. They reach the cu rb, and Stu sta rts trying to hail a cab. Desperation is setting in.57. ALAN What are we gonna do no w? We’ve got zero leads on where Doug is! STU Why hasn’t he called? It’s 8:30. The guys shake their heads, I don’t know. STU (CONT'D) Do you think he’s okay--? VICK Stu, don’t . Doug is fine. STU I mean, we were hang ing out with mobsters last night, ma n! They kill people for looking at ‘em weird--! VICK Stu: Doug is fine . STU Or what if we like drove Doug out to the dese rt and left him, just as like a funn y prank--?! VICK Stu! Enough ! ALAN (muttering) I knew I shouldn’ t have come... VICK What did you just say? ALAN I said I knew I s houldn’t hav e come this weekend, Vick! VICK (getting heated) Is that right? ALAN Yeah, that’s right . I only came because Doug insisted. Vick steps towards Alan, heated.58. VICK Why do think y ou’re so much better than us, dude?! ALAN I don’t -- I just think I’m better than you, Vick! And trust me, it’s not that hard! Yo u haven’t changed one bit since high school! Jesus, you’re 28 years o ld and you still talk back to cops?! Really?! VICK You’re out of you r depth, Alan-- ALAN And you’re still the one g etting us in trouble! Only then it was hiding your weed in our locker, and now you’ve got us par tying with wanted felons! It’s not cut e anymore, man! We’re too o ld for this! Vick scowls; this is actually hitting home... ALAN (CONT’D) And all your s tupid get-rich-quick schemes?! Girl-na sium?! Custard ?! In Los Angeles ?! Are you joking?! STU Okay, let’s all take a breath-- ALAN When’s the las t time you had a real job, man?! When’s the last time you had a girlfriend ?! Hell, when’s the last time you picked up the check?! VICK What’s so great about any of those things?! ALAN Those “things,” Vick, are what grown men do! Vick swallows, furious. STU Look, we’re all tired and hungry--59. VICK None of us ever liked you, Alan! We only hung out with you because Doug made us! Alan recoils, whoa, stu ng. This is clearly news to him. ALAN Stu...? Is tha t true? Stu gestures, unc omfortable, enh, w ho’s to say? Alan nods, I see, his fa ce reddening. VICK Why would anyone like you, dude? Have you ever though t about that? You’re uptight, y ou’re judgemental, you’re cheap, and yet somehow you think you’re swee ter than everyone else! Well look a round, man: no one wants to be yo u! I’d rather be Stu than you! STU Wait, what--? Too late: Alan ch arges Vick and TACKLES him ont o the lawn! They roll on the gro und, trying to punch each othe r, but it ends up being a mess of half-chops, pulled hair , and hands in each other’s faces... ALAN I’ve...always ...hated you... VICK You punch like ...your sister... Stu runs over and jumps in, tryi ng to break the m apart. STU Hey, no! Time out! We all need a time out--! THUNK! Stu is acc identally kicked in t he face and goes down. Alan and Vick con tinue rolling on the lawn, trying to beat the crap out of each other. They could be kids again. Then, just when it s tarts getting w ay too intense, A CAR HORN SOUNDSAnd all three of them look up to see Vick’S BEAT-UP CADILLAC parked on the curb, Chastity at the wheel.60. CHASTITY That might not be like, the smartest place to fight? Vick and Alan look o ver at the huge LAS VEGAS POLICE DEPARTMENT sign right next to th em. They frown... CUT TO:",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. THE COYOTE C ANTINA -- NIGHT Vick’s car sits parked in front of a country bar.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. THE COYOTE C ANTINA -- NIGHT The guys sit at a booth, their hair a mess, their faces bruised, their clothing rippe d, ravenously c howing down on TACOS. Stu’s mouth is f ull of food: STU Good call on happ y hour, Chastity. These tacos kick ass. CHASTITY Yeah, I always come here w hen I get out of jail. The guys excha nge a quick look. ALAN Hey -- how’d y ou start Vick’s car? CHASTITY Oh, my daddy t aught me how to hotwire almost anything. VICK That’s funny, bec ause Alan’s daddy taught him tax law. Chastity smile s, a little con fused. Alan is quick to retort: ALAN And Vick’s daddy tau ght him how to get really drunk at his kid’s soccer games and then piss himself. VICK It’s a disease , dude--! STU Guys, come on! For Doug?61. Alan and Vick ang rily continue eating their tac os. Then Stu’s PHONE rings. He p ulls it out, re ads the caller ID. STU (CONT'D) “Number blocked.” VINCE * Don’t answer it.ALAN Answer it. ALAN What if it’s Doug ? VICK What if it’s Tracy ?! STU (torn, an swers phone) Good evening, thi s is Stu! INTERCUT WITH:",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. VENICE BUNGA LOW -- NIGHT It’s Tracy. She’s sitting in her living room, on the phone. Her STERN FATH ER sits nearby, as do other FAMILY MEMBERS. TRACY Stu, it’s Tracy! His eyes bulging, Stu covers the phone and hisses: STU It’s Tracy! Vick glares at Alan. Alan looks away, shit. STU (CONT'D) Why is she calling me?! VICK Because she knows you’r e the most easily tricked. ALAN We have tell her we lost Doug. VICK No we don’t! T ell her nothing , Stu! Stu turns back to the phon e, rattled. STU Hey, Trace! W-Wha t’s going on?62. TRACY Oh, nothing, just here with my family... STU Wow, that s ounds amazing ! TRACY Yeah...? He y, you would n’t happen to know where Dou g is, would you? He said he’d be h ome by 5 for this dinner, and no w it’s almost 9:00. I tried his cell , but he didn’t answer... STU Ummmm........H ang on. (covering the mouthpiece) She wants to k now where Doug is! VICK I’m working on it! Buy us some time! ALAN No, just tell her the truth! Honesty is always the best policy! VICK What are yo u, retarded ?! Honesty is never the best po licy! Especially not with brides ! STU (lamely, to phone) Um, what’d you say? TRACY (frowning) I asked if you knew where Doug was. STU Yeah, um, hang on. (to guys) She still want s to know! VICK Okay: tell her Alan got really drunk last night and fell down, and the doctor said n ot to move him for a few hours, but that we’l l be back in time for the wedding.63. ALAN Why do I have to be the one that fell over drunk?! VICK It’s a fict itious canar d, Alan, get over yourself! Stu: tell her! STU (TO PHONE) Listen, Tracy, Al an fell on a doctor-- VICK Fell over drunk . STU H-He was drunk . And the doctor -- a different doctor, not the one he fell on -- he said we couldn’t move him until the wedding-- VICK For a few hours! We’ll be home before t he wedding! STU But we’re going to have the wedding at your home-- Tracy just looks really confused. Exasperated, Vick rips the phone away from Stu. VICK Tracy?! Vick! How are ya, hon? TRACY (now very concerned) Vick, what is going on? VICK Nothing! Stu is a moron. Listen, Alan hurt his back last night, so we’re gonna be laid up here for a bit, but I promise we’ll have Doug home in time for the wedding, okay? TRACY Oh God, is Ala n all right? 64. VICK Yes, luckily he h ad a steel rod surgically imp lanted up his ass at birth, so the doc tors anticipate a complete and s wift recovery. Alan flips him the bird. TRACY Can I talk to Doug? VICK What? No ! No, you ca n’t actually, Doug...Doug is out. TRACY Where is he? VICK Where is he? H e’s aaaat...the pharmacy . Yeah, picking up Alan’s medications. List en, Trace, I’m losing you, but we’ll see you tomorrow, okay? Bye, sweetie--! Vick hangs up and no ds confidently. VICK (CONT'D) She bought it. CUT TO:",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. VENICE BUNGA LOW -- NIGHT Back in her bunga low, Tracy hangs up the phone, frowning. TRACY They’ve done s omething stupid. Her stern fath er is standing the re, frowning. MR. TURNER No surprise there. TRACY Dad-- MR. TURNER I’m just sa ying, what kind of man stands up his fiancée the night before thei r wedding ?65. TRACY Dad, I don’t want to hear it. I trust Doug absolutely. Mr. Turner backs off . Tracy, however, loo ks a bit rattled... CUT BACK TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. THE COYOTE C ANTINA -- NIGHT The guys get up from the booth a nd head for the door, grim. ALAN Perfect. We just told Tracy we’d have Doug home in 13 ho urs, and we still have no idea where he is... They pass a DOORMAN on their way out, who ’s standing with a stamp and a UV light reader. DOORMAN Handstamp f or re-entry? Handstamp f or re-entry? Everyone waves, no t hanks -- except fo r Stu, who shrugs, why not, and stops , holding ou t his hand. VICK Maybe we should go back to the hotel and-- STU Oh my God, guys! Look! Stu holds his han d under the UV lig ht -- it’s covered in STAMPS from all the clubs they’ve been to the night before! Stu yanks up his sle eve to reveal his ENTIRE FOREA RM GLOWS, completely covered with stamps! The guys hurry back and slide their forearms under the UV light, too: th ey all have the same stamps! Thei r eyes alight: ALAN It’s like a map of last night! The guys look at each other, hope r eturning to their faces! CUT TO: TITLE CARD: “S ATURDAY, 9:10PM”66.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. LAS VEGAS /,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. VICK’S CA R -- NIGHT The guys rocket down the S trip, weaving in and out of traffic! All t he stamps on St u’s arm are now labelled in regular ink. M USIC blares, and t he mood is high. STU Where do you w ant to start?! VICK At the top! We hi t every club we went to til someo ne remembers what we did with Doug! ALAN Nice clue, Stu ey! I can’t believe we’re actually go nna pull this off! Stu grins over at the car next to them . Then he stops. STU Hey: is that guy wearing Doug’s hat?! The guys look ove r to see that the DRIVER of the next car over is, in fa ct, wearing the DISTINCTIVE FE DORA-STYLE HAT Doug was wearing last night. The guy turns o ff the Strip. VICK Naaah, couldn’t be. ALAN Lots of people have hats like that. Stu nods, yeah , I guess... TIGHT ON: STU’S HAND The first bar written on it is “GhostBar.” MATCH CUT TO:",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GHOSTBAR -- NIGHT Chastity and the guys blow in, e ach with a photo of Doug (in medieval armor) from Alan’s w edding. As they move into the club, every single waiter, bartender , and busboy sees them and throws open t heir arms, heyyyy, remembering them! They flash the pictu re of Doug to anyo ne who’ll look -- waiters, maitre d ’s, thugs, bachelo rettes, f etishists, bikers, swingers, brides and grooms -- but all of them shake their heads, we have no idea where Doug is...67.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. VICK’S CA R -- NIGHT Stu crosses of f “GhostBar” fr om his arm...,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BODY ENGL ISH NIGHTCLUB -- NIGHT The guys and Chas tity enter a nd disperse. Ag ain, everyone recognizes them a nd hugs them li ke returning he roes -- and again, no one rem embers where they were taki ng Doug...",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. VICK’S CA R -- NIGHT Stu crosses off another stamp from his arm...,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PURE NIGH TCLUB -- NIGHT The BOUNCER re cognizes the gu ys from the nig ht before and unclips the rope, letting them in past the imme nse line...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TAO NIGHTCLU B -- NIGHT The BOUNCER re cognizes the gu ys from the nig ht before and unclips the rope, letting them in past the imme nse line...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ICE NIGHTCLU B -- NIGHT The BOUNCER re cognizes the gu ys from the nig ht before and unclips the rope, letting them in past the imme nse line...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. VICK’S CA R -- NIGHT The guys race through a shadier, more industrial area of town, their ho pes dimming... STU All right, this is the last place we went, “Chaps.” Vick rolls to a stop in front of... CHAPS NIGHTCLUB It takes a mom ent for the guys to realize th at everyone in line is male , buff, and we aring erotic co wboy gear. STU You sure we came here...? Then they look up at the marquee. It reads “CHA PS: HOME OF THE GOLDEN PONY A LL MALE REVUE.” ALAN The Golden Pon y. That’s us.68. STU Maybe I’ll jus t wait in the car-- But Vick is al ready shoving Stu out of the car.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CHAPS NIGHTC LUB -- NIGHT The guys walk into the massive nightclub and st op. It’s got a kitschy barn them e, and hosts 20 0 TOPLESS DUDES in cowboy hats and short-sh orts grinding on each other. VICK You think we w ould’ve remembered this... STU Yeah, I don’t thi nk we came here... ALAN Then why is your underwear nailed to the wall? The guys turn to see numerous pa irs of MEN’S UNDERWEAR nailed to the wall ne arby. A sign above it reads “C HAPS WALL OF FAME.” We reco gnize Stu’s COLORA DO STATE BOXERS. STU Those could be anybody’s. Thousands of people go to Colorado State-- ALAN (looking more closely) Oh my God, are they autographed ? VICK (reading) “Stu Pryce, 9/30/08. I < Chaps!” STU (realizing, stunned) I am so gay... Just then, a BUFF WAITER in assl ess chaps blows by, smiling. WAITER Hey, guys! Roger is backstage! The guys lo ok at each othe r, eyes wide. STU R-Roger?69.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CHAPS -- DANCE FLOOR The guys move through the throng of undulating, sweaty men, uncomfortable . Alan takes Chastity’ s hand tightly. ALAN Stay very close to me. She smiles and dances through the crowd.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CHAPS -- BAC KSTAGE AREA They reach a HUGE MALE BOUNCER g uarding the bac kstage area. He sees the gu ys and unclips the VELVET ROPE, kissing each of them on the cheek as they pass. BOUNCER How are Haylee and Kaitlin? STU (totally disturbed) Oh. G-Good, thanks...?",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BACKSTAGE AREA -- DRESSI NG ROOM DOOR The guys reach the dressing r oom door and st op. They inhale. VICK We’re going to lo ve you eithe r way, Stu... Stu nods, focusse d, nervous, like b efore a big game. ALAN Some of my best f riends are gay. STU Is that true? ALAN Not...not really? I live in Connecticut, man, we don’t even have black peo ple yet. Stu nods, right. Then, after steeling himself, he enters...",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CHAPS -- DRESSING ROOM The dressing r oom is packed with muscular, tan, buck-naked men, walking a round, rubbing baby oil on the mselves, donning chaps and codp ieces, getting ready for the next show. 70. Chastity and t he guys move th rough the mob of beefcake, staying ridiculously close together. V ick stops at one dancer, trying no t to look do wn at his junk: VICK Excuse me, friend, can you tell me where Roger is? BEEFCAKE COWBOY Oh, hey, Vick! Roger’s ove r there. He points to a reall y hot, really naked guy with a funky mullet, stretching o ut in front of his mirror. The guys shuffle over to him. Vick tries to be sup portive with Stu: VICK He’s cute...I guess...? Stu shrugs, yeah, I guess...? As they draw c lose, Roger sees them, and smiles. ROGER Oh! Hey guys! He hugs all of them. The guys make sure to keep their asses arched back to av oid genit al contact. ROGER (CONT'D) I’m surprised you ’re even walking yet, Stu. STU (inhaling sharply) Oh my god. VICK Listen, man, we don’t really remember what hap pened last night, can you fill us in? ROGER Really? No memory? Stu shakes his head, wide- eyed, scared... ROGER (CONT'D) Well, I must say, Stu, I’m a little hurt. STU Did we...you k now...do anything? ROGER Well, duh ? Yeah?71. The guys all free ze. A beat. The n Vick pats Stu’s shoulder, supportive. STU Was I...the bo y or the girl? ROGER Oh, honey, you were everything . Stu WHIMPERS. Vick and Alan exchange a lo ok, holy shit! ROGER (CONT'D) But you were nothing like Vick. VICK Wait-- what ?! ROGER I know, I’m sort of over group stuff too, but Alan insisted. Now it’s Alan’s t urn to lo ok stunned . VICK You insisted?! Wh y’d you insist?! ALAN I don’t know! I don’ t know why I insisted! ROGER Actually, after the anger went away, it was r eally quite tender. The guys look at each othe r, nauseous . STU I’m really not sure we can be friends anymore... Finally, Chastity starts LAUGHING. CHASTITY Guys: he’s kidding . Roger breaks into a smile and sl aps five with Chastity. The guys all exhale, inc redibly relieved. VICK Not cool, Roger. Not cool. ALAN So what did happen last night?72. ROGER Oh, well, y ou guys came in near the end of our last set, like 2ish. Doug pretty much dragged you in. ALAN Really? Doug did? ROGER Oh no, my Doug , not your Doug. Black guy, sha ved head? The guys look at each othe r, confused. ROGER (CONT’D) He’s a cake designer, he said he met you guys at some sort of birthday party at the Rio? VICK (snapping hi s finger) The guy from the Jimmy Lang surveillanc e video. The guys nod, right. ROGER Anyway, for the b ig finale of our show, we always b ring someone on stage, and, we ll, Stu, you volunteered prett y aggressively. (to nearby dancer) Hey Dallas, do we have the vi deo of last night’s show? STU No! That’s cool, I don’t need to see it-- VICK We must see that video. DALLAS It’s in the machine. Roger nods and presses PLAY on a littl e VCR/TV com bo sitting in front of his mirror. ON THE TV a very Brokeback, Chippendale’s-sty le male revue starts playing. Stu GASPS. Roger fa st forwards.73. ROGER You were pretty mellow at first, Stu, but once we got you into the chaps, you really came alive-- oh, here it is. ON THE TV we s ee Stu, wear ing only his “I < ROGER” g-string and assless chaps, g rinding on stage w ith the G olden Pony dancers. He is way fatter, paler, a nd hairier t han the greased young studs. The guys look away, oooo. STU I’m a Dad, I-I don’t get to the gym as much as I’d like... ROGER You even taught us The Pony, which we’d never even hear d of before... ON THE TV Stu get s on all fours on the stage, a nd eagerly gestures for t he dancers to take turns “ridi ng” him. Stu’s face drops. ROGER (CONT'D) And then, of cour se, the pièce de resistance: the Ride of the Valkyries. ON THE VIDEO S tu clutches onto Roge r from behind as they ride a LAVENDER MECHANICAL BULL together. T he crowd goes wild. STU Annnnd that would ex plain the searing ass pain. ROGER After the show, we split a couple pitchers of flirt inis, you had our stylist cut your hai r like mine, and then you split. VICK And what time was all this? ROGER 4:30 in the mo rning? 4:45? ALAN And our Doug was with us?74. ROGER Yeah, he had pass ed out by then, but you carrie d him out. It was all very Officer And A Gentleman . The guys look at each othe r, confused. ALAN Wait, so we left with Doug at 4:45 , we got back to the hotel at 5:00 , and Doug was gone by 5:30 when Chastity met back up with us? STU That doesn’t make any sense. VICK Did we lose hi m along the way? STU He was pass ed out, how far could he have gone--? Just then, Vick’s ce llphone rings. The caller ID reads “MANDALAY BAY.” He answers: VICK Hello? INTERCUT WITH:",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MANDALAY BAY -- NIGHT Atashir is on the phone at the reception desk. ATASHIR Mr. Lennon? VICK Atashir, many gre etings to you. ATASHIR I thought you might like to know that one of our m aids just found your friend, D ouglas, pass ed out in your room. Vick’s jaw drops. VICK What?! Are you sure it’s him?!75. ATASHIR I saw him with my own eyes. He is unconscious but breathing nicely. VICK Oh thank you, Ata shir! You are a man of great h onor! A thousand blessings upon your ancestors! Vick SLAMS his phone shut, overjoyed. VICK (CONT'D) Doug is in the room! A maid just found him! He’s passed out, but he’s okay! STU They’re sure it’s him?! VICK Atashir swears it is! The guys all laugh, a massive weight lifted. STU Oh thank God he’s okay... ALAN After all this?! He’s in the room?! They keep laughin g and hug each other, heartfel t. Vick even hugs Roger. VICK I don’t even care! Hug me, you big shiny homosexual!",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CHAPS -- NIGHT Chastity and t he guys bound o ut of Chaps, ju bilant. Stu is carrying a box of TWO DOZE N VIDEOTAPES. ALAN That was cool of Roger to give you all the tapes of your performance. STU I know, if I actuall y was gay, I’d totally date Roge r first. What a gentle soul. They get into Vick’s clunker.76. VICK How we doing on time? ALAN (looking at watch) 2:22. VICK We’ll be in LA by dawn. (firing up engine) I told you bitches this would all work out... They drive off in to the night, g rins all around.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. THE STRIP /,SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. VICK’S CA R -- NIGHT Vick drives, Stu sits shotgun. Alan sits in the back with Chastity. The coo l night air washes over the m. They look happily exhausted. ALAN This has offic ially been the craziest weeke nd of my life. (to Chastity) Thanks for all yo ur help. You were awesome. CHASTITY Anything for my hubby. Alan’s smile f lickers slightly. CHASTITY (CONT'D) I’m kidding , Alan. I know last night wasn’t, you know, real ... She looks out at Vegas as it flies by. ALAN I’m sorry about all this, Chastity. CHASTITY Jennifer. ALAN Beg pardon? CHASTITY My name is Jennifer. Jennifer Elly. Alan hesitates; suddenly she seems a lot mor e...human. 77. ALAN Okay, well, I’ m sorry, Jennifer. CHASTITY Oh, don’t b e. Last night wasn’t the first flaky decision I’ve ever made in my life. I mean, I am a stripper. Alan tries not to laugh. She smiles, a twinge sadly. ALAN Where you from? CHASTITY LA. Tarzana. ALAN Oh yeah? CHASTITY Yeah. I work here on th e weekends. ALAN You fly out every week? CHASTITY Yeah. I’d move, b ut my kid is in a great school. ALAN Kid? VICK (aside, to Stu) They always have kids. CHASTITY I have a little girl, Sarah. She’s... Well, she’s everything . Chastity proudly shows Alan a photo from her purse of a cute little toddler. Alan smiles. CHASTITY (CONT'D) What about you? ALAN No kids. Same girlfriend for 14 years. Becky. Alan shows her a photo of Becky on his cellphone.78. CHASTITY Wow, she’s stunning. Stu turns around, unable to keep quiet any longer: STU We like you way better. ALAN STU! Chastity tries to stymie her laugh. ALAN (CONT'D) Becky is great. STU Becky colle cts teapots . VICK Yeah, she’s a total canwego . CHASTITY A what? VICK You know, she’s the girl at the party who’s always like “Can we go? Can we go?” Chastity laughs. Alan does too, shaking his head. ALAN She has low blood sugar. STU She has low fun sugar. ALAN Jesus, guys! This is the girl I’m going to marry! (beat, considers) If, you know.. .she forgives me for cheating on her... VICK Wait: you’re going to tell her? ALAN Of course I’m going to tell her! I could never ke ep something like that from her.79. VICK Dude, she still hasn’t forgiven me for scratching he r Queensryche CD in sixth grade -- she’s neeeeever gonna forgi ve you for marrying a stripper in Vegas. ALAN Well, then that’s just the price I’m going to have to pay. Alan looks off, s toic. Chastity pats his hand, proud. CHASTITY Good for you. She smiles at Ala n, impressed, p ulling her h air from her face. Alan looks at her anew... It’s a sweet moment... VICK She’s gonna cut your dick off, dude. CUT TO:",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MANDALAY BAY -- NIGHT Lamborghini’s, Fe rrari’s and Hum mer limos cl og the valet stand. Vick rolls up in his clunker . The guys hop out. VICK (to the valet) Keep ‘er close, P aco. We’ll be right back.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MANDALAY BAY -- HALLWAY -- NIGHT Chastity and the guys hurry down the h allway to th eir suite. Vick unlocks thei r door and pushes inside. VICK Doug! Wake up, man!",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. THE DEAN MAR TIN SUITE -- MOMENTS LATER Alan and Stu p ace about the suite, beyond st ressed. Vick stands, looking o ut the window. Cha stity gets them all water. ALAN How the hell coul d you blow that kind of money?! STU Was it for the custard store? ALAN Jesus, Stu, wake up! There is no custard store! Vick was just trying to rip us off to pay back Jimmy Lang! STU Is that true, Vick? Vick just stares out at the city, not denying it. STU (CONT’D) Were any of your deals...real? VICK (guilty) Some. Stu drops onto the c ouch, deeply di sillusioned... STU Dude, I manage an Applebee’s, that money meant somet hing to me... Vick spins around , furious: VICK Do you really think I wanted my life to turn out lik e this, Stu?! Do you really thi nk I don’t know that I’m a mas sive loser ?! 83. (MORE) Jesus, you guys g ot out of high school and you just knew what to do, you went to college and got good jobs and found cool wives and made beautiful children -- what do I have to show fo r the last decade of my life?! Nothing! Vick swats a lamp off a nearby end- table -- it SMASHES against the wall! The guys freeze. Tense silence. Vick grows emotional. VICK (CONT'D) Jesus, I’m alm ost 30, a nd the only thing I rea lly have... the only thing I really have is you guys. STU Come on, Vick-- VICK No, man, it ’s true! I put on a good show, but my life is so goddamn hollow and vapid and lonely, it scares me, man. I -I don’t know how much longer I can keep this scam going. And now I’ ve gone and ruined the one good t hing I had... Tears threaten in his eyes. He wipe s at them, angry. VICK (CONT’D) Just...please don’t giv e up on me, okay? I-I don’t k now what I’d do without you gu ys. I really don’t... Alan and Stu e xchange a look. They’ve never seen b rash, cocky Vick this vuln erable before. Stu can’t he lp but give in. STU Come on, man, we’ ve been bro’s since third grade, it’s gonna take a lot more than money to ruin our friendship. Vick looks down, dee ply touched... STU (CONT'D) What I don’t understand is why you didn’t just ask me for the money. I would’ve given you every last cent I had, man...84. VICK (CONT'D) Tears trail do wn Vick’s cheek s. He crosses a nd gives Stu a hug. Stu hugs back, emotional. STU (CONT'D) I love you, man. VICK Love you too, bro. Love you too. They hug tight. For a while. STU Also, I banged your sister sophomore year. Vick pulls away. VICK What?! STU Sorry. Just seemed like a good time to tell you. Vick stammers at Stu , speechless. STU (CONT'D) She had just brok en up with that guy from Central, we were playing “I Never” at T im Donahee’s pool, one thing lead to another-- VICK No! No. That’s... that’s plenty . Vick desperately tries to clear the image fr om his mind. Alan just frowns at hi s watch, stressed. ALAN Look, I’m glad we ’re all sharing, but we’ve got three hours to come up with 200 gr and, or else... The guys nod, fro wning, back on po",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int. ALAN (CONT'D) I’d offer to take a loan out, but it’s 3 o’clock in the m orning, I’m pretty sure my bank is closed. STU I think I can get a 20 grand cash advance on my cre dit card...85. ALAN So that just l eaves 180 grand... The guys frown at each other. CHASTITY Well, it is Vegas... The guys’ eyebrows a ll rise, you think...? SMASH CUT TO: ALAN THROWING DOWN BLACKJACK AT A B LACKJACK TABLE The guys erupt in CHEERS arou nd him, YAAA ! The dealer slides over a large p ile of CHIPS. CUT TO: CHASTITY THROW ING CRAPS AT A CRAPS TABLE Again the guys erupt! Alan hugs Chastity. Th eir pile of CHIPS grows... CUT TO: STU YELLING “BINGO” AT A B INGO TABLE The guys jump up, slapping te n, YELLING! Stu points at a table full of OLD LADIES nearby: in your face! CUT TO: ALAN, STU, VICK A ND CHASTITY SITTING AT A PAI GOW TABLE looking lost. Then t hey take their large stack of chips and quietly leave. No one knows how to play Pai Gow poker. CUT TO: VICK JUMPING UP F ROM A WAR TABLE having just wo n! Chastity and th e guys aggressi vely hug him. Stu drinks from h is glass, hands shaking, wired. STU Time check! VICK (looking at watch) 12 minutes . STU Chip check!86. Alan quickly coun ts the chips... STU (CONT'D) Faster! Come on chip check! VICK Dude, how many Re d Bulls have you had? STU I stopped coun ting at six! I can hear my heart beatin g in my head ! Alan finishes counti ng the chips -- and frowns. ALAN Just over 1 00 grand. The guys wince, damn. VICK There’s only one thi ng left to do. They all ex change a kno wing look... SMASH CUT TO: $100,000 WORTH OF CHIPS BEING PL ACED ON BLACK at a roulette tab le. The guys sweat, tense. Stu is insane . STU You sure we do n’t want red?! What if the ball la nds on red--! VICK Shut up, Stu. ROULETTE CROUPIER Betting is closed. The Croupier d rops the ball i nto the wheel. It bounces, hops, spins... Vick cro sses himself. Stu looks away. STU I can’t watch! My heart’s gonna explode! Can y our heart even explode?! Because I think my heart is gonna explo de! I can’t watch! The ball lands . Dead silence.87. STU (CONT'D) It’s red, isn’t i t?! I knew it! Tell me it’s not red! ALAN It’s not red... Stu turns, ecstatic-- ALAN (CONT'D) It’s green . The ball has s topped on green , DOUBLE ZERO. Stu clutches his chest, like he ’s having a seizur e. Vick inhales, grim. Alan slowly drops to his knees. Ch astity close s her eyes. Their HUGE PILE OF CHIPS is raked off the table... CUT TO:",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MANDALAY BAY -- PARKING CIRCLE -- PRE-DAWN The guys pack their bags into Vick’s beat-up Caddy. The mood is as dark as the pre-dawn sk y. When the car is loaded, Chastity takes Al an’s hand s, gentle. CHASTITY Would you like me to come with? ALAN No...It might get a little dangerous. I w ouldn’t want... He trails off. Chastity nods. CHASTITY I’m so sorry.. .about everything. ALAN Thanks for all your help. Awkward silence. The cold desert wind blows. CHASTITY There’s no sense...i n exchanging numbers or any thing...right? ALAN Yeah, proba bly not... Alan looks gen uinely sad.88. CHASTITY Well...I’ll always reme mber you as a great first husband, then. They both s mile weakly. CHASTITY (CONT'D) You can just send the divorce papers to t he Crazy Horse or whatever... Alan nods, okay. Anothe r awkward pause. CHASTITY (CONT'D) Thanks for reminding me that there are still some re ally good guys out there, Alan. I do n’t...I don’t get to meet too many of them. She smiles a b it sadly, kisses him on the ch eek, and walks off. TIGHT ON Alan’s Grandmother’s ring still on her finger. Alan doesn’t r emember the ring, how ever; he’s too busy watching her walk out of his life, and feeling a real sense of loss... Then Vick fires up t he car next to him. VICK We gotta go, man. Alan nods, yeah, and gets in the car...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. VICK’S CAR -- PRE-DAWN Vick’s car races down a dark, abandone d desert hig hway. The guys look tired, str essed, and most of all, scared . ALAN Yep, just driv ing out to the middle of desert to m eet some mobsters, what could possib ly go wrong...? The guys all frown. STU So what’s our plan? ALAN I think we should tell Mr. Lang that we couldn’t get the money, but that, if he’s ame nable, we could create a payme nt calendar--89. VICK We’re gonna give Jimmy a dummy bag of money, grab Doug, and make a run for it. ALAN Yes, good! What an airtight plan--! VICK Jimmy Lang doesn’ t do payment calendars , Alan! Trust me: this is our only shot of getting Doug back! Left turn! Vick skids onto H ighway 12 -- a barely label led dirt road. Things are qui ckly going from bad to worse... DISSOLVE TO: THE FIRST R AYS OF DAWN streaking across Venice Beach. TITLE CARD: “S UNDAY, 6:04AM”",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. VENICE BUNGA LOW -- MORNING Tracy exits he r bedroom in her jammies, l ooking like she barely slept. Her father is up, and making breakfast. TRACY Any word from Doug? MR. TURNER Nope. (beat) I know you don’t wan t to hear it, Trace, but you deserve better. Tracy frown s, overwhelmed with stress. TRACY I’m sure ev erything’s fine . They’re all smart, cap able adults... CUT TO: VICK DELICATELY L AYING CASH INSIDE HIS DUFFEL BAG on top of his dir ty clothing, fr uitlessly tryin g to create the appearance of a bag full of money. He’s using some $20 bills, but als o some $5’s and $1’s. 90. VICK This all the c ash we got? The guys frown at their empty walle ts, yeah. We are",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. VICK’S CA R/,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MOJAVE DESERT -- DAWN The Caddy is p arked next to MILE MARKER 26 in the middle of the windy desert. The Las Vegas skyline is j ust barely visible in the distance. Vick very delicat ely zips up his duffel bag so as not to disturb the bills , and places it on his lap. ALAN This is the dumbe st plan ever. VICK Alan I need you positive please. STU Here they come. They all look up to see a WHITE YUKON app roaching on the far horizon, kicking up a trail of dust. The guys tense up. VICK Stuart? STU Yeah? VICK There’s an emergency bottle of tequila in my glove box. Get it out please. Stu opens the glovebox, pulls out a bo ttle of Patron. He opens it, takes a sw ig, then passes it to Vick, who takes a pull and passes it to Alan, who als o drinks. They all watch th e white Yukon d raw ever closer. ALAN I can’t believe this is how we’re going to die... The Yukon pulls up about ten yards away. No one moves. The Yukon’s doors open... The Cadil lac’s doors open... TIGHT ON the Jimm y Lang’s RED BOOT as it hits the road... 91. TIGHT ON Vick’s L EATHER SHOE, then Alan’s SA ILING TOPSIDER, then Stu’s FLIP-FLOP , as they all h it the dusty road... The two parties s tand by their respective cars, facing off. Somewhere in the desert, a rattlesn ake RATTLES. JIMMY LANG Let’s see the money! Vick gently ho lds up his duffel bag. VICK Let’s see Doug! Jimmy Lang nods to K alolo, who open s the back d oor of the Yukon and pull s out a GUY wit h his hands tied behind his back and a plastic RAL PH’S BAG over his head; he str uggles a bit. The guys look a bit alarmed. ALAN Jesus, what’d they do to him? VICK Pull off the Ralph’s bag! Jimmy yanks the b ag off of the guy’ s head to reveal IT’S NOT DOUG It’s some black dude. Vick, S tu, and Alan look confused. VICK Who the hell is that?! JIMMY LANG (annoyed) This is Doug ! He pushes the guy forward. ALAN Oh my God: it’s the other Doug! Roger’s friend, t he cake designer! BLACK DOUG (to Jimmy Lang) I told you, ma n, I’m Doug Howland! I barely even kno w these guys! VICK Yeah, you g ot the wrong Doug, man!92. Jimmy Lang and the thugs look exasperated. JIMMY LANG You sure ?! VICK Yeah, man, our Doug is white ! JIMMY LANG But you were partying with this guy at my birth day thing! VICK I don’t know w hat to tell you, bro, this isn’t the Do ug we requested! JIMMY LANG Well. I apo logize for the mix-up... (drawing his HUGE GUN) But I’m still gonna need my money. Vick and the g uys start backt racking towards their car. ALAN Oh my God Oh my God Oh my God... JIMMY LANG Don’t move, Vick. Vick freezes, duffel in hand, as Stu and Alan s link from view. Jimmy re aches Vick, gun ca lmly trained at his head. JIMMY LA NG (CONT’D) Now please. Give me my money. All eyes on Vick, anxiously clutchi ng the bag in his hand... Sweat beads on his brow... JIMMY LA NG (CONT’D) Don’t be stupi d, son. You-- Then Vick throws a h ard left hook, SLAMMI NG Jimmy square in his massive stomach! And NOTHING HAPPENS Jimmy is built like a tank. Vick freezes, oh shit. Then Jimmy PISTOL-WHIPS Vick -- his lip explodes with bloo d and he falls to the ground. VICK Christ that hurts!93. Then Jimmy picks up the duffel bag. Hefts it. Feels wrong. He goes to open the zip per when he hears: STU AAAAAAAHHHHHHH! Jimmy looks up to see Stu ins anely charging him like the linebacker he once w as! Jimmy raise s his gun, but STU TACKLES JIMMY TO THE G ROUND FIRST! The gun flies free a nd they wrestle fo r it! Dust flies! BACK BY THE YUKON The two Guamians fum ble for their guns -- but it’s difficult with huge CASTS on t heir shootin g hands! ON BLACK DOUGHe sees what’s going down, an d, his hands ti ed behind his back, takes off s printing toward s Vegas! BY THE CADDILAC Alan looks around, what should I do?! What should I do?! Then he spots the keys in the ignition of t he car. He h ops in and fires up the e ngine! Just then THE TWO GUAMIA NS OPEN FIRE Bullets pound into t he Cadillac! Alan duc ks down, terrified, and floors the gas! ALAN I’m being shot at! I’m being shot at! UP AHEAD Jimmy Lang throws Stu off of him an d recovers his gun, panting. He cocks it, aims it at Stu on the ground. JIMMY LANG I really didn’t want to kill anyone today-- Then WHAM! Alan driv es the car into Jimmy La ng at 25mph! The obese mobster is pitched off his feet, a nd lands a good ten yards away, in a heap of dust! The guys fr eeze, shocked.94. The Guamians f reeze, shocked. ALAN Oh my go d, is he okay?! VICK Who cares! Go go! Alan floors the car while Stu an d Vick SPRINT and DIVE in! The caddy peels t he hell out of there, kicking up rocks and dust! The G uamians FIRE after them! BULLETS IMPACT AL L ALL OVER CAR taking out the ta il-lights, the windshield, the headrests. The guys duck down til they’re sufficiently far away. Then they sit up, amazed, out of breath. STU I can’t believe you just saved my life! VICK I can’t believe you just drove my car into Jimmy Lang! Alan drives, h is eyes as b ig as saucers. STU He’s gonna be really upset! ALAN Yeah, I was ju st thinking that! BACK ON JIMMY LANG The huge mobst er lies face-down on the desert f loor. His two henchmen waddle u p, highly concerned. KIKIOLANI Boss, Boss, you okay?! Jimmy sputters into the di rt, furious. JIMMY LANG Find Vick... And kill him.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. VICK’S CA R -- DAWN The guys race down the dusty hig hway in traumat ized silence. ALAN Now can we cal l Tracy?95. Vick frowns and b lots his split lip with his sleeve. VICK Yeah. It’s probably time. CUT TO:,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MOJAVE DESER T -- LONE PA YPHONE -- DAWN The guys pull up at a lone, dust y payphone in the middle of the desert. They all look at the phone. ALAN Who wants to m ake the call? Beat. Then Vick reaches for h is nose, odd man out. Stu and Alan immediately reach for their noses, too. It’s close. STU That was you! ALAN What?! No! I beat you by a mile! STU Vick, who won?! VICK (frowning) Actually...I shou ld do it. This weekend was mostly my fault. I need to Man Up. Alan looks shocked -- and impressed -- by Vick’ s newfound sense of re sponsibility. ALAN Well, I’ll be damned... Vick grabs the bo ttle of Patron, takes a long s wig. Beat. VICK I still can’t believe Stu banged my sister. Vick hands the bo ttle to Alan, gets ou t, and makes for the pay phone... CUT TO:",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BEL AIR B AY CLUB -- BRID AL SUITE -- DAY Tracy is putti ng on her makeup in the bridal suite. Her stern dad blows in.96. MR. TURNER Any word from Doug? The way he spits out “Doug” tells us a ll we need to know about how Mr. Turner feels about his f uture son-in-law. TRACY No, but I’m sure he’s-- Just then, Tracy’s CELL PHONE rings. S he quickly a nswers it. TRACY (CONT'D) Hello? INTERCUT WITH: VICK In the desert, on the pay phone, looking throug h his busted aviators into the rising sun. VICK Tracy, it’s Vick. TRACY Hey Vick! VICK Listen, honey...T he bachelor party got a little out of control and, well...we l ost Doug. TRACY (her jaw dropping) What?! But we’re gettin g married in like four hours! VICK Yeah, that’s n ot gonna happen... BACK IN THE CARAlan starts to take a pull of Patron -- w hen he freezes , realizing s omething! BACK TO VICK on the phone w ith Tracy, being genuinely contrite. VICK Look, I’m r eally sorry, Tr ace. This is all my fault--97. Suddenly, Alan fl ies out of nowhere an d snatches the receiver out of Vick’s hand! VICK (CONT’D) What the--?! Alan gets on the phone with Tracy, his heart racing. ALAN Tracy, it’s Alan! Hey, Vick is just joking around! We’ve got Doug right here! Vick looks like: what?! TRACY (horrified) What kind of joke is that?! ALAN I know, Vick is such a prick! We’ll see you at the wedding! Bye! Alan hangs up and ra ces back to the ca r. Vick follows. VICK What are yo u doing? ALAN I know where Doug is! CUT TO:",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BRIDAL SU ITE -- DAY Tracy stands in her bridal suite. T hen she just BREAKS DOWN SOBBING. Her f ather hurries over , concerned... CUT BACK TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MOJAVE DE SERT -- DAY Alan floors the car back onto the 15 towards Vegas, amped! ALAN Remember when we saw Doug’s bed impaled on the griffin thing?! STU Yeah, we threw it out the window. ALAN No: the windows don’t open, remember?!98. VICK So how did--? (realizing) Oh my God. STU I don’t get it. ALAN And that’s why we ’ve been seeing Doug’s clothes all over Vegas! He was trying to signal someone! VICK I don’t believ e it... STU I-I still d on’t get it-- ALAN And it totally jives with the timeline, right?! We brought Doug back to the ho tel at 5:00, he was passed out... VICK It’s so obvious ! STU Not...to me ...so much? VICK How’d you f igure it out?! ALAN The Patron , man! It reminded me of our first drin k of the night! VICK Honestly, dude, you’re a genius. STU CAN SOMEONE PLEASE TELL ME WHERE DOUG IS?! VICK He’s on the roof ! Stu looks conf used, the roof?99. ALAN After Doug passed out, we must’ve taken him up there in his bed as a prank, so he’d wake up on the roof or whatever? Then we forgot him. VICK And all day he’s been throwing his crap off the roof , trying to signal someone to get him down! STU You think he’s still up there?! ALAN Only one way to find out... SMASH CUT TO:",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. MANDALAY BAY -- DAY The guys peel up to the valet and sprint out of the car.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MANDALAY BAY -- LOBBY -- DAY The guys race through the lobby at top speed.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MANDALAY BAY -- ROOFTOP -- DAY The guys burst out of the steel door, onto t he massive black tar roof. I t’s empty. ALAN DOUG?! DOUG ?! VICK WHERE ARE YOU, MAN?! But Doug is nowhe re to be seen. The gu ys start to despair... Then...stepping out from behi nd an air-conditio ning vent, naked except for tighty-whities, his entire body bright pink from sunburn... IS DOUG! And he looks furious. The guys run to him, overjoyed! ALAN DOUG! STU Oh my god, I’m so glad you’re okay!100. Before they ca n hug him, thou gh, Doug holds up his hand, and whispers, n asty, parched: DOUG Don’t...even.. .talk to me. The guys stop short. VICK Okay, no, that’s cool! STU Yeah, you have ev ery right to be upset! We validat e your anger! CUT TO: TITLE CARD: “S UNDAY, 7:05AM”",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. MANDALAY BAY/,NOTHING +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. VIC K’S CAR -- MORNING The guys gingerly rush Doug, now in a Mandalay Bay bathrobe and clutching an arm -full of BOTTLED WATE RS, through the hotel lobby. Alan is arguing int o his cellphone. As they pass A TASHIR at his desk , Vick yells over: VICK Why’d you do i t, sweet Atashir?! Why did you betray us?! ATASHIR Because they paid me. And also because you’re kind of racist. VICK Fair enough! See you next time, you beautiful Judas! They blow out of the hotel...",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MANDALAY BAY -- VALET -- CONTINUOUS ...where their beatup Caddy is wait ing. Alan slams his cellphone shut , frowning. ALAN No flights to LA wit h empty seats! STU Well, we can’t drive ! It’s 350 miles to LA and the weddin g starts at 10, which is in-- 101. (MORE) (looking at watch) --three hours! Beat. Then Vick, Stu and Alan excha nge a look...a smile slowly cree ps across th eir faces. SMASH CUT TO: THE TOTALLED C ADILLAC ROCKETING DOWN I-15 Vick is at the wheel , leaning on the HORN, keep ing the three- doored Caddy at 110 miles per hour. When traffic gets thick, he doesn’t hes itate to drive in the shoulder. In the backsea t, Doug chugs b ottled water, s till simmering. VICK Look, Doug, I thi nk I speak for everyone in the c ar when I say I’m really sorry about locking you on the roof of the hotel. STU You gotta admi t, it’s a pretty funny prank... I mean, up until the part when we forg ot all about you. Doug just stares out at the dese rt in stony silence. STU (CONT'D) He’s still not talking to us. ALAN Totally understan dable, man. Whenever you’r e ready... CUT TO: TITLE CARD: “S UNDAY, 9:15AM”",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BEL AIR B AY CLUB -- DAY Workers bustle about the grand lawn of the B el Air Bay Club, putting the last tou ches on the outdoo r wedding site. It’s beautiful: the royal palms, the expansi ve views of the Pacific, the w hite chairs in per fect rows, t he altar adorned in roses. A HARPIST begins to warm up as well-heeled GUESTS filter in, finding thei r seats...102. STU (CONT'D)",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BEL AIR B AY CLUB -- B RIDAL SUITE -- DAY Tracy checks h er watch as a HAIR STYLIST works on her hair. Then she checks her watch again... CUT TO: TITLE CARD: “S UNDAY, 9:47AM”",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. INTERSTATE 10 -- DAYA GARY’S TUXEDO VAN speeds up alongside the Cad dy as they fly down the 10 freew ay. A very nerv ous TEENAGER op ens the van’s sliding door a nd, wind whippi ng his face, throws a huge PACKAGE over to A lan, who stands and catches it ! Vick nods at the van driver and shouts over the wind: VICK I OWE YOU, NEECO! The driver gives Vick a thumbs u p, and heads of f. Alan rips open the package -- inside are f our TUXEDOS. Th e guys start taking off their tattered clothes... CUT TO:",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BEL AIR B AY CLUB -- DAY All the seats at the wedding are fille d. Everyone is there. Except the Gro omsmen. Or the Groom. The harpist still plays, though she’s star ting to look a little pissed.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BRIDAL SU ITE -- DAY Looking beautiful in her wedding gown, Tracy ga zes out of the window at the per fect wedding arran ged below... Then she notices gue sts whispering, is somethin g wrong? Where’s the groom? She turns away, try ing to hold it together... CUT TO: TITLE CARD: “S UNDAY, 10:03AM”",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. VICK’S CAR/E XT. THE 10 F REEWAY -- DAY The guys, now in their tuxes, rocket down the freeway, primping . Alan brushes his teeth, Doug tr ies to comb his hair, Stu flosses, a nd Vick shaves wit h an electric razor as he weaves in and out of traffic... CUT TO:103. TITLE CARD: “S UNDAY, 10:19AM”",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BRIDAL SU ITE -- DAY Tracy paces in the brid al suite. Then Mr. Turner enters. MR. TURNER I’m sorry, hon ey, but I think you need to seriously consider that Doug might not be coming... Tracy stops sh ort, speechless. MR. TURN ER (CONT'D) Some men just aren’t cut out for this kind of c ommitment. I’m so sorry that this is how you had to find out-- Just then, we hear a car SQUEALI NG UP outside...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BEL AIR BAY CLUB -- MEN’S B ATHROOM -- LATER Vick, a cocktail in hand, his ti e undone, he ads into the men’s room and approaches a urin al. Then KIKIOLANI and KALOLO FANALUA walk in behind him, stil l in their h uge arm casts, still very pissed. Vick inhales, scared. VICK Okay, okay, I’ ll go with you. Just...don’t ruin the wedding. Then JIMMY LANG ente rs the bathroom on RED CRUTCHES. JIMMY LANG I really didn’t want it to end like this, Vick. Vick nods, resigned, and starts towards him. Then Jimmy extends his hand for Vick to shake.109. JIMMY LA NG (CONT'D) Good luck. VICK (totally thrown) Um, what...? JIMMY LANG Your friend Alan just paid your marker. Took out a second mortgage on his house. The full 200 grand, plus medical e xpenses, which I thought was a classy touch. Vick looks blown away. JIMMY LA NG (CONT'D) Without our frien ds, we are nothing, Vick. Remember that. The three inju red mobsters ex it. Vick remains standing there, overwhelmed, h is life lite rally saved... DISSOLVE TO: VICK, STU, AND ALAN standing on the c liffs overlooking the Pacific, drinks in hand, as the wedd ing reception rage s on behind them. VICK I will pay you ba ck, you know. ALAN Damn straight you will! They all LAUGH. VOICE BEHIND THEM Okay, so what the hell happened this weekend? The guys turn to see Doug approa ching, smiling. They grin as he falls in with them, looking o ut at the calm blue ocean. VICK Well, Alan married a stripper, Stu went gay, and I learned a very important life lesson from an obese hoodlum. STU We’ll tell you the whole story when you get back from your honeymoon.110. ALAN We really a re sorry, man. Doug nods, I know . Vick raise s his cocktail. VICK To Doug and Tracy. STU To Doug and Tracy. ALAN To Doug and Tracy. DOUG To me and Trac y -- and to being here, with my three former best friends in the world... The guys LAUGH. DOUG (CONT'D) There’s nowher e else I’ d rather be right now. They nod, heartfe lt, hear-hear. DOUG (CONT'D) That said, let's not get too stupid tonight, okay? I’ m going on my honeymoon in 24 hours... The guys all nod reassuringly. THE GUYS No, no. / We’l l be good. / Totally, dude. The guys exchange a sly smile, CLIN K glasses, then CUT TO BLACK.111.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BROWN HOUSE - COMPTON - NIGHT 2 2 A bucket pulls up in front of a shitty-looking BROWN HOUSE with ugly bars on the windows and doors. A rusted swing-set leans sideways on the dirt/grass they call a front lawn. SUPERIMPOSE: COMPTON, CA 1986 Inside the car is ERIC WRIGHT, 21, but you know him as -- SUPERIMPOSE: ERIC WRIGHT AKA EAZY-E A man who is completely in his element -- comfortable and poised, ready for anything. He hops out of the car, moves quickly to the TRUNK -- pops it open and reaches inside. With an electric screwdriver, Eazy unscrews a CERWIN-VEGA sub-woofer. Grabs a bulging BROWN BAG out of the speaker... and a 9mm -- SLAMS the trunk. ON THE ROOF, a LOOKOUT clocks Eazy as he walks up to the front door of the decrepit house... Eazy KNOCKS BY CODE. A dude, TONE ( 20s), opens a slat in the door. Gauges Eazy, EYES SKEPTICAL. TONE Who is it? EAZY Eric! Man, we been through this shit a thousand times. Multiple DEADBOLTS UNLOCK and an irritated Eazy enters -- EAZY (CONT’D) What’s the use to having this dumb ass knock if I gotta tell you my name anyway?",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BROWN HOUSE - MINUTES LATER 3 3 It’s not what you’d call “cozy.” The carpet is torn up, stained, cigarette-burnt. Walls covered in TAGS. A PITBULL stares menacingly from the kitchen. In addition to Eazy and Tone, there are THREE other people spread around the room: one GIRL lounges on a vinyl couch, eyes glazed; another girl, TASHA, loudly SCRAPES soul food onto the pitbull’s plate; and a JITTERY DUDE steady keeps an EYE out the WINDOW, tense, occasionally clocking -- EAZY spreads the CONTENTS of the BROWN BAG before them on a long TABLE: three FREEZER BAGS each containing 10 ounces. He looks up, ALL BUSINESS. EAZY Now where the money at? TONE Man, you heard what happen? My best runner got cracked. They sent his young ass to Y.A. -- EAZY The fuck that got to do with me? Tone turns to Tasha in the kitchen, nods. TONE Tasha, get this dude a 40. TASHA opens the fridge, grabs a 40oz. -- EAZY Do I look thirsty to you? (beat) Where my ends at? -- hands it to Tone who CRACKS it open. Drinks... TONE Why you so ruthless, Eric, damn! You don’t want nothin’ to drink? What you want -- (re: the girls) -- you want some pussy? EAZY Yep. But not from these strawberry bitches you got right here. 2. TONE So you just gonna disrespect my house like that, Cuz? EAZY Dumb ass, this a dope house! It's already disrespected. JITTERY DUDE (re: Eazy’s drugs) Well fuck it then -- You gonna have to let us hold on to that right there. ON THE COUCH, the GIRL grabs a SAWED-OFF SHOTGUN FROM UNDER A PILLOW. Levels it at Eazy, face grimaced, hard, strung out. EAZY Yeah, do what you gotta do -- ‘Cause I got my homies parked across the street from your momma's house. I don't show up. They show out... Eazy just stares right back at them. The tension’s like a pressure cooker about to burst. Until -- A WHISTLE echoes in from outside (THE LOOKOUT) -- Suddenly, everyone notices a deep RUMBLING coming from outside. Jittery Dude steps back from the window, eyes wide -- JITTERY DUDE Oh, shit -- Because there’s a MASSIVE ARMORED VEHICLE rolling down the street toward them. 6 TONS of steel, with a 14-foot BATTERING RAM mounted on the front. LAPD emblazoned on the side. JITTERY DUDE (CONT’D) Fuckin’ Batter-Ram! Everyone in the room FLIES into action, STASHING the WEAPONS and the MONEY into hidden STASH SPOTS all over the HOUSE: Behind fake-panel LIGHT SWITCHES, hidden HATCHES beneath the FLOORBOARDS, in a fake-panel inside the FRIDGE. It’s some serious MACGYVER SHIT. Eazy grabs his ROCKS, BEE-LINES for the BACK of the HOUSE, eyes wide, amped on adrenaline as the RUMBLING ESCALATES to an almost UNBEARABLE LEVEL -- CRASH!!! The 14-foot BATTERING RAM PUNCHES THROUGH THE WALL. DEBRIS FLIES EVERYWHERE. The RAM keeps coming until --3. The GIRLS SCREAM! The ARMORED VEHICLE REVERSES, the BATTERING RAM POLE YANKING THE ENTIRE WALL OUT WITH IT, leaving a MASSIVE RAGGED HOLE where we can see -- SQUAD CARS SWARMING INTO THE AREA, COPS FLOODING TOWARD THE HOUSE -- lots of YELLING as they PIN everyone to the floor, it's too late, nobody can escape; nobody but -- EAZY-E kicks out a KITCHEN window, squeezes through, hits the dirt on the side of the house. Sprints past -- A PITBULL! The GROWLING DOG hustles for Eazy as a FLASHLIGHT hits Eazy’s back, a COP giving chase! As they race across the back yard, the Pitbull diverts to the cop, who panics. He’s about to get mauled until -- ANOTHER COP pops around the corner! Blasts the dog with a FIRE EXTINGUISHER, filling the air with a dense cloud of expellant , as -- Eazy hops on a fence, hits the garage roof and jumps in a neighbor’s yard. Gone. He lives to slang another day... FADE TO BLACK. But the SOUNDS OF CHAOS carry over, infiltrate the inky black: SIRENS HOWLING. PEOPLE SHOUTING. HELICOPTERS BUZZING. DOGS BARKING. A mad medley that continues into --",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. VERNA’S HOUSE - BEDROOM - COMPTON - DAY 4 4 A PAIR OF OVERSIZED HEADPHONES, worn by ANDRE YOUNG. Better known as –- SUPERIMPOSE: ANDRE YOUNG AKA DR. DRE Eyes closed, lying on his bed, slight smile pursing his lips, he bobs his head as -- WE HEAR WHAT HE HEARS, treated to the beautiful mind of Dre. THE SOUNDS OF CHAOS are evaporated, seemingly synthesized into the dope melody Dre’s peacefully bobbing his head to... WE HEAR the multi-tracks of the song -- levels go up and down based on Dre’s subtle FACIAL REACTIONS to the various sounds. He singles out INDIVIDUAL ELEMENTS, and as he does, WE HEAR them, highlighting some sounds, decreasing others: BASS, DRUMS, PIANO, VOICE... It’s pure instinct, pure joy. Until -- 4. BAM-BAM! A fist on a locked door. The music stops as Dre removes his headphones. We now see -- DRE’S ROOM, populated with turn tables -- one side spinning the record he’s listening to -- DJ station and a vast sea of LPs (sure there’s Parliament, but also Duke Ellington) scattered around the room. A music junkie’s paradise. On the other bed, his brother TYREE (17) chills as Dre opens the door to find -- VERNA What happened? VERNA GRIFFIN, 36, his Mother, and she can smell bullshit a mile away. He flashes his smooth, easy, magnetic Dre-smile . DRE What happened with what? VERNA Andre, boy, don’t play with me. Do you even care how it makes me look? Call in favors to get your thoughtless ass an interview? And you can’t even show up? DRE (sighs, realizing) Sorry, I just been so focused on this DJing that I forgot -- She frowns, shakes her head. VERNA You have a child, Andre. And spinning records ain't payin’ none of the bills around here right now. DRE That ain’t even true, momma. I get paid -- He pulls out a sad little wad of bills, waves it in her face. Quick as lightning, she SNATCHES it away from him -- VERNA Fifty dollars? Damn, you a billionaire! -- THROWS it back at his chest. DRE It’s a start -- 5. VERNA Andre, you know the rules around here. In this house, you gonna work or go to school. I don’t care if you gonna be a janitor -- DRE -- long as I own the company. Yeah, I know. Dre fumes, gather the bills off the floor, heads for the kitchen -- VERNA But you don’t own the company. Lonzo does. -- but Verna stays hot on his heels -- VERNA (CONT’D) Oh, you think we’re done here? Dre keeps going, MUTTERS under his breath -- She grabs his shoulder, SPINS him around, strong. Gets in his face. VERNA (CONT’D) You got somethin’ to say to me!? DRE (explodes) You don’t care what I’m fighting for. I already know what I wanna do with my life, and it definitely ain’t sittin in a cubicle takin’ orders on some stupid ass job. Verna’s eyes FLASH -- WHAP! She SLAPS HIM IN THE FACE -- Dre steps back, puts his hand to his cheek. Verna’s reeling as much as he is. She tries to compose herself. VERNA People used to tell me I was too young when I had you -- Said I wouldn’t be shit, said you wouldn’t be shit. Now I been workin’ my ass off to get us here and I refuse to let you throw it all away. Dre holds Verna’s gaze a moment longer, then turns and calmly walks back past her, into his room. He picks up his headphones, pull-out car stereo. Heads for the door, opens it...6. VERNA (CONT’D) (regret) Andre -- But he’s already closed the door behind him.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. VERNA’S HOUSE - DRIVEWAY - DAY 5 5 Dre bounds over to a battered BLUE & WHITE DATSUN B-210 parked in the DRIVEWAY, regret settling in. He looks up to see Tyree ambling closer, carrying a bundle of errantly- selected clothes, a crate of records. TYREE Grabbed some of your stuff, man. DRE Good lookin’ out. Dre takes the clothes. Tosses them in the back. TYREE When you comin’ back? DRE I don’t know. Gotta figure some things out. TYREE Can I come with you? DRE You been fightin’ for your own room this whole time and now you wanna come with me? They share a CHUCKLE. Then -- TYREE You know she’s just want the best for you. DRE I know, T. I want the best for me too -- that's way I gotta go. Him and Dre have special brother-to-brother embrace. Then Dre hops into his car. DRE (CONT’D) When I get set up right, I'mma have you come with me. Don't worry about it. It's gonna be sooner then you think. 7. Tyree sullenly nods. Dre triggers the ignition, MUSIC BLASTING, and PEELS away -- DRE (CONT’D) Call you later.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DRE’S CAR - COMPTON - MINUTES LATER 6 6 Dre rolls along in that ugly-ass Datsun. It’s still early, but the STREETS are starting to FILL UP. Dudes in doorways, on the corners, clocking him as he passes. An LA SHERIFF’S DEPT. SQUAD CAR slides past, disappears around a corner. WE HEAR a HELICOPTER SOUND, as WE GO WIDE --",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LOS ANGELES - WAY UP IN THE SKY - DAY 7 7 Flying high over the city, it’s quiet up here, only the sound of WIND. BELOW, we see the tight grids of SOUTH LOS ANGELES, and the densely-packed TRAFFIC heading north along the 110 FREEWAY, as it angles toward the SKYSCRAPERS of DOWNTOWN L.A. We move NORTH and there’s DODGER STADIUM plunked at the southern tip of ELYSIAN PARK, and the LA RIVER twisting snakelike up into GRIFFITH PARK -- And NORTHWEST past the mountains of Griffith, descending into the VALLEY, where we suddenly DIVE DOWN into WOODLAND HILLS and settle upon the low-slung sprawl of --",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. YELLOW BUS - TAFT HIGH SCHOOL - DAY 8 8 We track backward through a school bus full of STUDENTS. Almost exclusively black and Latino kids. Late 80’s fashions. All the way in the BACK ROW we settle on O’SHEA JACKSON, who we now know as -- SUPERIMPOSE: O’SHEA JACKSON AKA ICE CUBE Raiders cap pulled low over a shoulder-length Jheri curl. Hunched over, wearing a soon-to-be-iconic FROWN of concentration, he SCRIBBLES LYRICS into a NOTEBOOK: “BORED AS HELL AND I WANNA GET ILL. SO I WENT TO THE SPOT WHERE MY HOMEBOYS CHILL --” The ROAR of a powerful sports car snaps Cube’s concentration. He gazes out the school bus window to see that -- In stark contrast to those on the bus, just beyond the glass is a sea of WHITE STUDENTS. They hang out, shoot the shit in their nice clothes, hop into their nice cars. It’s a club that Cube isn’t a part of and it’s clear that he can feel it. 8. He frowns, looks back down at his notebook as the bus pulls away from Taft High...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. YELLOW BUS - LATER 9 9 The BUS cruises Southbound on Crenshaw . And compared to the Valley, it looks like BEIRUT out there: Graffiti tags, liquor stores everywhere, boarded-up shops, DUDES loitering, drinking, slanging. Crip throws a rock and hits the bus. FIND CUBE sitting halfway back, still doing his thing, writing rhymes, minding his own. NEAR HIM, a few KIDS goof around, flash GANG SIGNS out the window at the passing CARS, PEDESTRIANS, not noticing --",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. TRUCK - CONTINUOUS A10 A10 Pulling out of a side street onto Crenshaw , we see two hard- looking O.G. BLOODS. As the bus passes, they CLOCK THE KIDS flashing SIGNS. They can't believe it. Driver Grits his teeth. SPEEDS OUT after the bus --",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. YELLOW BUS - MOMENTS LATER 10 10 The bus rolls to a stop. Before any KIDS can get off -- the O.G. Bloods' truck pulls in front of the bus, blocking the road. Passenger hops out. Noticing, the BUS DRIVER goes to shut the doors, but he’s too late -- O.G. Blood gets on, strides past the BUS DRIVER -- glock 9mm in hand. BUS DRIVER Hey what's going on? -- O.G. BLOOD Shut the fuck up, Blood! (Addresses the whole bus) You young muthafuckas wanna die today?! Everyone on the bus falls SILENT. By the shocked expression on the kids’ faces, they have no clue how or if they’re gonna get out of this alive. O.G. BLOOD (CONT’D) HUH!? He makes his way back to the WANNABE KIDS near the expressionless Cube. Sensing shit is about to jump off, Cube slowly reaches for the WINDOW next to him, starts SLIDING IT OPEN. He edges closer to the window, grabs his NOTEBOOK, fully prepared to jump the fuck out that window .9. O.G. BLOOD (CONT’D) You little Crab ass niggas could've got this whole bus shot the fuck up! We saw that bullshit you was throwing up out the window! Hit me up now! WANNABE KID 1 Didn’t mean nothin’ by it -- just playing around. O.G. BLOOD That's yo muthafuckin problem, Blood! This shit ain't nuthin' ta play wit! It's real in the field, nigga! Shit’s life and death! I kill Crips for breakfast, Blood! So keep yo' mothafuckin hand down when you see me, Understand?! WANNABE KID 1 Yes. The O.G. Blood looks over his shoulder, scowls at all the terrified faces staring back at him. O.G. BLOOD What you little muthafuckas need to do is start gangbang them got damn books! Learn some shit better then what we doing! If not, I might be the one that kill yo' dumb ass! Remember me! This that Crenshaw Mafia, Blood! And with that, the O.G. Blood tucks his gun, and calmly exits the bus -- leaving behind the stunned kids. Their truck pulls away into traffic. Cube grab his books, get up to exit the bus along with a few others, but not before glancing over at the kids, who sit there sweating, shell-shocked. Cube shakes his head at the wannabes. No way he’s going out like that.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SOUTH CENTRAL - DAY 11 11 Cube walks along the streets, Pee Chee folder and notebooks in hand, books under his arm as --10. We’re given tour of the sights and sounds of South Central. The pervasive shudder of LAPD CHOPPERS TAUNT OVERHEAD, DOGS BARKING, as an LAPD SQUAD CAR CRUISES MENACINGLY PAST like a shark in festive waters. Up ahead, BLOCK DUDES loiter on a neighbor’s untended grass. BLOCK DUDE 1 Aw shit, here come Doug E. Fresh! BLOCK DUDE 2 Hell naw, that's Kurtis mothafuckin Blow. Only rapper with a Jheri curl. ICE CUBE Fuck you niggas. I'm about to go write a rap about yo’ drunk ass Momma. That bitch looks like The Egyptian Lover. They smile, give Cube a pound as he passes. Yell after him. BLOCK DUDE 1 Why you never hang out no more? BLOCK DUDE 2 I think it’s that Valley school. Nigga too good for us. But Cube just smiles, looks back at them -- CUBE Nah, I already know how to gangbang . I'm just tryin’ to learn how to make some of this white people money. BLOCK DUDE 2 I feel you, Cuz. I need some white people money too. ICE CUBE Well take yo’ ass to school sometimes. The Dudes laugh as Cube continues on. Keeps moving. UP AHEAD, he sees Dre’s DATSUN parked across the street. No question where Cube’s headed. 11.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JINX’S HOUSE - EVENING A12 A12 Cube walks through the LIVING ROOM, where Dre’s girlfriend, LAVETTA, is feeding their baby TYRA (2) -- CUBE Where Dre at? She points to the back room.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JINX’S HOUSE - JINX’S ROOM - NIGHT 12 12 JINX’S ROOM, dirty but very hip-hop. JINX, 17, is digging through a crate of RECORDS, and offering them up to DRE, who waves most of them away because -- DRE’S IN THE ZONE, doing his thing on the turntables, mixing, SCRATCHING. And whatever it is sounds DOPE. Next-level shit. Cube enters -- Lets the SONIC ACROBATICS BOOMING from Dre’s turntables marinate on him a minute. CUBE What you mixin’? Dre, lost in the music, doesn’t respond -- Jinx holds up two ALBUM COVERS: The Ohio Players’ FUNKY WORM and The Headhunters’ GOD MADE ME FUNKY . Doesn’t make sense, yet -- CUBE (CONT’D) (blown away) Ohio Players and the Headhunters..? (to Dre) That’s the shit! JINX Crazy, right! Dre finally notices Cube’s in front of him -- DRE Wuddup, Cube! Got them rhymes? CUBE You know it. Cube flashes the SHEET OF LYRICS from school at Dre, notices the trash bag full of clothes on the floor. CUBE (CONT’D) Stayin’ a while? JINX Yup. His momma kicked him out for that mouth.12. CUBE Man that mouth always gettin’ you in trouble. We got that in common. DRE Think you ready for Doo-to’s ? CUBE Damn straight. DRE ‘Cause you know that’s Compton, right? They got bodybags at the door. CUBE Ain’t worried about all that. I’mma come with it. DRE Yeah, you better, ‘cause if your shit ain’t tight, you might end up in one. Laughs all around as we --",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. JINX’S HOUSE - NIGHT 13 13 A Chevy Caprice cop car, light-bar strobing , has pulled aggressively onto the curb, all four doors open. CRASH OFFICERS roughly frisk the Block Dudes, as -- School shit in hand, Cube walks past, inconspicuous as possible. Can’t help but glance at the scene -- CRASH COP 1 The fuck you lookin’ at? CUBE Nothin’. Just goin’ home -- CRASH COP 1 Get over here! Now! Hesitant, Cube complies. Used to getting jacked by the police, he assumes the same position the other Block Dudes are in: hands on the hood, legs back. One of the other Crash Cops pulls out his WALKIE -- CRASH COP 2 (into walkie-talkie) Requesting backup on Van Wick Street. Gang related --13. CUBE How you figure we in a gang? ‘Cause we black? BAM! Crash Cop 1 shoves Cube against the car, kicking his legs apart, a hand on the back of his head. Cube’s NOTEBOOKS hit the pavement -- Get trampled. CUBE (CONT’D) Yo watch my notebooks! CRASH COP 1 Where the rocks at, Cuz? BLOCK DUDE 1 Ain’t no rocks! Y’all muthafuckas just fishin’! WHAM! Crash Cop 2 SLAMS Block Dude 1. Forces him to interlock his fingers behind his head -- CUBE Officer, can you please explain why you jackin’ us? CRASH COP 2 We don’t have to explain shit! Block Dude 1 HOWLS in pain as Crash Cop 2 viciously SQUEEZES his interlocked knuckles. Crash Cop 1 shoots a look to Uniform Cop 2: Settle down, dude! TWO MORE SQUAD CARS SCREECH onto the scene. Four UNIFORMED POLICE climb out, to make an even bigger deal out of nothing. Cube’s Dad, HOSIE, appears up on the porch, pissed. HOSIE JACKSON Hey! What the hell’s goin’ on out here? Those boys all live on this block! The Cops ignore him as Cube’s mother, DORIS, appears beside Hosie, shocked to see her son getting assaulted -- DORIS JACKSON (re: Cube) Officer, that’s my son! UNIFORM COP 2 Get back inside, ma’am! But she starts coming down the steps toward the Cop -- He UNSNAPS his holster, hand grasping his pistol.14. DORIS JACKSON I just wanna know what's going on -- The COP jams a FINGER inches away from Doris’ face! UNIFORM COP 2 Get the FUCK BACK INSIDE, Lady, or I promise I will ruin your night! Doris’ mouth drops open. The disrespect is incredible. ICE CUBE You ain't gotta talk to my moms like that, man! Uniform Cop 1 leans down, WHISPERS to Cube -- UNIFORM COP 1 You think we give a fuck? This LAPD, boy! Crash Unit! We the only gangstas around here! WIDE SHOT: Cube, his parents, and the Block Dudes helpless, held hostage in their own neighborhood. After every pocket is turned out, body patted down and rights violated -- UNIFORM COP 2 All right, they check out. We got cards on all of ‘em already. (to Cube and Co.) Stay out of trouble. The cops pile back into their cars leaving behind the stunned neighborhood. Cube grabs his NOTEBOOKS, cleans them off as -- A CHOPPER ABOVE DEAFENS ALL SOUND in a PRIMORDIAL ROAR. OMITTED 14 14",FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DOO-TO’S CLUB - ENTRYWAY - MOMENTS LATER A15 A15 Muffled MUSIC seeps into the area as SECURITY GUARDS thoroughly SEARCH everyone. One of them stares Eazy down. SECURITY GUARD You really wanna be here? This club is full of Pirus. REN We straight. Eazy LAUGHS, doesn’t give a fuck.15. EAZY Thanks for the tip, homie. The Security Guard frowns as he allows them into -- THE MAIN FLOOR 15 15 MUSIC PUMPING, we FOLLOW EAZY and REN into the CLUB, which is PACKED, people partying their asses off. Everyone’s here: REGULAR FOLKS, BLOODS, SKINNY GIRLS, BIG GIRLS, DEALERS, ATHLETES. A true hood cross-section. AS WE MOVE through the place, we see CUBE, JINX and TYREE standing near the wall: JINX and TYREE are busy clocking the GIRLS, but CUBE is studying a ripped-out page of LYRICS. ON STAGE, wearing purple satin jackets with WORLD CLASS WRECKIN CRU on the back, DRE spins some ‘80s R&B while his boy, YELLA, leans down, hollers at a GIRL in the crowd. Dre spots someone moving through the mass of people -- DRE Yo, Yella, man -- Lonzo comin’! Yella quickly moves to the record crate, starts sifting through them to look like he’s busy as -- LONZO WILLIAMS, club PROMOTER and Dre’s BOSS approaches. He leans over to Dre: LONZO Gonna make sure nothin’s poppin’ off outside. Keep them fat asses shakin’. None of that rap bullshit, you hear? I want people thinkin’ ‘bout pussy not pistols. ( then) And Yella, I saw you talkin to my lady. Keep your fuckin hands to yourself. Lonzo shoots Yella a look, then disappears from the stage. DRE Why you fuckin with that nigga’s girl, man? YELLA Why not? Dre chuckles, immediately searches the crowd, locking eyes with CUBE. Dre gives him a NOD, and Cube takes a breath, heads toward the Stage -- Moment of truth .16. IN THE BACK, EAZY and REN are surrounded by ladies. But Eazy’s attention is clearly -- ON STAGE. Cube appears next to Dre, who’s cuing up a new record. He stops the music, grabs the mic: DRE Compton! I got my homie -- he's about to get his rhyme on for y’all! Give it up for Ice muthafuckin' Cube! Dre hands the mic to Cube as the crowd eyeballs him with suspicion and restra",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int. They’re clearly not gonna give him respect til he earns it. Cube steels himself, clenches his jaw, puffs out his chest. And time turns eternal before -- DRE drops the needle on Steve Arrington’s funked-out WEAK AT THE KNEES (hardcore NWA fans will recognize this track as the original sample for GANGSTA GANGSTA). Cube starts rapping, his voice powerful, thick with attitude: ICE CUBE Here's a little somethin’ about a nigga like me. Never shoulda been let out the penitentiary. Ice Cube would like to say, That I'm a crazy muthafucka from around the way. Since I was a youth, I smoked weed out, Now I'm the muthafucka that ya read about. Takin a life or two, that's what the hell I do. Don't like how I'm livin’, well fuck you! After only a few lines, the crowd’s CHEERING. HOLLERING. Dancing. An infectious vibe. And we DRIFT back to Eazy, standing with Ren, feeling the fuck out of this music, pensive look on his face. Something crystallizing as we --",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DOO-TO’S CLUB - LATER 16 16 Yella spins a number for the crowd, who seem less energized now that Cubeâ��™s off stage. To the side, LONZO chews out Dre -- LONZO I'm this close to firin’ your monkey ass! You tryin’ to start a riot up in here?! You know I don’t want that hardcore shit played in my club, but I turn my back and you do that shit anyway..?17. DRE I’m just tryin’ to keep you in business. Open your eyes. They went crazy to that shit -- LONZO You’re up on that stage ‘cause I put you there. You're a bad ass DJ, I’ll give you that, but you don't listen and I'm gettin’ real tired of arguing all the time. You know it’s plenty DJs out there who'll play what I want ‘em to play. Guys that don’t bite the hand that feeds 'em. Now you take a backseat to that shit. He glares at Dre before taking leave. Dre watches him go, body coiled tight. Jaw clenched. YELLA Don’t trip off him, homie. DRE Man, Lonzo ain’t got no vision. Dre nods, yeah-yeah , but his eyes have landed on EAZY across the room -- DRE (CONT’D) Oh shit -- Check out this nigga. Yo, take over for a minute. Yella nods, commands the decks. Watches as Dre heads to -- THE BACK OF THE CLUB A17 A17 EAZY’s kicking it with REN, talking up several GIRLS. But when Eazy sees Dre approaching, he smoothly shoos them away. EAZY Dr. Dre, how you been doin’? DRE What up, E? Been a minute. EAZY You know. Out here on the grind -- Nice jacket. Dre looks down at the purple satin. DRE It's the uniform. I make it work.18. EAZY You remember Ren from Kelly Park, right? Ren and Dre give each other a respectful nod. REN Wuddup, Dre. EAZY Heard you been spendin’ a lot of time at your auntie’s house. How’s the couch life? DRE It’s fucked up. I’m too tall for that shit. Plus I got my woman and baby livin’ there. It's hard. But everybody can't do what you do. EAZY Yeah, but what I do is playin’ out, fast. Muthafuckas are gettin’ locked up and laid down out here left and right. Time to make a few changes. DRE Yeah. Change ain't bad. Shit, I’m tryin’ to make a few changes my self. EAZY What you mean? Dre pauses, considering how to proceed... DRE Man, you should think about dumpin’ some money into this music shit. I got some ideas -- YELLA (ON THE MIC) Yo! Dre turns to find Yella up on stage in the DJ booth, mouthing “LONZO,” as he points into the crowd. Dre follows Yella’s finger, spots Lonzo slowly moving through, greeting people as he goes. DRE Shit I gotta get back up there. Let’s talk about this later. Think about it...19. Eazy just smiles, nods, as Dre heads off...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DOO-TO'S CLUB - LATE AT NIGHT 17 17 Dre exits the club, usual crate of records in hand -- TYREE (O.S.) Do I know you!? DUDE (O.S.) What!? Dre turns to find -- TYREE, all up in the face of some DUDE. TYREE Nigga, you heard me! Tyree shoves the dude -- Dre’s eyes light up! That’s my brother! He drops his crate of records, bumrushes the Dude and COLD-COCKS HIM. The Dude just drops, dazed. Dre turns to Tyree, adrenaline pumping. DRE What he do!? TYREE Muthafucka over here lookin’ at me like he know me! Dre can’t believe it -- That’s it? DRE Tyree, you gotta stop doin’ this shit, man! The down Dude slowly gets onto his knees, stumbles to his feet just as -- WHOOP! WHOOP! An L.A. Sheriff’s Dept. SQUAD CAR rolls into the lot, lights on Dre, Tyree and the Dude. In a hurry, the two OFFICERS are out of the car, approaching the guys -- OFFICER 1 We told everybody to clear this parking lot! What’s going on!? DRE We got this, Officer --20. OFFICER 1 I didn't ask you what you got! Get the fuck home! DRE I am home. Officer 1 gets right in Dre’s face, nose to nose. OFFICER 1 If you don't start walking -- But Dre just stands his ground, head cocked to the side, defying the Officer. In a flash -- BAM! Dre finds his face planted into the hood of the squad car! Cuffs slapped on! Same for Tyree and the Dude as we --",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. COMPTON POLICE STATION - EARLY MORNING 18 18 DRE emerges from the Police Station, police property bag in hand, to find EAZY waiting for him beside a fresh ‘63 IMPALA LOWRIDER . EAZY They got you for carrying records? That’s some gangsta shit, Dre. Dre smiles, chuckles -- He’s clearly beyond exhausted. DRE Cops will throw a nigga in jail for anything. At Eazy’s car, Dre and Eazy pound hug. EAZY Lonzo just left you here, huh? DRE Guess he’s sick of bailing my ass out. Dre kneels down on the pavement, takes his shoelaces from the police property bag and casually starts lacing his sneakers. But Eazy clocks a couple POLICE OFFICERS eyeballing him and Dre. Clearly, he’s not comfortable here. Hops into the car. EAZY Mind gettin’ your funny lookin’ ass in the car before they arrest you for some other dumb shit?21. Eazy gestures like, we in front of the police station ! Dre realizes. My bad. Hops in. Keeps lacing his sneakers... EAZY (CONT’D) Man, I was thinkin’ about what you said last night. DRE Yeah, and..? EAZY It’s interestin’ -- DRE Interestin’ ? Tell me this, how long you think that shit you doin’ gonna last, huh? You ever heard of a happy ending in that game? EAZY Shit, man, this all comin’ from the nigga I just bailed out. DRE Listen, if you can slang dope, you can slang records. You got a mind for this shit, E. EAZY Okay so what then -- That nigga last night? Is that what we doin’? DRE What, Cube? Nah, he in a group right now, got some other business goin’ on. But I got this group called H.B.O. from the east coast. Dope voices, and Cube wrote a song for ‘em that’s crazy. Eazy considers for a long moment as we --",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LONZO’S STUDIO - DAY 19 19 Dre sits in front of a huge MIXING BOARD, adjusting the levels on a hard-driving BEAT. A small CREW of Kangol-wearing RAPPERS (HOME BOYS ONLY, aka HBO) are gathered around, reading pages we recognize as CUBE’S LYRICS with befuddled expressions. HBO 1 What the fuck is “ Gankin”? And what’s a “6-4”? 22. CUBE (O.S.) It’s a car. A ‘64 Impala. Everyone turns to look at CUBE, off to the side, annoyed. CUBE (CONT’D) Gankin’s when somebody jacks you. Ain’t a big deal. Just sounds better that way. Another HBO dude chimes in -- HBO 2 I dunno, too much cussin’ to get radio play. And honestly, nobody gives a fuck about Compton -- Dre interrupts from the board, no back down in him. DRE Y’all got somethin’ to say about Compton? Cause we might have a problem up in this bitch. Nobody says a thing. Deafening silence. Then: DRE (CONT’D) Then do the lyrics. We losin’ time and I’m losin’ patience. The vibe is tense, unpleasant. Finally: HBO 1 This ain’t us. I ain’t fuckin’ with this Jheri curl bullshit -- CUBE Fuck you then. Wearing a Kangol don't make you L.L. Cool J nigga, remember that. HBO 1 CRUMPLES the Lyrics sheet into a ball. HBO 2 Yeah. Now what? CUBE What you wanna do, mark ass nigga? Cube and the HBO dudes square up, swelling and huffing -- Without hesitation, Eazy gets up, stands beside Cube. Dre whips off his headphones and flanks Cube from the other side. These dudes have each other’s back, ready to throw down.23. The HBO clowns start exiting, talking shit. Eazy wanders back over to the couch, plops down, sighs: EAZY Well there goes the talent. Don’t know a whole lot about the music game, but we can’t start a label without talent. The three of them chuckle. Eazy sighs, shakes his head. EAZY (CONT’D) Okay, I put up my money -- I held up my side of the deal, Dre. When you gonna deliver your side? DRE Well shit, why don’t you get on the mic and try it? EAZY What? Fool, I ain’t no rapper. Off Eazy’s unsure look -- DRE You already spent the money. Don’t you get it? Man, this song is all about you! This song is about Eazy-muthafuckin'-E ! Now get in the booth. Let me deliver my side of this shit.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LONZO’S STUDIO - LATER 20 20 ON EAZY, self-conscious in the booth, light beaming on him. Dre gets up from the board, DIMS THE LIGHTS way down low -- EAZY Fuck you doin’? DRE Just lemme produce. Get comfortable, man. Eazy takes a breath, huddles over the mic. He puts his Locs sunglasses on, pulls his baseball cap low -- so low you can barely see him (which is exactly the point). Dre sits behind the board with Cube. STARTS UP THE BEAT and cues Eazy --24. EAZY (dry, flat) Cruisin’ down the street in my 6-4 - - Cube winces. Dre STOPS the track. DRE Hit that first beat hard. CRUISE-in down the street. CRUISE-in. When Eazy tries it again, it almost sounds worse -- EAZY Cruisin’ down the street in my 6-4 - - CUBE That ain’t it... EAZY Get that dry-ass Jheri curl outta here, maybe I can concentrate. CUBE You kickin’ me out? Dre looks at Cube. Nods. Go. CUBE (CONT’D) Aiight. I'm just sayin’... Cube exits. Then -- DRE Just gimme the words. EAZY Nigga what? DRE Say that shit with me -- CRUISE-in - - EAZY (animated) Dre, you know this shit is hopeless, right? DRE That! See how you just said that shit? Like you believe it!25. EAZY ‘Cause I do. DRE So say this shit like you believe it. Like it’s muthafuckin’ Sunday and you cruisin’ down the street in that dope-ass 6-4. Feel that shit, like its ya own words. The frustration on Eazy’s face is apparent. EAZY You really gonna make me do this, huh? Yup. Eazy frowns. Takes a moment to compose himself... EAZY (CONT’D) Aiight, fuck it. Let’s do this. Dre starts the track again -- ONLY THIS TIME, HE DOES SO ONE. COMPONENT. AT A TIME. BUILDING THE SONG AS IF FROM SCRATCH. EAZY vibes with it. Can’t fuckin’ help it. Shit is dope. Finally, once THE BEAT IS FULLY REALIZED, Dre CUES him -- EAZY (CONT’D) Cruisin’ down the street in my 6-4. Dre grins. Much better. Stops the track. DRE Hell yeah! That shit was tight. Only 59 more lines, E. But we gonna get through it. Hit that next line - - Eazy groans, pulls his hat even lower, as we --",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LONZO’S STUDIO - MANY HOURS LATER 21 21 There’s a sense of ceremony here. Cube, Eazy, YELLA, REN, Jinx, DOC and few girls wait with palpable anticipation as -- DRE PUSHES PLAY on the freshly completed TRACK. It starts THUMPING from the speakers: It’s BOYZ N THA HOOD. Pride and a sense of purpose swell in each and every one of them as LONZO POPS IN. Listens, skeptical. The song stops and no one says a word. They know this is something special . Finally:26. YELLA Lonzo, what you think? LONZO That some waste of time shit right there and trust me, it ain’t gonna work. Won’t get no radio play. DRE You never know-- We might do a radio version and take it up to KDAY and see what happens. LONZO This reality rap is never going to work, Dre. You need to hurry up and rap this shit up and finish that slow jam I had you working on. I'm serious, Dre! Hurry up with this... DRE Yo, I don’t know about working on this slow stuff anymore. After this I’m going to work on songs with DOC. Reveal DOC in the background. LONZO It’s not a request, Dre. Lonzo scowls at Dre, exits in a huff. Yella goes to Dre, eyes wide with excitement -- DRE Yo, if Lonzo don’t like it, you know that shit is dope. They pound. Everyone LAUGHS. Truth. REN Damn, Dre -- You just turned a hustler into a rapper. EAZY Now this right here..? This some ruthless shit for real. Dre, you a muthafuckin’ genius. And Cube, you got more of them stories to tell?27. CUBE Homie, I got rhymes for days. But I got to hear this one more gen...Dre , hit that shit. Laughter as Dre cues it up, the SONG RESUMING, as we --",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MACOLA RECORDS - LOS ANGELES - DAY 22 22 BOYZ IN THA HOOD is PLAYING OVER -- A STACK of VINYL RECORDS moves through a PRESS. A machine STAMPS a RED LABEL onto the MIDDLE. CLOSE ON the RED RUTHLESS LABEL -- BOYZ N THA HOOD. IN THE RECEIVING AREA, EAZY picks up a couple BOXES of RECORDS. He PAYS for them, and hauls them away.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RECORD STORE - CENTRAL AVE - COMPTON - DAY 23 23 BOYZ keeps on THUMPING -- DRE and TYREE stand at the counter of a RECORD STORE, with a BOX OF RECORDS. The CLERK takes about SIX RECORDS --",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. RUN-DOWN HOUSE - COMPTON - DAY 24 24 BOYZ continues OVER -- Eazy emerges from a RUN-DOWN HOUSE, jogs across the street to his BUCKET, climbs inside, opens his STASH SPOT, stuffs a large WAD of CASH inside. A hustler is always hustlin --",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BACK YARD HOUSE PARTY - SOUTH CENTRAL - DAY 25 25 Some local TEENAGERS are partying, drinking and listening to BOYZ N THE HOOD wax. And that shit has the party bumpin’. A sense that this song is going VIRAL, in a contagious, pre- internet sort of way --",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ROADIUM SWAP MEET - LOS ANGELES - DAY 26 26 BOYZ continues as Eazy brings TWO BOXES of RECORDS to a SWAP MEET BOOTH operated by STEVE YANO. Yano excitedly collects the two boxes, hands over some cash. Deal done. Before Eazy can even bounce, some KIDS bumrush Yano for copies --",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. K-DAY RADIO STATION - LOS ANGELES - DAY 27 27 BOYZ slowly fades, iconic KDAY Disc Jockey GREG MACK spinning the TRACK over the airwaves of Los Angeles. He grins, bobbing his head, digging this shit for real. 28. GREG MACK 1580 KDAY, this is Greg Mack -- Mack Attack. That was “ Boyz n tha Hood” by Eazy-E, local rapper out of Compton. Sounds like he's about 15 years old -- He glances over to the TELEPHONE SWITCHBOARD, which suddenly LIGHTS UP like crazy, with dozens of CALLERS. GREG MACK (CONT’D) -- I know you like it. It's been the most requested record on this station ever since I played it. The freshest song of 1986 --",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MACOLA RECORDS - RECEIVING AREA - DAY 28 28 Eazy pays for another couple boxes of records. Grabs them -- JERRY HELLER (O.S.) I heard your record. Eazy turns to find -- JERRY HELLER, a middle-aged guy in a velvet track suit. His face is craggy, seasoned, wise. He’s got terrible posture, but lively, hyper-alert eyes. He extends his hand to Eazy. JERRY Jerry Heller. EAZY Eric Wright. JERRY Pleasure to meet you. Would it be possible to have a word with you, Eric? EAZY About what?",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MACOLA RECORDS - OFFICE - MOMENTS LATER 29 29 Jerry at his desk, Eazy on the ratty couch. Eazy lets his eyes wander around the shabby office. The sad furniture, the old and irrelevant posters on the walls. JERRY I thought your record was good.29. EAZY Just good? Why you call me in here then -- Eazy gets up and heads for the door -- JERRY No-no-no, hang on. ( beat) I thought it was exceptional. Please, sit back down. Eazy indulges Jerry. Sits back down and stares, cold, unreadable. Jerry rubs his eyes, frustrated, his regular spiel isn’t having its usual effect. JERRY (CONT’D) Let’s try this again. As a music manager, let me tell you what I can do for you, Eric -- EAZY Maybe I’m the one who can do somethin’ for you. JERRY You think because I don’t have some flashy office, that means I don’t know what I’m talking about? Elton John, War, Styx, REO Speedwagon -- EAZY You manage anybody this decade? Jerry leans on his elbows on the desk, cocks his head at Eazy. The balls on this kid. JERRY Let me tell you what I see. Lotta raw talent. Lotta braggadoccio . But if you think anyone’s gonna talk to you, if you think anyone’s gonna let you into the building where you might talk to somebody -- somebody who matters -- you’re crazy. Eazy frowns, looks away -- JERRY (CONT’D) That’s what I do for you. I will make you legit. I will take you into that building. I will protect you. I will block out all the noise of this business and we can build something big. (MORE)30. But you’re gonna have to believe in me like I believe in you. If you don’t think you can do that... Eazy doesn’t budge. Satisfied, Jerry continues -- JERRY (CONT’D) You got more music for me? EAZY I got everything you need. JERRY Good, cause you're gonna have to follow this up. So what does N.W.A. stand for anyway? (with a smile) No Whites Allowed? Eazy looks at Jerry. Cold as ice. EAZY “Niggas With Attitudes .” The smile is wiped off Jerry's face immediately.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SKATELAND RINK - COMPTON - NIGHT 30 30 200 or so people lined up outside, waiting to get in. NWA POSTERS are stapled to walls in testament to guerilla marketing. Notice the profusion of PEOPLE present as -- Eazy and Ren pull into the lot, exit the car and heads inside, intoxicated by the sea of people.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SKATELAND RINK - MAKESHIFT DRESSING ROOM - NIGHT 31 31 Eazy addresses the guys, all business. EAZY I asked everybody to wear something black today, ‘cause if we gonna be an All-Star group, we gotta look like an All-Star group. WE PULL BACK to reveal the GUYS -- Cube, Dre and Ren -- gathered around Eazy. A whole crew is there with them, too, including DOC, Tyree and Jinx. And everybody’s dressed in some type of BLACK L.A. RAIDERS GEAR, except Yella who approaches from the side wearing an old school purple & gold L.A. KINGS jersey. EAZY (CONT’D) Damn Yella! What happened? JERRY (CONT’D)31. YELLA Man, kiss my ass, I ain't got no Raider gear.-- Are we gettin’ paid to wear that shit? Eazy hits him in the face with a black t-shirt. EAZY Put this on. As YELLA starts to change shirts, Jerry Heller comes around the corner talking to the promoter, nothing hip-hop about him at all. CUBE Aww damn-- here come The White Shadow. (no smiles) REN Nah, Mr. Furley from “Three's Company.” EAZY (irritated) Man, shut the fuck up? This dude knows the game inside out. He been out there shopping our shit around. Gonna find distribution for Ruthless, get us on tour and bring a whole lot of money to the table. DRE And then what-- How he get paid? EAZY Just takes 20::percent:: off the top. That’s it. We cut up 80. That's how managers work. DOC (drink in hand) All managers don't get 20 mothafuckin' percent! EAZY Doc, shut yo drunk ass up. You don't know the music business. DOC take another sip. Jerry joins the group. 32. JERRY HELLER Hey fellas, sorry I'm running late. I’ll be honest. We’ve had a lot of passes. People are scared of you guys big time. They think you’re dangerous. But I think that’s a good thing. And we’ve had a couple nibbles, from a couple labels. Epic, Capitol, Priority... REN “Nibbles”..? What’s that mean? Jerry pauses a beat, finding the best response. JERRY HELLER Here’s the thing. You guys can make a real record. Sell it nationwide. But we’re not there yet. These labels, they’re still gonna need some... convincing. So I invited a few of them to your show. So you have to kick ass tonight. Can you do that? The guys stare back at Jerry, with the fire in their eyes. Goddamn right they can do it -- ""Hell yeah!"" JERRY HELLER (CONT’D) Let me go and make sure they're all here. Jerry peels away and goes inside. Cube looks at Eazy. CUBE And you trust this dude? Cause he looks like a one of my old muthafuckin' history teachers. Eazy cocks his head at Cube. EAZY You trust me? CUBE Yeah, I trust you. But that ain't what we talking about -- EAZY Just leave it up to me. I'll make sure everything is straight. Just have them raps cocked and loaded. Dre throws his arm around Eazy, puts a stop to it--33. DRE Come on now. Cube has never failed to deliver. He always comes correct, ready to work. That ain’t gonna change. Aiight? Cube and Eazy soften, smile at each other, it’s all good. YELLA Can this muthafucka Jerry Heller bring in more pussy? That's worth 20 percent! Everyone LAUGHS as we --",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SKATELAND RINK - MAIN FLOOR - CONTINUOUS 32 32 We see the PACKED MASS of the CROWD, crammed together, hands in the air, SCREAMING, even though nothing’s happened yet. The stage is pitch black as we see the silhouettes of NWA members manning their battle stations. More screams and anticipation from the crowd. At the BACK of the room, we see JERRY HELLER beside THREE nervous-looking RECORD EXECS. One of them -- BRYAN TURNER -- glances around warily at the inner-city CROWD. BRYAN TURNER You sure this is... safe for us..? JERRY Try not to look so scared, Bryan. They smell it on ya, you’re finished. Turner FREEZES and his eyes go wide -- Jerry LAUGHS. JERRY (CONT’D) Relax. You’re in for a real treat! Just then, the STAGE LIGHTS come on, and NWA IS ON STAGE, spread out in FORMATION, in their BLACK RAIDERS GEAR. DRE and YELLA man FOUR TURNTABLES and 2 mixers -- CUBE Yo Dre, kick in the bass! The bass-heavy ASSAULT of DOPEMAN kicks in. The crowd goes APESHIT. Jumping up and down. Crushed against each other -- ON STAGE, CUBE stalks to the edge, lets loose --34. CUBE (CONT’D) It was once said by a man who couldn’t quit -- And and CROWD SCREAMS BACK, because THEY KNOW EVERY LYRIC! THE CROWD DOPE MAN PLEASE CAN I HAVE ANOTHER HIT??? CUBE The Dopeman said Cluck I don’t give a shit, if your girl kneels down -- THE CROWD AND SUCKS MY DICK!!! with each other, like, Oh my God, this is sick! IN THE CROWD, we find JERRY and the RECORD EXECS. One of the EXECS looks disgusted, WALKS OUT. Jerry watches him go... JERRY So what do ya think? RECORD EXEC Jerry, we’re friends, but Compton? (laughs) I don't think so. Queens..? Maybe. But. If you find another Bon Jovi, you call me. The Exec brushes past Jerry and WALKS OUT. Jerry turns and sees that BRYAN TURNER is the only Exec still there. And he’s WATCHING with wide eyes, overwhelmed while -- UP ON STAGE, EAZY tears into his verse -- EAZY Yeah high-rollin’ , big money I’m foldin, Bitch on my tip for the dick I’m holdin’. Strung strawberry, jockin’ me so early. Ho you want a hit -- CROWD YOU GOTTA GET YOUR KNEES DIRTY!!! IN THE BACK OF THE CLUB, from a corner, a big man is watching, mind going, This is SUGE KNIGHT.35.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SKATELAND RINK - LATER 33 33 The last raucous PARTY-GOERS exit, leaving behind some CLEANING CREW and OUR GUYS, still riding the high of performing. DOC Damn Dre, ya'll wrecked these mothafuckas tonight! DRE I know. Stage was shaking so much-- thought my needles was about to jump off the record! CUBE I’m still trippin’ that they knew all the words! That's Crazy... REN Compton is definitely on the map my nigga! YELLA Did you see all the freaks that was out there? Lord, thank God for biker shorts! Everybody shoots YELLA a look. CUBE We talkin’ about the power of N.W.A. and all you saw tonight was pussy? YELLA Man, pussy is power. They chuckle at Yella in disbelief as SUGE KNIGHT approaches. SUGE (surprisingly friendly) Man, I had a feelin’ y’all was gonna represent tonight. Good shit. EAZY Wuddup, Suge -- What you been up to, homie? Still out in Vegas? SUGE Back and forth. Doing some bodyguard work among other things. If ya'll need my services, just let me know. 36. EAZY Aight. But we don't need no body guards. SUGE You never know what you need until you need it. Somewhat of an uncomfortable pause of dead air. JERRY rounds the corner, sweating through his misshapen suit, along with BRYAN TURNER. SUGE (CONT’D) I just came back here to give ya'll your props. I got my people out here waiting on me. But I'll be around. Suge exits... as DOC clocks his flavor-- our attend goes to Jerry and Bryan. JERRY That was quite a show, gentlemen. Nice job. Very, very nice. They all keep STARING at him, waiting. Jerry grins, enjoying stretching out this moment. JERRY (CONT’D) This is Eazy E and NWA. Guys, this is Bryan Turner. CUBE (brazenly) Ice Cube, ‘Sup? JERRY Uh, Bryan runs Priority Records. He wants to sign you. BRYAN TURNER Immediately. Fellas, I loved the show. You really had the crowd on their feet. I think you’ll fit perfectly with our label. DRE That'll work. Priority Records? I'm not familiar with your label. What artist do you got over there? Bryan looks at Jerry, who folds his arms, chin on his chest.37. BRYAN TURNER Nothing big. Just an R&B group. REN Who dat? Bryan hesitates, almost ashamed to say -- BRYAN TURNER Uh-- The California Raisins. Everyone in NWA grimaces -- CUBE Them little-ass raisins on the commercial? Singin’, ""I Heard it Through the Grapevine""? Yep. They all LAUGH in Bryan's face. He smiles too. BRYAN TURNER Laugh all you want. Those little fuckers went gold last year. The laughing stops -- This gets their attention and respect. EAZY Gold? JERRY Yep, almost platinum. Bryan has a great distribution platform. This is the perfect time for Jerry Heller to seal the deal. BRYAN TURNER So what do ya say? Wanna go make a record? It takes a second for it to sink in. But they are as ready as they ever could be. Jerry watches, pleased as punch --",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. AUDIO ACHIEVEMENTS - TORRANCE - ESTABLISHING - DAY 34 34 Cars zip past as we move inside --,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. AUDIO ACHIEVEMENTS STUDIO - DAY A35 A35 Dre runs his fingers on the knobs and levels of the mixing board. There’s nowhere that he feels more at home . Eazy, Cube, Ren, Yella and Jerry are gather in the studio. Dre Inspired:38. DRE Aiight! If your rhymes ain't tight, you ain't makin’ the record. So you better have your shit together. Yella Boy -- Rewind that shit! Yella rewinds the tape. Cube and Eazy look at each other as the speech hits home as... We begin a MEDLEY OF IN-PROGRESS AND ICONIC SONGS.",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. AUDIO ACHIEVEMENTS - BOOTH B35 B35 Cube in the studio writing EXPRESS YOURSELF. Dre is on the mic doing EXPRESS YOURSELF. Yella is at board as everyone watches Dre. DRE I'm expressin' with my full capabilities, And now I'm livin' in correctional facilities... NOTE: IN BETWEEN THIS SEQUENCE, we cut back to CATCH GLIMPSES C35 C35 of Dre in the studio CREATING -- FUCK THA POLICE, starting with the bones and building: first the DRUM MACHINE... then the SCRATCH... the BASS... an on and on. We will see Dre building this track throughout the sequence. In the back, Cube, Ren and DOC on the couch writing. IN THE BOOTH - LATER D35 D35 Cube writes than spits the lyrics to A BITCH IZ A BITCH. AT THE BOARD, Dre HOWLS with excitement, adjusts the levels, then cuts the beat. Beside him, Eazy and Yella are all smiles. IN THE BOOTH, Ren spits fire on the final bars of PARENTAL E35 E35 DISCRETION IZ ADVISED -- -- EAZY spitting STRAIGHT OUTTA COMPTON as -- F35 F35",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. AUDIO ACHIEVEMENTS STUDIO - DAY 35 35 Dre’s at the soundboard , chopping up the beasts from what will become “Fuck Tha Police”. Cube, Ren, DOC and Jinx are listening while writing and eating fast food. DRE Now this is what I’m talkin’ about. You hear the difference?39. YELLA Yeah, no doubt. Jerry and Eazy are discussing business. JERRY Our deal with Priority is done. I have the contracts for you to sign. Cube takes notice of Jerry and Eazy, looking up from another beat-up notebook. JERRY (CONT’D) (to Dre) If this music keeps sounding like this. This album is going to be amazing. DRE Thanks, Jerry. JERRY The lyrics you’re writing is really good, Cube. CUBE I appreciate that, man. (to Eazy) Eazy what’s up with our deal. EAZY Jerry handles that. Cube looks at Jerry. JERRY The lawyers just started drawing them up. Before Cube can respond, Tyree enters the room as Jerry exits the room. Tyree pulls Dre aside. TYREE Yo Dre, there’s something outside you need to take care of. Trust me. Concerned, Dre heeds Tyree’s advice and exits.40.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. AUDIO ACHIEVEMENTS STUDIO - CONTINUOUS 36 36 Parked along the curb, Dre’s girl LaVetta sits in what we thought was Dre’s DATSUN. It’s filled to the brim with clothes and baby gear, hatchback tied down with bungee chord. Dre leans down to her window -- DRE So let me get this straight -- You gonna do this right here, right now? LAVETTA What am I supposed to do? We’re sleepin’ on a twin bed, at your auntie’s house. We have a baby, Andre. You expect me to wait for what you’re doin’ in there? And you in the streets, fuckin’ around? Are you crazy? Dre doesn’t notice a TORRANCE P.D. CRUISER drift past... DRE What? I’m out here day and night bustin’ my ass, tryin’ to create something, and you gonna come up in here talkin’ about some bitches? Are you crazy? LAVETTA You don’t get it. DRE Nah, you don’t get it. LAVETTA Bye, Andre. LaVetta puts the car in gear, PEELS away just as the whole gang comes out, having caught the tail end of the argument. YELLA You cool? DRE Fuck no. I’m far from cool. TYREE What happened, Dre? What she say? CUBE Aww shit, here we go again... 41. The TORRANCE P.D. CRUISER pulls up fast, two COPS popping out. One black the other white. Weapons drawn. TORRANCE COP 1 (BLACK) Everybody down on the ground now! The guys are confused. Food in hand. REN What we do?! These cops aren't playing and they don't want to be questioned. TORRANCE COP 2 (WHITE) (Shoving Ren to the ground) Get your fuckin ass on the ground before I shoot you! That's what you did! After peeping out the cops overly aggressive posture. The guys start to comply. Mexican food hits the ground first then all the guys go face down-- spread eagle. DRE Why you got on the ground like this, officer? TORRANCE COP 1 For our protection. It's 6 of you, only two of us. So just sit there and shut up. (to his partner) Call for back up. Torrance Cop 2 starts to call it in. Torrance Cop 1 starts to roughly frisk the guys. TORRANCE COP 1 (CONT’D) This is Torrance. You niggas supposed to be somewhere? EAZY Yeah. Here. We workin’. TORRANCE COP 1 Working? Yeah, I bet. DRE What we do? 42. TORRANCE COP 2 We'll find out what you did in a minute. Within seconds, the Cop has Dre legs spread, frisking him roughly, hyper-extending his arms -- DRE What the fuck -- TORRANCE COP 1 Shut your hole! The whole group is getting frisked one by one. Until Jerry Heller comes to the rescue. JERRY Excuse me officer, what's going on out here?! TORRANCE COP 1 Step back sir! Just making sure these thugs are clean! Jerry keeps coming. JERRY These are not thugs, they're artists! As Jerry gets into the officers face, we see the contrast of the black guys face down on the ground with the Cops and Jerry's shoes standing over them talking. TORRANCE COP 1 Artists? What kind of artists? JERRY They're rappers working in the studio right here. TORRANCE COP 2 Rappers? Rap is not art. It’s jungle music. And who are you supposed to be? JERRY I'm the manager. TORRANCE COP 1 Well you’re wasting your time, Mr. Manager, ‘cause your rappers look like typical gang bangers to me. 43. As the insults continue-- We LINGER ON CUBE, consuming his incendiary eyes, his flared nostrils. He’s just about had enough of this shit. TORRANCE COP 2 Why don't you spend your time managing real music like Lynyrd Skynyrd! TORRANCE COP 1 Or Con-Funk-Shun! Real instruments. Real music! Not this bullshit rap! TORRANCE COP 2 Fuckin' fad. TORRANCE COP 1 (laughing) Tell me about it.",FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. AUDIO ACHIEVEMENTS STUDIO - EMPTY OFFICE - LATER 37 37 Dimly lit, Cube sits hunkered over a desk, writing furiously in his notebook. As if he’s possessed. He slaps a page aside, scribbling on the back. WE CATCH GLIMPSES of ICONIC WORDS ON THE PAGE -- GOT IT BAD CAUSE I'M BROWN .... SEARCHIN’ MY CAR, LOOKIN’ FOR THE PRODUCT .... THINKIN’ EVERY NIGGA IS SELLIN’ NARCOTICS.",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. AUDIO ACHIEVEMENTS STUDIO - CONTINUOUS 38 38 Dre is at the mixing board working on the instruental track for FUCK THA POLICE. The instrumental is playing without any lyrics or the hook on it. CUBE (O.S.) Yo! CUBE enters the studio -- Hands the open notebook over to Eazy, who scans it, hands it over to Dre for a look. EAZY (sly smile) This gonna start some shit, Cube. CUBE (a grunt) Yeah, fuck the police. Dre smiles as we cut to -- Dre is scratching in the iconic hook. FUCK THA POLICE-- FUCK, FUCK, FUCK THA POLICE. He continues to scratch...44. Ice Cube on the mic spitting the venomous lyrics of Fuck Tha 38pt2 38pt2 Police.",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. RUTHLESS RECORDS - LOS ANGELES - ESTABLISHING - DAY 40 40 STRAIGHT OUTTA COMPTON continues over -- EAZY and JERRY walk into the new RUTHLESS OFFICES...,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CRENSHAW BLVD - NIGHT 41 41 A LOWRIDER cruises the packed boulevard, STRAIGHT OUTTA COMPTON SCREAMING out the windows as it passes by -- A HOOPTIE that’s got EXPRESS YOURSELF ON BLAST. And we quickly realize that -- THE ENTIRE ALBUM’S FLOATING ON THE AIR, DIFFERENT TRACKS THUMPING from DIFFERENT CARS flossing on the ‘Shaw. Literally, every car . LOW-RIDERS bounce their hydraulics in approval. PEDESTRIANS HOLLER at the RIDERS and Riders holler back. It’s like the entire hood is partying. And in the thick of it all -- Eazy, Dre, and Cube creep down Crenshaw in Eazy’s ‘64 Impala, Ren and Yella just behind them in Yella’s Porche. They can’t believe their eyes, their hood now worshipping their music. Some full circle shit...",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RUTHLESS RECORDS - JERRY’S OFFICE - CONTINUOUS 42 42 STRAIGHT OUTTA COMPTON FADES OUT as -- CLOSE ON the album cover to STRAIGHT OUTTA COMPTON as it’s slid across the desk to... THE WHOLE GANG. They pass around the record, in awe, as if it were the Holy Grail. JERRY This is only the tip of the iceberg, fellas. The days of selling records out of your trunk are a thing of the past, Eric. EAZY My days of selling anything out the trunk is over.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LEIMERT PARK - LOS ANGELES - DAY 43 43 All the GROUP MEMBERS saying goodbye to their FAMILY, FRIENDS. JERRY’s there, too, along with Bryan Turner.45. BRYAN TURNER So, are you going out with them? JERRY Are you crazy? Had a enough of that shit in the 70's. I'll fly out a couple of times and check on'em. BRYAN TURNER Well make sure everything goes smooth, okay? I have enough bad press with Tipper Gore and P.M.R.C. on my ass. I'm gonna have to put Parental Advisory stickers on all the records from now on -- JERRY HELLER What’s wrong with that? Bryan, controversy’s good -- It’s gonna help us sell more records. But Jerry’s distracted by Eazy carrying a big duffel bag. JERRY Excuse me. Jerry sidles up to EAZY, who is carrying a big, heavy, clattering DUFFEL. JERRY (CONT’D) What ya got in there, Mr. Wright? Eric grins, sets down the duffel -- CLUNK -- and unzips it. Jerry’s eyes bug. The duffel is full of GUNS, big and small, a Kevlar vest, a hockey mask. All things trouble. JERRY (CONT’D) Have you lost your mind? You are not taking that on the bus. EAZY Yeah we are. How we supposed to protect ourselves out there, Jerry? In fuckin’ Texas? And Tennessee ? They lynch niggas down there -- JERRY I’m not gonna let you take that arsenal on tour, Eric! Eazy squares off, crosses his arms. 46. EAZY Let me? Jerry, you take care of the business, I’ll take care of the rest.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HOUSTON ARENA - HOUSTON - NIGHT A44 A44 Out front of the arena, a mass of PROTESTORS have accumulated a large pile of NWA RECORDS as -- SUPERIMPOSE: HOUSTON, TX ON THE BUS B44 B44 The guys watch on as a MAN drives a STEAMROLLER RIGHT OVER THE RECORDS, crushing them to pieces! The Protestors CHEER! CUBE Ain’t that some shit... Talk some truth and people lose they minds. EAZY They had to buy all those albums to do that! More money in our pockets.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HOUSTON ARENA - BACKSTAGE PARKING - HOUSTON - NIGHT 44 44 The TOUR BUS pulls up inside the SECURITY AREA behind the VENUE. Houston P.D., POLICE HORSES, FANS and PROTESTERS are watching as -- The bus DOOR HISSES open, and we watch expectantly for our heroes... BUT NO ONE APPEARS. All we can see is the black void inside the tour bus, its ENGINE IDLING. Finally, when we can hardly stand it any longer... NWA BURSTS OUT ONTO THE --",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOUSTON ARENA - STAGE - LATER THAT NIGHT 45 45 -- And god damn they look cool. Still dressed in all-black, but now their shit looks cleaner, more expensive. They’re all rocking a lot of GOLD -- rings and thick-rope chains. HUGE BASS SLAMS DOWN as the mock street LIGHTS blind our eyes. The stage looks like the hood with chain link fences and yellow police tape. We hear the SOUNDS of STRAIGHT OUTTA COMPTON (”YOU ARE NOW ABOUT TO WITNESS THE STRENGTH OF STREET KNOWLEDGE.”) and find DRE on the ONES AND TWOS, which sit on upside-down glowing trash cans, while the rest of the group rocks the stage.47. CUBE Straight outta Compton, crazy muthafucka named Ice Cube, from a gang called Niggaz With Attitudes. When I'm called off, I got a sawed off, squeeze the trigger, and bodies are hauled off -- We see CUBE REACT to the fact that here in Middle America, the majority of the audience is WHITE. Never expected that. IN THE BACK, we see a row of UNIFORMED COPS, stone-faced, their presence alone transmitting hostility -- MONTAGE OF THE ROAD 46 46",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ARENA - STAGE 46pt1 46pt1 -- Eazy blows the roof off with WE WANT EAZY, all hands in the air as a sea of people vibe with him all singing: EAZY, WE WANT EAZY -- EAZY, WE WANT EAZY! DRE, REN AND EAZY RIP THROUGH THE FIRST VERSE-- As the crowd sings the hook again. We can hear Eazy say-- EAZY (to the crowd) Where the fuck y’all at, Cincinnati!?",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. TOUR BUS 46pt2 46pt2 -- The guys watch on as the TOUR BUS rolls past a PROTEST. DEMONSTRATORS SHOUT at the bus, hold up SIGNS: BAN GANGSTA RAP, STOP DISRESPECTING WOMEN , GANGSTAS BELONG BEHIND BARS --",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ARENA - STAGE 46pt3 46pt3 -- Dre and Ren rhyme fierce on COMPTON’S N THE HOUSE . Standing room only, as usual... DRE To the people over here -- REN To the People over there -- DRE/REN To the people, the people, the people, people, the people, the people, people from Kansas City, watchin’ the show --",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ARENA - STAGE 46pt4 46pt448. -- Another ARENA. Another angry PROTEST. By now, the guys aren’t even paying attention anymore...",FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ARENA - STAGE 46pt5 46pt5 -- Cube destroys GANGSTA, GANGSTA , nostrils flared, giving it his all. As the CHORUS KICKS IN -- CUBE Indianapolis in the muthafuckin’ house!",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOTEL ROOM - NIGHT 47pt1 47pt1 Muffled MUSIC, LAUGHTER THUMPS through the WALLS as we find DRE sitting on a bed in an empty hotel room, talking to -- DRE (INTO PHONE) I can’t do it, T. INTERCUT WITH:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. VERNA’S HOUSE - PORCH - CONTINUOUS 47pt2 47pt2 TYREE, who’s chillin’ in a chair, surveying the street, all smiles talking to his cool-ass big brother. TYREE (INTO PHONE) Come on. I could meet up with y’all in Dallas or -- Yo, you gotta let me come fuck with you in Miami! Dre laughs. Misses his baby brother. DRE (INTO PHONE) Oh, you wanna partake in some of those fat asses, huh. TYREE (INTO PHONE) You know it! DRE (INTO PHONE) So what you think moms will say about you comin’ on tour? Tyree’s silence is telling. DRE (INTO PHONE)(CONT’D) Exactly. ‘Cause you got school and you know she won’t let you miss that many days. TYREE (INTO PHONE) You did. 49. DRE (INTO PHONE) Exactly my po",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int. TYREE (INTO PHONE) So I’m paying for your shit? DRE (INTO PHONE) How it is, T. Youngest always do. Tyree deflates... DRE (INTO PHONE) (CONT’D) How moms doin’? Is she there? TYREE (INTO PHONE) She good, but nah, you know her, constantly workin’. DRE (INTO PHONE) Well make sure you take care of her, aiight? I’ll tell you what, you stay your ass outta trouble and I’ll call you when I’m on the way to Miami-- we'll see about getting you on a flight. TYREE (INTO PHONE) (perks up) Aiight, man... You promise, Dre! DRE (INTO PHONE) I got you. Just bring a lot of rubbers. Dre and Tyree have a nice laugh together. Suddenly there’s a BANGING at Dre’s FRONT DOOR -- DRE (INTO PHONE) (CONT’D) Hold on a second, somebody at the -- CLICK. TYREE’S GONE. Dre sets the phone down. Walks to the door. OPENS it to find -- A BIG DUDE, standing outside, looking PISSED! BIG DUDE Yeah nigga, I'm looking for my girl Felicia. Heard she was up here in one of these rooms. DRE No Felicia in here, man. 50. Dre starts closing the door, and the DUDE jams his BOOT in, stopping Dre from closing the door. BIG DUDE Mind if I take a look? DRE Get your foot out my door -- Big Dude pulls up his SHIRT, PISTOL poking out of his waistband -- Dre SHOVES him back and SLAMS the door! Quickly OPENS the DOOR to the adjacent room where -- ON THE OTHER SIDE 47pt3 47pt3 There’s a PARTY going on. EAZY, CUBE and REN are all partying with GIRLS, most of whom aren’t wearing any shirts. Titties are everywhere, booze flowing freely. YELLA’s in the middle, FUCKING A GIRL on one of the beds. DRE Yo! Any of y’all named Felicia? All the GIRLS shake their heads. YELLA (to the girl under him) Hey baby. You Felicia? GIRL You forgot my name, muthafucka ? She looks pissed, but they keep on fucking anyway. DRE I think her man’s outside. And that nigga strapped . Eyes wide, Eazy quickly pulls the GUN DUFFEL out from under one of the beds, unzips it, fishes through and pulls out an AK. YELLA Whoa! Eazy, you can’t be blastin inside the hotel -- But Eazy just grins, heads for the door. Opens it, PEEPS out through the crack -- EAZY Hey, you lookin’ for Felicia? 51. BIG DUDE is still out there, standing about 15 feet away, with TWO OTHER similarly-large DUDES. BIG DUDE She in there or what? EAZY Yeah, she's in here. Problem is, my homeboy’s got his dick in her mouth. Big Dude scowls, rests his hand on the butt of his pistol. BIG DUDE What the fuck did you say? BACK INSIDE, Ren overhears this. Tosses a GIRL off his lap, grabs his 9mm from the table, COCKS it -- IN THE HALLWAY, Eazy steps FULLY out of his room -- RACKS the AK and AIMS IT RIGHT AT THE 3 DUDES -- EAZY How bad you want Felicia now? The DUDES gape at Eazy a moment, then SCATTER, disappearing down the hallway. Eazy LAUGHS his ass off as Ren bolts out, 9mm in hand, ready for anything -- REN Where they go? But the coast is clear. Eazy keeps laughing. Heads back inside as we -- OMITTED A48 A48",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOTEL - LOBBY - DAY 48 48 Cube, Dre, Yella, Ren and D.O.C. stroll through, carrying bags of McDonalds . Cube’s eyes drift over to the fancy FOUR- STAR RESTAURANT across from the lobby where he can see Jerry and Eazy at a table inside, enjoying a lavish meal. CUBE Meet y’all upstairs. Cube heads for the restaurant --",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOTEL - RESTAURANT - CONTINUOUS 49 49 ON THE BAR TV, NANCY REAGAN’s concerned face fills the screen.52. NANCY REAGAN For the sake of our children, I implore each of you to be unyielding and inflexible in your opposition to drugs. Our young people are helping us lead the way. Not long ago in Oakland, California, I was asked by a group of children what to do if they were offered drugs. And I answered, just say no. AT A TABLE NEARBY, Jerry and Eazy devour steaks and lobster, sipping champagne. JERRY (concerned) Another one called-- said she was pregnant by you too. Eric, you gotta slow down. You can't fuck'em all... EAZY Yeah, I know. (Deep breathe) All these chicks want is money. If I was broke, they're wouldn't even be calling. JERRY Yeah well, you start making a little money, problems come with it. EAZY White people problems? JERRY Money problems are race neutral. But I’ll help you through all of it. I’ll put you in touch with -- Jerry’s distracted by the sight of Cube marching towards the table, bag of McDonald’s still in hand. Smiles up at him. Eazy doesn’t make eye contact. JERRY (CONT’D) Evening, Cube... CUBE What's the deal on them contracts, Jerry? I'm still waitin’ on 'em...53. EAZY Man, stop asking about them fuckin' contract. They're coming -- JERRY It’s all right, Eric. Cube’s right to ask, and I’m remiss in not updating you guys. (to Cube) Contracts are being finalized as we speak. Truth is, attorneys will bleed you dry going over ‘em. Wish I was paid by the hour... CUBE Yeah me too. I just like to know what’s goin’ on. Since I wrote a lot of lyrics on this record. JERRY Everybody knows how important you are, Cube. Just give us a little more time. Cube glances at Eazy, who’s like a statue. Cube picks up Eazy’s champagne glass, drains it, sets it back down. CUBE Shit’s pretty good. Someday, huh? With that, he turns and walks out. Jerry watches him go. Then, to no one in particular: JERRY He wants to be you so freaking bad. This kid has issues. At some point, you gotta trust somebody... But Eazy’s not paying attention. Waving to a passing waiter: EAZY Waiter! Another round over here...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. OPEN ROAD - NIGHT 50 50 The NWA tour bus blurs by, a prism of light and speed --",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TOUR BUS - MIDDLE OF NOWHERE, USA - NIGHT 51 51 Cube and Dre speak in hushed tones, everyone else asleep.54. DRE Nah, I think you over reacting. Eazy’s one of us, Cube. What you thinking don't even make sense -- CUBE Know what don’t make sense? Eazy chillin’ with Jerry eatin’ steak and lobster while we at Mickey D’s. That shit don’t make sense. DRE Look, I hear that, but I think we should ride this wave. Don’t be jumpin’ to conclusions until you know for sure, WE HEAR a FAINT VIBRATING SOUND. Dre realizes it’s his PAGER. Grabs it off his bed. Sees that he’s missed TWELVE PAGES . AND EVERY SINGLE ONE IS LABELED “9-1-1 .” Instinct in overdrive, he hurries to the FRONT of the bus, tells the DRIVER -- DRE (CONT’D) We gotta stop. Gotta get somewhere with a phone -- DRIVER But we’re in the middle of nowh -- DRE Stop the fuckin’ bus, man!",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. GAS STATION - MIDDLE OF NOWHERE, USA - MOMENTS LATER 52 52 The BUS is parked in a nearly-empty PARKING LOT outside of a lonesome, isolated GAS STATION. It’s a dark, starless night. Dre shuffles slowly out of the station, in a daze, like he just awoke from a fucked-up dream. He walks over to the BUS. But instead of getting on, he SITS DOWN on the pavement, eyes filled with shock and disbelief. The sound of FOOTSTEPS as Ren, Yella, Cube, and Eazy exit the bus, surround Dre. They can tell something is very wrong. YELLA Yo, Dre. What’s goin’ on? ON DRE as he forces back the tears that wanna come, his voice barely a whisper: 55. DRE My Moms called. Tyree. He’s dead. Somebody killed my little brother... Shocked: ""What?"" ""Hell naw!"" ""What happen?"" are heard amongst Cube, Eazy, Yella and Ren-- they crouch down next to Dre. Not sure what else to say or do. They wait for Dre to say more... DRE (CONT’D) He got into a fight near Leimert Park. A big mothafucka fell on top of him -- broke his neck. He killed Tyree. I can't believe this shit. Face buried in his hands, Dre quietly weeps. Jinx, Laylaw and DJ Speed gather in the front window of the bus. Not wanting to interrupt the group's moment. Cube rests a hand on Dre's shoulder as the others tighten the circle. There’s silence... until: CUBE Never told y’all, but when I was twelve, my sister got murdered by her own husband-- A fuckin' wanna be cop who couldn't make it in the academy. Life changed for me that day. Everything became serious-- EAZY Dope game took my cousin's life. I remember when they found him. DRE He shoulda been out here with me. If he was out here-- It never woulda happened... REN Or it could've happened in another way. Can't blame yourself, Dre... Life has to end for all of us, but love don’t. Feel me? Tyree is always gonna be with you. No matter what. Eazy moves closer. Slowly, he places a hand on Dre’s head. Rubs it. It’s a bit startling -- Eazy’s not one for tenderness. But it’s clear he feels Dre’s pain.56. EAZY Gonna be aiight, Dre... We with you. PULL BACK as the guys remain clustered around Dre. Looking so small, so vulnerable, crouched in front of the Bus, alone in the parking lot. NWA against the world. FADE TO BLACK: FADE UP: ON;",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MAUSOLEUM - LOS ANGELES - DAY 53 53 In a suit, Dre stands beside Tyree’s MEMORIAL WALL, his arm draped around his heartbroken mother, Verna. She cries without end or apology, surrounded by family, including his other brother, WARREN G, plus Eazy, Cube, Ren and Yella. It’s solemn and quiet. Dre remains stoic, staring hard, trying his best to remain strong for his mother. All members of the band keep a close eye on him, as the pastor wraps up his eulogy. PASTOR Death is a threshold we all have to pass through. No one is exempt. Tyree will set a place for us on the other side and we will see him again. The flesh will always return to the earth. But our spirits will live on forever. Amen! The congregation repeats the pastor with a follow up ""Amen.""",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MAUSOLEUM - LATER 54 54 A shattered Dre slumps out with his mom, Verna. DRE If I brung him out on tour with me, like he wanted -- VERNA This is not on you, Andre. Dre doesn’t say anything. Keeps his head bowed. VERNA (CONT’D) Andre. DRE We was supposed to kick it... Next chance I got -- 57. VERNA This is not your fault. Understand me? Stop this nonsense. Stop it now. He looks at his momma. This strong woman. VERNA (CONT’D) Your brother looked up to you. And you took great care of him. We both did. It’s time to let someone else take care of him now. With that, she can no longer hold back the tears. Dre hugs her, mother and son comforting each other. VERNA (CONT’D) I’m proud of you... So proud of you, baby... Dre fights back tears of his own, the words he’s longed to hear. As Verna slowly turns and walks away, Cube, Eazy, Ren and Yella surround him, brothers in arms. They walk out the Mausoleum. TOUR BUS MONTAGE: 55 55 -- Rural farmland. Flyover-ville . Where the fuck are we? 55pt1 55pt1 -- Dre stares out the window, despondent, lost in thought... 55pt2 55pt2",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. TOUR BUS 55pt3 55pt3 -- Cube and Ren jot lyrics on notepads as the bus passes by more PROTESTORS... CUBE Check this out -- PROTESTOR 1 PROTESTOR 2 PROTESTOR 3 Ban gangsta rap! Get the hell out NWA is filth! of here! THUD! An egg smacks into the window OBSCURING OUR VIEW. REN We should get out and beat his ass.,FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TOUR BUS 55pt4 55pt4 -- Yella watches porn next to Eazy who’s grown bored... EAZY Man shut that off. Put on my shit.58. Disgruntled, Yella obliges. Puts on SCARFACE . Eazy smiles.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TOUR BUS 55pt5 55pt5 -- Eazy and Jerry mastermind backstage at a concert. Jerry HANDS a BILLBOARD MAGAZINE to Eazy. JERRY Moving up on the Billboard 200 albums chart, Holding our bullet the R&B, Hip-Hop chart. I mean, you have any idea how many records we’re selling? Ruthless has arrived. Eric, we are huge! Eazy scans the magazine. Drinks it in, sly smile as we --",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HOTEL - POOL SIDE - NIGHT 56 56 Surrounded by GROUPIES, living the life, the GANG hangs by the pool. Odd looks are sent their way from snobby HOTEL GUESTS, a school of fish out of water as -- JERRY looks worried as he makes a bee-line toward the pool in his trademark velvet sweat suit, LETTER in hand. He officiously hands it to Eazy, who scans it. Growls: EAZY The muthafuckin’ FBI? These words catch everybody's attention. We catch a GLIMPSE OF THE LETTER on FBI stationary -- Dre snatches it from Eazy. DRE Damn, they comin’ after us, too? Now Cube leans over -- reads aloud: CUBE “... advocating violence and assault is wrong and we in the law enforcement community take exception to such action .” Have they ever heard of freedom of speech? What the fuck can they do to us? JERRY It’s a warning. A message to our record label about “Fuck the Police”. We should really think about not performing that song for a while.59. That doesn't sit well with the group. Moans and growns are heard. JERRY (CONT’D) (over their PROTESTS) Relax. RELAX. No need to worry-- All I’m saying is, we should be aware of this threat... CUBE If it was from the LAPD, then I’d be worried. EAZY We should all be happy, not worried. This is a gift, man. More free publicity for NWA. (waves letter) That’s why we gonna send this to the press. Let everybody know about this kind of harassment and intimidation by the government. Right, Jerry? Jerry does not think this is the best idea ever but... JERRY Well, uh. If that’s what you wanna do, then maybe we -- EAZY Do it, Jerry. Let everybody see this bullshit. Eazy gives the letter back to Jerry, who walks off, leaving the boys all hanging pool side. After a deliberative beat: CUBE I guess freedom of speech don't mean shit. REN Not if you a nigga wit an attitude. All they guys look at each other. Eazy ain't worried about nothing-- he puts on his Locs and continues to kick it. QUICK CUTS: A57 A57 Of different POLICE OFFICERS from DIFFERENT CITIES across the U.S., each reciting their city’s obscenity ordinance, one line bleeding into the next: -- A Macon, GA OFFICER... A57pt1 A57pt160. GA OFFICER No person shall disturb the peace by -- -- A Montgomery, AL OFFICER... A57pt2 A57pt2 AL OFFICER -- Participating or abetting in any rude, indecent, riotous, drunken or violent conduct -- -- A Louisville, KY OFFICER... A57pt3 A57pt3 KY OFFICER -- Using any vulgar, obscene or abusive language in a public place - - -- A St. Louis, MO OFFICER... A57pt4 A57pt4 MO OFFICER -- Inciting any other person to commit any breach of the peace, or --",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JOE LOUIS ARENA - BACK STAGE - DETROIT - NIGHT 57 57 SUPERIMPOSE: AUGUST 6, 1989 - DETROIT, MI. We catch a serious and quiet Cube along with the rest of NWA - - and Jerry Heller -- gathered as a local POLICE OFFICER reads to them from a piece of PAPER -- Eazy has on his ski mask. POLICE OFFICER -- committing any obscene, indecent or immoral act in a public place. Note also that performance of the song “F The Police” will not be permitted. Refusal to abide by all Detroit City Ordinances will result in immediate arrest and forfeiture. CUBE Are we finished, man? We got a show to do. The Cop sneers at Cube, walks off, throws another shot -- POLICE OFFICER Just watch yourselves. REN Yeah-- You watch yourselves too.61. He stares back at Ren one more time -- before leaving. Eazy takes off his hockey mask. All the GUYS are looking at each other. Eazy and Jerry head off across the room for a private chat -- Ren looks at Cube -- Cube looks at Dre -- Yella looks at the perfect ass of a passing FEMALE OFFICER. YELLA (to himself) Yeah man, fuck the po-lice for real. He laughs and sticks his tongue out.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JOE LOUIS ARENA - STAGE - LATER 58 58 With Dre spinning, Cube, Ren and Yella hype the crowd as Eazy tears up the final bars of STRAIGHT OUTTA COMPTON -- EAZY This is the auto-biography of the E, and if you ever fuck with me you'll get taken, by a stupid dope brotha who will smother, word to the motherfucka , straight outta Compton. The CROWD goes insane as the CHORUS PLAYS OUT. Like a God, Eazy pimp strides off stage where Jerry awaits, all smiles, arms open as -- BACK ON STAGE, Cube, Dre, Yella and Ren are feeling defiant. CUBE addresses the amped CROWD: CUBE Yo hold up, hold up -- Y’all know what the muthafuckin’ po-lice just told us back stage? They tired to tell us-- what the fuck we can’t say-- what the fuck we can’t play! The CROWD HOLLERS and BOOS their disapproval. CUBE (CONT’D) Put ya middle finger in the air! Cube raises his hand in the air, quickly SNAPS HIS MIDDLE FINGER to attention. Ren does the same with BOTH HANDS -- The CROWD RESPONDS by getting LOUDER THAN WE’VE EVER HEARD, and RETURNING the gesture. 62. We’re talking THOUSANDS of people, all with BOTH MIDDLE FINGERS RAISED -- this is the real shit, this is what they came here for -- CUBE (CONT’D) This NWA -- We do what the fuck we wanna do! We say what the fuck we wanna say! So, all I wanna tell that cop talking shit back stage is -- Yo Dre, I got something to say! Dre DROPS IT. Cube jumps right into it, pure adrenaline -- CUBE (CONT’D) FUCK THE POLICE COMIN’ STRAIGHT FROM THE UNDERGROUND. A YOUNG NIGGA GOT IT BAD CAUSE I’M BROWN -- The crowd goes ape-shit! BOUNCING and THRASHING like a MOSH PIT. Pure ELECTRICITY-- Jerry Heller is suddenly alarmed by the song selection. As Cube slices throughout the first verse -- Cops are getting agitated -- Waiting for the order to pounce. After their CAPTAIN has seen enough-- He gives the order. At that moment, the PLAINCLOTHES COPS in the crowd pull out their BADGES and start MOVING FORWARD through the sea of people, trying to make their way to the STAGE -- Cube keeps SPITTING -- lyrics are approaching that mighty hook. The UNDERCOVER COPS are causing a lot of commotion in the crowd... When CUBE hits the hook the CROWD JOINS IN, because they know all the lyrics -- CUBE & CROWD FUCK THA POLICE! -- FUCK! FUCK! FUCK THA POLICE!-- FUCK THAT POLICE! POP-POP-POP -- Cube stops rapping -- the CROWD is momentarily STUNNED! What the hell was THAT? Gunfire? A fucking BOMB? Whatever it was, TOTAL CHAOS BREAKS OUT -- The CROWD starts SURGING for the EXITS. Suddenly, DOZENS MORE COPS have MATERIALIZED OUT OF NOWHERE -- All the members of NWA DROP their mics and rush off stage, while the Arena descends into mayhem behind them --63.",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JOE LOUIS ARENA - BACK STAGE - CONTINUOUS 59 59 It’s CHAOTIC. Tons of COPS, both UNIFORMED and UNDERCOVER, SWARM as the Guys RACE past a LIVID Eazy and Jerry -- EAZY What the fuck did you DO!? No time for answers, THEY RUN TOO. Jerry can’t believe the cops are on their tails.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. JOE LOUIS ARENA - LOADING AREA - CONTINUOUS 60 60 All the GUYS try to make their way to an idling VAN which is waiting to whisk them away to safety, but -- REN Aw fuck... Because they all just noticed TWO THINGS: 1) there are DOZENS of rabid FANS gathered outside, and 2) there are also A SHIT- LOAD OF POLICE, holding back the FANS. The GROUP is spotted by some COPS, who peel off and head STRAIGHT FOR THEM -- ICE CUBE Here we go y'all... The COPS are immediately ON them, grabbing, frisking, CUFFING, and DRAGGING them all toward a PADDY WAGON which has materialized outside. And as soon as the CROWD sees their beloved NWA being hauled away, they go NUTS, and start throwing BOTTLES and ROCKS at the COPS, who DUCK and SWERVE to avoid the projectiles. The CROWD starts CHANTING, at a deafening volume -- CROWD FUCK THE POLICE. FUCK THE POLICE. FUCK THE POLICE. FUCK THE POLICE -- Before it gets any hairier, the COPS start PILING NWA into the PADDY WAGON. JERRY HELLER tries to shove his way over -- JERRY You have no right! This is illegal! You can’t do this -- But the Detroit Cops don’t give a shit, they SLAM Jerry up against a wall, hold him there. COP Stay fucking put, old man!64. Jerry watches helplessly as the Paddy Wagon PEELS AWAY into the night, taking our heroes away -- OMITTED 61 61",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT./,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. TOUR BUS - OPEN ROAD - THE NEXT DAY 62 62 The bus cruises along as we PUSH INSIDE to the sound of --,SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TOUR BUS - MOVING 63 63 Silence, save the rumble of the road. Everyone sits by himself, semi-secluded. Nobody talks. They all just stare out the windows, embroiled in thought. Exhausted. Shell-shocked. Jerry watches a NEWS REPORT on the riot at the Detroit show. JERRY What the fuck were you guys thinking? They can hold us libel for inciting a riot! No one cares that the police started it... Dre, Ren and Yella start paying attention as Eazy switches channels. Finds another report about the riot. And another. And another. Images blurring by of the concert. JERRY (CONT’D) Whether you like it or not, you are a political group. Never give these assholes a reason to hurt you. Next time they might take it. The guys watch, realizing that they’re becoming a part of the zeitgeist. No longer in the news, they are the news. KURT LODER (PRE-LAP) The explosive Compton rap group, N.W.A. -- HARD CUT TO: CLOSE ON MTV NEWS REPORT (STOCK FOOTAGE) 64 64 KURT LODER -- aka Niggers With Attitudes, officially had their video banned here at MTV due to gang-like images that could incite violence. This is not the first scrape with controversy for the band --65.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOTEL - CONFERENCE ROOM - CONTINUOUS 65 65 CLICK! CLICK! CLICK! NWA sit at a long table being interviewed for a PRESS JUNKET, dozens of microphones thrust in their faces, cameras flashing. All the members are engaged, leaning forward, elbows on the table. They got each other’s back as WE PARACHUTE IN: JOURNALIST 1 How do you explain insighting a riot in Detroit? What do you have to say about that? EAZ We didn’t insight shit. DRE You just got a snapshot of how Americans honestly feel. REN We didn’t create that. JOURNALIST 2 Your songs glamorize the lifestyle of gangs, guns and drugs. CUBE My art is the reflection of my reality. What do you see when you go outside of your door. I know what i see. YELLA And it ain’t glamorous. CUBE And by the way, the hood gets AKs from Russia and cocaine from Columbia. EAZY We don’t even have passports. Check the source. REN Who is responsible for that? JOURNALIST 3 You are experiencing a metoric rise. How can you explain that artits like Axl Rose from Guns and Roses are wearing your tshirts and hats? 66. DRE Isn’t it obvious. Real recongnize real. CUBE WE must of struck a nerve. Journalist 4 quickly interjects -- The guys let that lie a moment as other JOURNALISTS speak up. JOURNALIST 4 Will you be more careful about what you say, and how you say it? REN Nope. Everyone LAUGHS. CUBE Hell no. Last I heard, this is America and we got Freedom of Speech. Pretty sure that includes rap music. Exercisin’ our Free Speech across this whole damn country, openin’ people’s eyes. Far as I’m concerned that’s our job. The Journalists take that in, impressed by Cube’s media savvy and forthright demeanor. Cube points to another JOURNALIST. JOURNALIST 4 So Cube, what’s a guy from Compton do when he starts making real money like this? Laughter from the assembled. Not from Cube. Silence. Then: JOURNALIST 4 (CONT’D) Cube..?",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DOUBLETREE SUITES - PHOENIX - ESTABLISHING - NIGHT 66 66 The typical cookie-cutter hotel blights the beautiful desert landscape as the band exits the tour bus, enters --",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DOUBLETREE SUITES - PHOENIX - NIGHT 67 67 CUBE walks down the hotel hallway, stops in front of a door. He KNOCKS, but there’s no answer. He notices the door is PROPPED open with the dead-bolt, so he pushes inside --67.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DOUBLETREE SUITES - JERRY’S SUITE - CONTINUOUS 68 68 Cube enters the dark room. At the far end of the room, there’s a DESK, with a lone LAMP illuminated, casting weird, creepy shadows across the room. And JERRY HELLER sits behind the desk, his face mostly obscured in shadow. Cube grins, bemused, because this tableau is clearly deliberate , a dramatic show of power. JERRY It’s nice to see you, Cube. CUBE Well I can barely see you, Jerry. What’s with all this Godfather shit? Jerry ignores the comment, rises from behind the desk, carefully places a stapled sheaf of PAPERS on the desk. JERRY I know you’ve been very eager to sign a contract with Eric’s company, Ruthless Records. CUBE It’s your company too, right? You and Eric. All for one, one for all. Jerry sighs, shakes his head. JERRY That’s incorrect. It’s not my company. I work for you. I’ve made that clear from the beginning. Cube just nods, like, yeah right . Picks up the thick contract, pages through it. It’s full of dense legalese . CUBE Alright, cool. So I can take this one, show it to a lawyer or somethin’ ? Jerry stares at him for a beat. Places his hands on the desk. JERRY Cube, lawyers get paid to make trouble. That's what they do -- create problems where problems don't exist.68. CUBE But I have no idea what it says. At least let me take it to show my family. JERRY I can assure you, it’s all standard. You can read it now, if you like. Cube’s expression darkens. He clenches his jaw. CUBE Jerry, you know I can’t understand this legal shit. None of us can. That’s why we need to show it to a lawyer-- JERRY Cube, I thought you knew? Everyone else signed already. You’re the only one who hasn’t. Cube flips to the last page. The Signatory page. Sure enough, there’s EAZY’s signature, DRE’s, YELLA’s, and REN’s. Cube can only shake his head with confusion, disappointment. CUBE What the fuck..? JERRY Look. Cube. This is a great thing. This is what you always wanted your whole life. And there’s also this. Jerry lays a CHECK on the desk in front of Cube, made out to O'SHEA JACKSON. And it’s for $75,000. Cube can’t help it, his eyes go wide. It’s more money than he ever dreamed of. CUBE Damn. (beat) Thanks, man. He reaches for the check, but Jerry pulls it back. JERRY Soon as you sign this contract, the money is all yours. Cube freezes. Realizes he’s being shaken down. CUBE That’s my money anyway, Jerry. I earned it. I wrote a lot of hit songs. I been on tour for months. (MORE)69. Performing . Gettin’ arrested and shit. And you gonna try to gank me? JERRY That’s ridiculous. CUBE Give me my money, Jerry. JERRY You’re kidding me, right? Who do you think pays for everything? All the hotel rooms, the parties, the transpo? You think that’s free? Cube closes his eyes. Takes a deep breath. He must literally will himself to not implant his fist in Jerry’s face. CUBE Why all this now, Jerry? Back in the beginning, if you thought we were so good, why didn’t you just give us contracts then? JERRY Nothing’s a sure thing, Cube. Even a great talent can crash and burn. Too much ego, too much excess, too many expectations -- it tends to ruin things. You oughta keep that in mind. Cube stares hard. Knows exactly what Jerry’s implying. CUBE I’m gonna ask one more time. Are you sayin’ I can’t have the money I earned, unless I sign this contract, right now, without showin’ it to anybody? Jerry just crosses his arms, looks at Cube, says nothing. CUBE (CONT’D) Bye, Jerry. He turns and walks out of the room --",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DOUBLETREE SUITES - LOBBY - DAY 69 69 Dre, Ren and Yella lounge on the lobby couch, packed bags beside them. And they couldn’t be happier.CUBE (CONT'D)70. REN I’mma get me a El Camino with some gold Daytons and a Phantom top. YELLA I can't wait to get out of that "" po- man's Porsche"" and get me some real shit -- Face crumpled with anger, Cube approaches. Drops his bags. CUBE Y’all signed that Ruthless contract without a lawyer? REN Yeah -- And we got paaaaaid ! YELLA For $75,000 dollars, I don't give a fuck what's in that contract! Dre and Ren chuckle at Yella’s candor. DRE You ain’t signed? CUBE Hell naw I ain’t signin’ that bullshit. Don’t y’all think it’s a little fucked up that Jerry won’t let us show it to nobody? That seem honest to y’all? If he offered us seventy-five thousand, he probably owes us double that. (to Ren) Thought we talked about this, dude? REN It is what it is... I don't trust Jerry but I trust Eric. Cube's disgusted by their ignorance. Only Dre seems to be considering Cube’s words -- CUBE At this point, Eric and Jerry in this thing together. Believe dat!",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LEIMERT PARK - LATE AFTERNOON 70 70 The bus is parked back where the tour began. Exhausted, D.O.C. 71. exits the bus and heads toward a BURGUNDY CHEVY BLAZER, where SUGE KNIGHT waits to pick him up. D.O.C. throws his bags in the back. Kicks it with Suge for a minute as -- Eazy exits the bus with Yella. They watch D.O.C. and Suge. EAZY What up with Doc and Suge? YELLA Guess that dude's “managing” him now. One day you Bobby Brown’s bodyguard, next day you reppin’ talent. Everybody wanna get into the act... Dre exits, looking discouraged. And we understand why when an equally despondent Cube exits the bus and begins to move away from the crew. Dre catches up to him -- DRE Yo Cube-- You can’t just sign that shit, homie..? Keep making history..? CUBE Naw man, not like this. I'd rather be broke then get fucked -- Why did you sign that shit, Dre? DRE Nigga, I got bills to pay -- and I need to put some money in my Momma's hands after Tyree passed. CUBE Yo, I get it. Everybody gotta do what they gotta do. They're gonna take care you. You they're bread and butter. DRE Cube, we Ruthless. CUBE Nah, we NWA. They Ruthless. T-BONE (O.S.) You comin’, Cube? Cube turns to find T-BONE from the Lench Mob and Jinx, waiting for him in his CAR. He looks back at Dre -- I’m out. They pound hug and Cube heads off. Hops into T-Bone’s ride.72. BACK WITH DRE, considering the scene as everyone drives away, going in separate directions: Cube leaves with T-Bone... Yella leaves with Ren... Eazy leaves with Jerry... And D.O.C. leaves with Suge... Dre finds himself all alone, confronting a new reality.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. T-BONES CAR - MOMENTS LATER A71 A71 Cube rides in the passenger seat, pretty low at this po",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int. No money, no group. JINX MOUTH IS RUNNING, but Cube’s in a daze -- doesn't hear a word he's saying. JINX Can't believe you left the group, man. What you gonna do now? Guess we gotta start working on some solo stuff, huh? Cube? Cube?! As the car pulls up to a stop light, Cube looks over, spots a beautiful YOUNG LADY in a nice jeep on rims. She's looks back over at him, their eyes locked. Is this love at first sight? After a few magical moments. Cube finally speaks. CUBE How you doing? My name O'Shea. What's yours? KIM Kim. CUBE Hey Kim-- You the best thing I've seen all day. She smiles. CUBE (CONT’D) You believe in love at first sight? KIM What you think? She is the only one that can get Cube to smile at this po",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",int. DISSOLVE TO:,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PRIORITY RECORDS - BRYAN TURNER’S OFFICE - DAY B71 B71 Cube, Kim by his side, is seated opposite Bryan Turner -- who's floored by the news.73. BRYAN Wow, you’re really leaving the group... CUBE Yeah, I’m tired of the games. Eazy puts everything on Jerry and Jerry puts everything on Eazy. They can have it. BRYAN How do you feel about that Kim? Is he making a big mistake? KIM I don't think so-- after hearing everything that happened, I would've left too. Now he has the chance to showcase all his talents. BRYAN Well, I believe in you Cube, so I’ll tell ya what: there’s not a lot of money in this right now, but if this first record hits, I’ll make it up to you on the next one. Cube gets up and shakes Bryan’s hand. CUBE Well get ready-- ‘cause these albums are gonna be comin’ real fast. I'm hungry and I got a lot to say that's gonna fuck the world up. BRYAN TURNER Who’re you gonna get to produce? Ruthless is probably gonna veto Dre working on the project. So what's your plan? CUBE If I can't get the best producer in the in the west. I gotta go get the best in the east. Off Cube's determined look-- HARD CUT TO: SUPERIMPOSE: SIX MONTHS LATER - NEW YORK CITY74.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GREENE STREET STUDIO - NEW YORK CITY - DAY 71 71 CUBE, rocking a LENCH MOB JACKET, spitting new lyrics into the mic with crazy energy, a stack of notebooks on the chair beside him. It’s the creation of NIGGA YA LOVE TO HATE -- CUBE Kickin’ shit called street knowledge. Why more niggas in the pen than in college? Now cause of that line I might be your cellmate . That’s from the nigga ya love to hate. IN THE MIXING BOOTH: CHUCK D -- Pittsburgh Pirates hat, brim low, PUBLIC ENEMY on his jacket -- along with the SHOCKLEES , JINX and DA LENCH MOB plus 2 members of the FRUIT OF ISLAM, Security and KIM. Everyone exchanging looks, impressed. ON A SUSPENDED TV in the corner, we see LOUIS FARRAKHAN preaching to a crowd of F.O.I. It’s clear this is a very different world than the one Cube left behind in L.A.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DRE’S LOW RIDER - EAZY’S HOUSE - DAY 72 72 The completed version of NIGGA YA LOVE TO HATE POUNDS out of the SPEAKERS in DRE’s ride as he pulls up to Eazy’s crib. CUBE TRACK (FUCK YOU ICE CUBE!) Yeah, HA-HA! I’m the nigga ya love to hate -- Dre chuckles to himself in disbelief. Shit is dope . On the SEAT beside him, a CD with the plastic freshly torn off -- It’s Ice Cube’s AMERIKKKA’S MOST WANTED .",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. EAZY’S HOUSE - CALABASAS - DAY 73 73 There’s a PARTY going on at Eazy’s huge new mansion, reminiscent of Scarface’s estate. And the gang’s all here, everyone we know... except for Cube. Over by the poolside gazebo, JERRY talks with a troubled EAZY. EAZY Cube’s record’s in the Billboard top 20! Our shit never even came close to that. He’s blowin’ the fuck up -- JERRY It’s gonna be fine, Eric. It’s not just NWA anymore, it’s our whole Ruthless roster. (MORE)75. We’ve got D.O.C., we’ve got Michel’le , we’ve got Above the Law. We’re moving up to the next level. EAZY We gotta keep Dre happy. Keep him motivated. Eazy looks over at DRE, across the pool -- He’s DANCING with three drop-dead BEAUTIFUL GIRLS. Dre’s smile is massive. He clearly loves this sweet life. JERRY Look at him. You think he needs anymore motivation than that? EAZY Yeah I get it. He drownin’ in pussy. But that don’t mean -- JERRY You gotta stop worrying so much. Let me do the worrying for you. Fact is, Ren can write just as good as Cube. Maybe even better. Come over here a minute -- Eazy follows Jerry to a TABLE where he’s set up a bunch of CHECKS and PAPERS, and he hands Eazy a PEN. JERRY (CONT’D) Need your autograph on these checks and a few other things. Just sign right here -- Eazy starts SIGNING, even though his eyes keep drifting over to the many WOMEN partying. Jerry GRINS, noticing how quickly Eazy gets distracted. EAZY We done with this shit now? JERRY We’re done. EAZY Thanks, Jerry. I’mma go fuck now. Jerry laughs, slaps Eazy on the back as he walks off, and stands there enjoying the sunshine, the pretty girls, the party vibe. His eyes wander to the PORCH, where --JERRY (CONT'D)76. SUGE KNIGHT is standing, smoking a cigar. And Suge is STARING at Jerry, his expression blank. Almost like he’s studying Jerry. The old man stops smiling, deeply unsettled. Luckily -- DRE APPROACHES SUGE, breaking the big dawg’s gaze. DRE Wuddup, Suge -- You good? SUGE Are you? Off Dre’s confused look -- SUGE (CONT’D) Just figured you might be a bit fucked up after hearin’ Cube’s shit. DRE Fucked up about what? I been bangin’ that shit. D.O.C. Interrupts -- D.O.C. Wuddup, Dre. There’s some bitches up in here, right? ( to Suge) Yo, you take care of that shit for me? SUGE I’m on it. Dre takes notice of the exchange as we --",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PRIORITY RECORDS - BRYAN TURNER’S OFFICE - DAY A74 A74 Cube is standing in Bryan Turner’s office, and we can tell, right off, things are tense. CUBE I’m just tellin’ you what you told me. If Amerikkka’s Most blew up, you’d advance me for the follow-up. That’s what you said. BRYAN TURNER It’s more complicated than that, Cube, there’s metrics -- CUBE Come on, Bryan. I don’t even know what that means. (MORE)77. Man, I got a kid on the way -- and I just bought a house on the strength of what you told me. You gave me your word. Bryan stands up, holds his hands out, tries to soothe -- BRYAN TURNER Cube. Relax. We’re on the same team here. I’m your biggest fan -- CUBE It’s like this shit keeps happenin’ to me, no matter what I do. When people do the work, they should get paid. Why you making it seem like I’m begging for some shit that's technically mine? BRYAN TURNER Of course your not begging -- and I'm not trying to be difficult. Cube glances around at all the GOLD and PLATINUM records adorning the walls in Bryan’s office. CUBE But you can’t help me. That’s what you’re sayin’. Bryan puts his hands in his pockets, hangs his head. The answer is obvious. Cube stares at him a beat, then turns his back, heads out the door -- BRYAN TURNER Cube, wait, Cube, come back --",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PRIORITY RECORDS - BRYAN’S OFFICE - LATER B74 B74 Bryan’s still in his office, grinding through some work. CUBE (O.S.) Shoulda kept your word, Bryan. CUBE and THE LENCH MOB (same dudes we saw at Greene Street) enter, Cube holding a METAL BASEBALL BAT! IN A FLASH, he’s SMASHING THE FUCK OUT OF THE OFFICE. His boys split up, block Bryan, block the doorway -- no one in, no one out. BRYAN TURNER STOP! STOP! WHAT THE FUCK, CUBE!??! CUBE (CONT'D)78. Cube SMASHES the GOLD and PLATINUM RECORDS on the WALLS, the ARTWORK, the GLASS COFFEE TABLE. Pretty much everything else that’s breakable. BRYAN TURNER (CONT’D) FINE! FINE, I’LL GET YOU YOUR MONEY! JUST STOP! But Cube keeps on SMASHING, until there’s nothing left to smash. THE OFFICE IS COMPLETELY DESTROYED. Cube’s out of breath, but he looks pretty exhilarated. He drops the bat on the floor, walks out of the decimated office, followed by the other guys. Bryan remains standing there, speechless, in shock --",FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. AUDIO ACHIEVEMENTS STUDIO - LATER 74 74 Dre, Eazy, Ren and Yella work on their follow-up album. D.O.C.’s here, too, drinking gin, straight, buzzing. IN THE BOOTH, Ren’s recording REAL NIGGAZ... REN ... Prisoner like a hostage. You shoulda covered your muthafuckin’ head like an ostrich. Deep in the dirt cause you a sucka. And your ass up high so I can kick the muthafucka -- Dre watches from the board, uncharacteristically detached. EAZY That’s what I’m talkin’ about. Cube ain’t shit. DRE How you figure? That record’s still the hottest shit out there. YELLA For real. Cube killed it -- EAZY That’s why we gotta go hard at him. We gonna look like some bitches if we just take that shit. D.O.C. Take what? ( beat) I don’t know what the fuck you talkin’ about. I like that shit.79. Yella nods, but Dre doesn’t even respond. Just keeps plodding away on the board as D.O.C. proceeds unsteadily toward the door, bumping into Eazy on the way -- EAZY Man, why you gotta be drunk all the time? Get your shit together. D.O.C. keeps on walking, barking back: D.O.C. Get your own shit together, lil nigga -- As he exits we focus back on the studio. One thing’s clear: no one’s enjoying themselves anymore.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FANCY RESTAURANT - LOS ANGELES - NIGHT 75 75 Eazy enjoys dinner with a lovely, put-together young woman, TOMICA. She’s nobody’s groupie. She’s serious, and smart. TOMICA This place is nice. Wow, I didn't realize this was a real ""date"" date. I thought we were just going out to eat. You bring all your females here? EAZY Only the special ones. ( beat) Actually I’ve never been here before, but I heard it’s good. (Jokingly) High as it is, it better be. He smiles. She laughs affably, shakes her head. TOMICA You know I have a job, right? EAZY Excuse me, Miss Record Executive. TOMICA Executive Assistant . Ya know, you don’t have to impress me. We could’ve went to Fat Burgers. I just like hangin with you. You make me laugh. That’s good enough for me, you know? We can just chill. Eazy nods, knows she’s right. His eyes catch a SEXY WOMAN sashaying past. He SMILES at her, and she SMILES back. 80. He turns back to Tomica, who just saw the whole thing... but she’s not mad. She’s grinning confidently, seen it before, doesn’t sweat stuff like this. TOMICA (CONT’D) Yeah, she had a nice ass. But she might wanna fix those teeth. Eazy laughs. He knows a lot of women, but it’s no wonder Tomica’s his favorite.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DRE’S CAR - COMPTON, CA - NIGHT A76 A76 Dre’s bobbing his head to something dope -- HIS CAR PHONE RINGS. He turns down the music. Answers. DRE (INTO PHONE) Wuddup. In an instant, his face sinks -- He SLAMS the breaks, bangs a U-Turn and SPEEDS TOWARD --",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HOSPITAL - NIGHT B76 B76 Dre’s CAR jumps up to the curb, in a red zone. He doesn’t care. He hops out and runs through the sliding front doors.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOSPITAL ROOM - MOMENTS LATER C76 C76 Dre stands at the bottom edge of the bed, looking down at D.O.C, unconscious, head bandaged, tubes in his face. SUGE stands a few steps away, looking somber, but still filling the room with his bulk. SUGE Doc shouldn’t even be alive. He got thrown from the car-- hit a tree. DRE Goddamn. Is he paralyzed? SUGE Nah. His throat got crushed. Doctor said he’ll never talk right again. DRE Vocal chords? SUGE All fucked up. Career could be in jeopardy (beat). Where’s Eazy and Jerry? Dre takes the moment in. He’s honest about it.81. DRE I don’t know. SUGE Them niggas ain't loyal. Taking they're fuckin' time to come see the man. That’s why I got my people looking into his contracts at Ruthless. Gotta protect what he got left. Suge looks at Dre, clocking his expression. SUGE (CONT’D) What do you think about Jerry? DRE He aiight. I guess. Suge nods. Contemplative. SUGE What about your paperwork? Is it cool? DRE I dunno. I just focus on the music. (beat). Maybe your people could look into my shit too? SUGE Most definitely. I can arrange that. D.O.C. groans and turns in his sleep. Both of his friends look down at him, quietly watching with concern.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PRIORITY RECORDS - CONFERENCE ROOM - DAY 76 76 CUBE sits at the head of a long conference table beside Kim. He looks DIFFERENT now -- shaved head, no more Jheri curls. Bryan Turner emerges from outside the office, CD in hand. He's trying to keep the mood upbeat, though clearly the power dynamic between them has shifted toward Cube’s advantage. BRYAN TURNER Cube, Kim -- Great to see you guys. How’s that new house treating you? KIM The new house is great. Thanks for asking. How's the new office? 82. BRYAN TURNER (making light of it) Great. I never did like the design of the old one anyway. Bryan chuckles and looks over at Cube-- who doesn't seem in the mood for small talk. Cube notices the CD in Bryan's hand. CUBE What you got, Bryan? I know you called me up here for somethin’ . BRYAN TURNER It’s the new NWA record. I wanted to play it for you first, before you heard it anywhere else -- Cube looks at Bryan, confused: Snatches the CD and he's at the CD player before Bryan can blink. BRYAN TURNER (CONT’D) About one minute in -- Cube hits PLAY -- Tracks forward. Then he, Kim and Bryan listen to REAL NIGGAZ on the conference room’s stereo system. DRE (ON TRACK) ... We started out with too much cargo. So I’m glad we got rid of Benedict Arnold. Cube doesn’t say anything, but his face shows his anger. CUBE Benedict Arnold. KIM They're trying to call you some kind of a traitor. CUBE I’m a traitor!? I didn’t say shit about NWA on Amerikkka's Most Wanted! But now they're trying to diss. Okay. CLOSE ON Cube’s eyes, full of fire -- Kim notices Cube building tension. She gently rubs his arm and leans in close to whispers-- KIM Baby, tell me what you're thinking. 83. CUBE I can't wait to get to the mothafuckin' studio!",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RECORDING STUDIO - LOS ANGELES - DAY 77 77 CUBE at the mic, spitting with the most audacious fury we’ve ever seen on the most brutal diss track ever: NO VASELINE. CUBE God DAMN I’m glad y’all set it off. Used to be hard, now you’re just wet and soft. First you was down with the AK. And now I see you on a video with Michel’le . Lookin’ like straight Bozos. I saw it comin’, that’s why I went solo. At the BOARD, JINX looks to THE LENCH MOB in the room -- Oh, shit, this is getting real -- INT OR",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SOMEWHERE IN THE CITY - DAY A78 A78 Dre and D.O.C. sit and listen to NO VASELINE-- with every line D.O.C. makes a different ""dunk face"" indicating how embarrassed he is for his homie Dre. CUBE (ON TRACK) Yella Boy’s on your team so you’re LOSIN’! And yo, Dre? Stick to producin’ . Callin’ me Arnold, but you Been-A-Dick. Eazy saw your ass, and went in it QUICK. As we pan over to Dre, we can see that he kind of digs the creativity and lyrics. He confirms it with a slight smirk and chuckle. Clearly blowing the song off.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JERRY’S LIVING ROOM - DAY 78 78 NO VASELINE CONTINUES over -- Jerry and N.W.A., minus Dre and D.O.C., listen to the track, faces grimaced: CUBE (ON TRACK) Y’all disgrace the C-P-T. ‘Cause you gettin’ fucked out your green by a white boy, with No Vaseline. Ren and Yella slouch in the corner, looking very unhappy. 84. CUBE (ON TRACK) (CONT’D) ... So don’t believe what Ren say, cause he goin out like Kunta Kinte. But I got a whip for ya, Toby; used to be my homie, now you act like you don’t know me -- But Cube has saved the best for last. He unleashes upon EAZY and JERRY, who LISTEN intently, jaws dropped. CUBE (ON TRACK) (CONT’D) You little maggot, Eazy E turned faggot. With your manager, fella, fuckin’ MC Ren, Dr. Dre, and Yella. But if they were smart as me, Eazy E would be hangin’ from a tree. With no vaseline , just a match and a little bit of gasoline. Light 'em up, burn 'em up, flame on. Til that Jheri curl is gone. On a permanent vacation, off the Massa plantation. Heard you both got the same bank account -- Dumb nigga, what you thinkin’ about? Get rid of that Devil real simple: put a bullet in his temple. Cuz you can't be the Nigga 4 Life crew with a white Jew tellin’ you what to do -- Jerry looks absolutely livid, while Eazy just looks caught off guard. Jerry gets up and TURNS OFF the music -- YELLA That shit’s kinda funny. Everybody gives YELLA the look. REN Mothafucka got us! What we gonna do? I got my pen ready to serve that fool. Just say the word. Eazy is still trying to digest the track. JERRY We’ll sue that worthless fuck. Defamation, libel... That anti- Semitic piece of shit, I’m gonna call up my friends at the J.D.L. and we’ll see how he likes that, little bastard. (off Eazy’s despondent look) Eric, come on, we gotta get organized here, we gotta fight -- 85. EAZY Stop it, Jerry. Relax man. Niggas don't know what anti-Semitic means - - It's just a battle rap. JERRY (still hopping mad) I always knew Cube was a rotten human being. And people are gonna know the facts. I’ll make sure of it. I can’t believe you’re not as angry as I am, what’s wrong with you? Didn’t you hear what he said? EAZY I heard it, Jerry. You deal with it your way, I’ll deal with it mine. All we got to do is hit the studio and end this boy career. YELLA I don't know about all that. JERRY Well call Dre and you guys go do it! And Jerry storms out, leaving the crew behind -- REN Damn, E. Who work for who? EAZY Who you see sitting in the big chair mothafucka ?! Eazy re-establishes that he's the top dog at Ruthless. OMITTED 79 79 OMITTED 80 80",FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. JERRY’S HOUSE - FRONT - NIGHT 81 81 Jerry pulls into his driveway, gets out of the car, carrying a bag of groceries, starts walking toward the door. He hears a CAR DOOR SLAM, and he TURNS, sees a gleaming-new EL CAMINO parked across the street. A very large BLACK MAN we haven’t seen before has emerged, and is walking toward him. The Man STOPS about fifteen feet away from Jerry, and stands there, just staring, patiently, ominously. 86. JERRY Help you with something? LARGE MAN This your house? Jerry looks at the Man. Glances up and down the street. There’s nobody around. It couldn’t be quieter. JERRY Who’s asking? LARGE MAN It’s a real nice house. Jerry glances at the front door of the house. Seems to be gauging, in his mind, how long it will take to get there. JERRY Who are you? Are you with Suge Knight? Someone else? Ice Cube? The Man doesn’t answer. Instead, he just gazes upon the house, the lush surrounding lawn, the trees. LARGE MAN Have yourself a good night, Jerry. He makes a hat-tipping gesture to Jerry. Except he’s not wearing a hat. Then he walks back to the car, climbs inside. Jerry watches him go, alarmed --",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOTEL - LOBBY - NEW YORK CITY - DAY 82 82 We are in a HALLWAY adjacent to the AUDITORIUM where a RAP PANEL is about to take place. Find CUBE drifting down the escalator along with THE LENCH MOB, and they’re all decked out in their Lench Mob Gear. Coming up the escalator on the other side, is the rap group ABOVE THE LAW ( ATL), all wearing gear blazing the RUTHLESS RECORDS logo. As the two groups approach each other, they both get QUIET, and their faces pull into angry sneers. The animosity between the two groups is tense, palpable, dangerous. Just as they’re about to PASS each other -- ATL GUY 1 (under his breath) Fuckin' traitor...87. But Cube and his boys heard that shit. CUBE Fuck’d y’all say!? ATL GUY 2 Ruthless , muthafuckas ! AND THEN IT POPS OFF! Some of the ATL CREW hop the escalator divider, others sprint down the other side to attack -- THE LENCH MOB CREW, at the foot of the escalator, they all start BRAWLING like crazy. PUNCHING each other in the face, grappling, cursing -- There’s so many FISTS flying -- such a tangle of BODIES -- it’s hard to tell who’s hitting who. It’s fucking CHAOTIC and UGLY, and it culminates in -- The moving violent mass SMASHING INTO A LARGE GLASS DISPLAY, SHATTERING it. Just then -- A LENCH MOB GUY runs up to a downed an ATL GUY, winds back to kick him while he’s down, but before the kick lands, we -- HARD CUT TO: ARCHIVAL FOOTAGE A83 A83 An OFFICER KICKS the downed RODNEY KING while three other L.A.P.D. OFFICERS (known as the L.A. Four) mercilessly beat the man. We all recognize this as the RODNEY KING BEATING. Raw, gritty, horrific. WE PULL BACK to reveal --",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. AUDIO ACHIEVEMENTS STUDIO - DAY 83 83 The members of NWA (minus Cube, of course) watch the NEWS FOOTAGE while in the studio, finishing up some new TRACKS for their follow-up album NIGGAZ 4 LIFE. DRE Still can’t believe it. It’s like they’re enjoying themselves. EAZY Least they got it on video. LAPD gonna have a real good time on that level 3 prison yard, know what I mean? DRE Yep, we got they asses this time. Tape don't lie.88. The room is over-crowded -- because everyone has an ENTOURAGE. JERRY is also there and he doesn’t look thrilled about it, nor is he happy to see -- SUGE KNIGHT in the room, hovering behind DRE at the Board, accompanied by a very large GERMAN SHEPHERD. Jerry tries to make his way over to Dre, but SUGE blocks his path, and the HUGE DOG stares at Jerry. JERRY Just need a word with Dre -- SUGE It can wait. Let the man work. Jerry looks at the dog, the dog looks back. Stymied, Jerry turns and exits the studio, jaw clenched. After he leaves, Dre sighs. He looks tired, depressed. Totally over it. He PLAYS BACK the track he’s been working on, listens. Tries to feel it. But something’s missing. Irritated, Dre gets up, exits the studio. Suge follows --",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. AUDIO ACHIEVEMENTS STUDIO - PATIO - MOMENTS LATER 84 84 Suge comes out the back door just behind Dre -- SUGE Yo Dre. Hold up. -- gestures for Dre to sit with him at a nearby table. SUGE (CONT’D) I did what you asked. Had my people look into your contracts. Dre’s interest is piqued. SUGE (CONT’D) It ain’t good. Not that I’m surprised or anything. Gotta watch yourself. DRE What you mean by that? Suge pulls out a thick FILE. Places it on the table. SUGE Everything you need to know. It’s all in there. (MORE)89. (off Dre’s sober look) You know I can help you with this. Dre considers a moment... DRE Nah. I got this.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. AUDIO ACHIEVEMENTS STUDIO - THE NEXT NIGHT 85 85 Eazy sits alone in the studio, listening to some NEW TRACKS. It’s late, and there’s nobody else around as -- Dre comes in through the door, holding the FILE from Suge. Eazy notices the file, along with Dre’s nervous energy. EAZY So, what’d you wanna see me about? Sounded all worked up on the phone. Dre sits down across from him, full of purpose, fired up. DRE I know you don’t like hearin’ this shit. But it’s about Jerry. We gotta get rid of that muthafuck -- EAZY Is that seriously the reason you wanted to talk? I thought we were past all that -- DRE I found out some information, Eric. Real shit. I had some people look at this, and I ain’t gettin’ my fair share. Eazy finally turns and looks Dre in the eyes. EAZY You know why you rich, Dre? You know why you live in a big ass house and don't sleep on a couch no more? Do you know why you fuck the finest bitches? That’s Jerry, dude. He broke us through the door. He made this shit happen, and you wanna turn on him just like Cube -- DRE Cube was right, fool! You gotta look at these papers, E. Just look and you’ll see. SUGE (CONT'D) (MORE)90. We made it because our shit is dope, Eric, not because of Jerry. We can keep going and own the goddamn world, we just can’t be fuckin’ with him no more. Eazy just shakes his head, turns back to the Board. Dre looks pained. Can’t believe he can’t get through. DRE (CONT’D) Dude. We go back a long, long way. You and me. We started this NWA shit. I just want it to be right. EAZY You think that’s right, turning your back on somebody? After all he’s done for us? DRE You mean all he’s done for you. Eazy doesn’t say anything. Dre stands up -- DRE (CONT’D) Look at me, man. Why won’t you look at me? It’s like I don’t mean shit to you. Like I never meant shit. Eazy won’t look at Dre, shrugs. Cruelest shrug you ever saw. Dre looks hollowed out by it. DRE (CONT’D) Thought you were my brother. EAZY Thought you were mine, too. Dre walks out the door -- SLAMS it so hard, the walls shake. A platinum NWA record slides off the wall, breaks on the floor. Eazy FLINCHES, even though he wishes he didn’t. OMITTED A86 A86",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. AUDIO ACHIEVEMENTS STUDIO - DAY B86 B86 Ren and Yella enter to find Eazy on the mixing board, more than a little out of his element. They look at one another, confused -- Clearly, something’s up. REN Everything cool, E?DRE (CONT'D)91. No response. Eazy just keeps poking around on the board... YELLA Yo where Dre at anyway -- EAZY Man, fuck Dre. They’ve finally got Eazy’s undivided but heated attention. YELLA Whatchu mean? EAZY Why don’t y’all ask him. REN Fuck you talkin’ about? He comin’ or not -- EAZY That nigga quit. So nah, he ain’t comin’. But fuck it, we gonna keep this shit movin’. Don’t need that punk anyway... Disbelief washes across Ren and Yella’s faces as we --",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAN AM STUDIOS - DAY C86 C86 Suge grits on a cigar sitting next to Dre who’s at the mixing board working on the track to “ Deep Cover” . SUGE This shit sounds good. DRE None of this means anything, while I'm under contract with Ruthless. SUGE Don’t worry about that. I promise you that I’ll get you out of your contracts. Dre gets back to the work at hand as -- Warren G and SNOOP DOGG burst into the studio. Snoop Dog is dressed head to toe in blue. SNOOP What’s up, Cuz. 92. Snoop greets everyone around the room pounding each and every person. To the surprise and dismay to the room full of bloods especially Suge Knight. SUGE Yo who the fuck’s this, Warren? WARREN G My bad. SNOOP Snoop Doggy Dog, Cuz. Who are you? The Bloods around the room are tripping on Snoop. Before it escalates, Dre gets up, greets Snoop properly. DRE Glad y’all came by. Your demo was tight. SNOOP Thanks, Dre. DRE Well listen, I’m workin’ on a track for this movie called “Deep Cover.” I want you to get down on it. SNOOP For real? Dre smiles back at Snoop: Yup, for real . SNOOP (CONT’D) Oh hell yeah... Snoop walks into the booth, puts on some headphone’s as we --",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. EAZY’S HOUSE - NIGHT 86 86 The PHONE RINGS. Eazy answers -- EAZY Hello? SUGE (FILTERED) We need to talk about them contracts. EAZY Talk to Jerry.93. SUGE (FILTERED) Don’t wanna talk to Jerry. It’s your company. You’re the man. Eazy doesn’t say a word, considering, deeply conflicted. SUGE (FILTERED) (CONT’D) Come by the studio. We’ll be here all night. Just workin’. We just wanna squash this. Make it right for you.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. S.O.L.A.R . STUDIOS - LOS ANGELES - LATE NIGHT 87 87 Parked across the street, Eazy looks at the building, not happy about it. Enemy territory. He opens up his STASH BOX in a hidden panel below the radio. There’s a PISTOL inside. He reaches in, puts his hand around it. Hesitates, hearing -- A DISTANT POLICE SIREN. Pulls his hand away, leaves the piece. He hops out of the car, walks toward --",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. S.O.L.A.R . STUDIOS - STUDIO - MINUTES LATER 88 88 Eazy enters the Studio, sees only SUGE sitting there, smoking a cigar, petting his DOG. He comes further into the room, peeks around, looking for -- EAZY Where the hell is Dre? You said he’d be here -- SUGE Don’t worry about Dre. ( beat) Truth be told, he ain’t got nothing to do with this right here. Suge pulls out a sheaf of papers, and a pen. SUGE (CONT’D) Here’s what’s gonna happen. You’re gonna sign these. Releasing Dre and The D.O.C. from Ruthless. EAZY Whatever homie. You think I’m signing that shit, you crazier then I thought. I’m out -- Eazy just laughs, heads for the door. But before he gets there, it OPENS, revealing -- A LARGE DUDE wearing Blood-Red. He enters the studio, crosses his arms. A massive barrier. 94. SUGE Naw. I think you gonna stay awhile. SLAM! Eazy SPINS to see TWO MORE BLOODS entering through a side door. One of them holds a metal BASEBALL BAT. The other has a SHOTGUN dangling at his side. Eazy now realizes he’s just walked into a straight-up buzz- saw. But he shows no fear. He puffs his chest out. EAZY Fuck you, Suge. I ain't scared of none you niggas, cuzz! Suge just stares at Eazy a long uncomfortable while. SUGE You can talk tough all you want-- but this ain't no record. (heart attack serious) Don’t make me change you, Eric Wright. EAZY The fuck is that supposed to mean? SUGE These niggas will take something from you that you can't get back. BLOOD Just let me murder this Crab, Suge. Suge stands, eyes cold, black, as the THUGS moves behind Eazy. SUGE Naw. That's too easy. (to Eazy) I got a whole night planned for you if you don't sign them release forms. Eazy’s eyes shoot to the Blood, back to Suge. SUGE (CONT’D) It could happen quick, Eric. Or it could take a long, long time. You better choose right. Because you know where I come from. This Bompton nigga! EAZY’S FACE can’t hide his fear anymore. Or his anger. 95. EAZY (so quiet, to himself) Dirty mothafucka ... WHAP! A large HAND falls on Eazy’s SHOULDER -- pushing him hard down in a chair.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. JERRY’S HOUSE - BACK YARD - LATER 89 89 Eazy sits slumped in a chair, drinking a beer next to the pool. His eyes look hard, flat, broken somehow -- CLICK! THERE’S A GUN TO HIS HEAD, revealing -- JERRY, in his BATHROBE looking freaked out, holding the gun. He immediately LOWERS it. JERRY Jesus Christ, Eric. You can’t just... I thought you were -- But Eazy isn’t rattled at all. He just sits there, blank. JERRY (CONT’D) Are yo okay? Eric. Why don’t we go inside? All right? Come on... Jerry helps Eazy out of the chair, ushering him into --",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JERRY’S HOUSE - KITCHEN - MOMENTS LATER 90 90 Eazy follows Jerry into the kitchen as Jerry pulls some leftovers from the fridge. Slides them over to Eazy. But Eazy isn’t interested. Instead, he pulls out a bag of weed. Rolls a joint, lights it. Takes a long drag -- Exhales a lot more than just smoke... JERRY Hey. You gotta tell me what’s going on. I can tell when something’s -- Eazy leans on the counter. Finally looks at Jerry. EAZY I gotta kill that mothafucka , Suge. I just wanted you to know that shit’s about to get thick around here. JERRY You’re not gonna do that. EAZY I didn't come over here to ask you - - I came to tell you. (MORE)96. You the one that wanted to be down with this gangsta shit. So here we go. JERRY You do that, it’s gonna ruin everything we’ve built -- Eazy suddenly SNAPS into intense anger -- EAZY I have to do it! This is the streets, muthafucka ! I don’t have a choice! He came at me! He came at us. We don’t hit back, it’s over! Done! Put a fork in this shit! Jerry closes his eyes, takes a breath. Tries to keep his tone relaxed, so that he can, in turn, relax Eazy. JERRY Eric. Listen to me. I never said we won’t hit back. But this isn’t Compton. We don’t hit back with bullets. We do it with lawyers. We drain those assholes. Eazy calms down a little bit. EAZY I don’t care about the money, Jerry. Ain’t about the money. Jerry puts a fatherly hand on Eazy’s shoulder. Looks at him. JERRY Of course it is. You’re smarter than those criminals. You wanna kill somebody? Then you’ll be in prison, forever. No more family. No more Ruthless. No more anything. Eazy stares back at Jerry. JERRY (CONT’D) If you kill this man. His problems are over and yours are just beginning -- Lets hit 'em where it really hurts. Eazy is more conflicted then ever before --EAZY (CONT'D)97.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. EAZY’S HOUSE - STAIRS TO BEDROOM - NIGHT 91 91 Through the darkness we see movement. It’s Eazy. He moves in a slow and laborious fashion as he enters -- THE BEDROOM where Tomica sleeps in their bed, safely tangled in sheets. Eazy doesn’t even bother shedding his clothes. Simply slumps closer, sliding quietly under the covers. Without a word, she wraps Eazy in an embrace.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CUBE’S HOUSE - BACK YARD/POOL - DAY A92 A92 Kim looks on as the CNN CREW's CAMERAS FILM CUBE in the midst of a tense INTERVIEW -- A JOURNALIST peppers him with questions: JOURNALIST Are you Anti-Semitic? CUBE What? I thought this interview was about the Rodney King trial? JOURNALIST The J.D.L. has recently gotten involved, saying that the lyrics regarding your former manager Jerry Heller -- But Cube’s too smart to fall for this crap. CUBE I’m not Anti-Semitic. I'm Anti- Jerry Heller. Let me ask you a question -- do they condone Jerry's behavior when it comes to my situation? Him trying to get me to sign a contract without legal representation? JOURNALIST I have no idea. CUBE Well, you get me that answer and then we can continue on this topic. Until then, let's talk about the beating of an unarmed motorist -- Rodney King and the trial of 4 guilty L.A.P.D. Officers who seem to be Darryl Gates' standard issue - -98. JOURNALIST But it isn’t just the Jewish community. The Korean grocer community have also accused you of racism, mostly because of your song “Black Korea” -- CUBE Come on, man. That don’t even make no sense. Black Korea is just a warning. That's it. I’m a journalist , just like you! Reporting on what’s going on in the hood. But the difference is that I’m brutally honest about it. Cause sugar coating will get you diabetes. A couple of members of the Nation of Islam are quietly seen in the background as the journalist struggles, tries to gain a foothold -- JOURNALIST What’s your relationship with the Nation of Islam? Cube just smiles, shakes his head. CUBE There my brothers. That question alone just proves how unprepared of a ""sandbag reporter"" you really are. You wanna talk about Anti- Semitism? Then it’s “Black Korea,” and now you wanna talk about the Nation of Islam? Seriously, man. What's your agenda? You can't focus on one thing? Ask me something interesting. I'm not an elected official. I'm an artist. You haven't asked me one damn question about music. I'm America's conscience. I represent the good, the bad and the ugly. What you represent?",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DRE’S HOUSE - LIVING ROOM - DAY 92 92 The massive room’s focal point is a BASIC STUDIO SETUP: SSL, some turntables, a mic, some keyboards, a tower of speakers. SUPERIMPOSE: SIX MONTHS LATER99. Dre sits in the epicenter of it all, motionless, lost. It’s the first time we’ve seen him anywhere near a soundboard and not creating on it. He just stares into the nothingness -- A TAP ON GLASS alerts us to SNOOP, Warren G and DOC (small scare on DOC's neck) outside. Dre stands. Opens the window. DRE What you fools doin’ out here? WARREN G Watching you daydream for the last five minutes. DOC (raspy voice) Looking stupid as a mothafucka . SNOOP Come take a ride with us Dr. Dre. You gotta get out this house, Cuz and get your mind right.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DRE’S CAR - LOS ANGELES - MINUTES LATER Snoop at the wheel, they ride listening to ATOMIC DOG by George Clinton. Snoop’s at the wheel, smoking a JOINT (surprise), Dre shotgun, Warren G and D.O.C. in the back. SNOOP What you so tense for, Cuz? DRE I’m cool. WARREN G No you not. You been up in that house for a month now, and not one track? Wassup, what’s wrong? DRE First time in my life, I feel like I’m forcin’ it. WARREN G Why? DRE Too much outside interference -- Eazy and Jerry tryin’ to starve me out. Playin’ games with my money. Tryin’ to get me back in there on my hands and knees --100. SNOOP Is that why you ain’t got no furniture? Snoop holds out the jay. SNOOP (CONT’D) This shit’ll chill you out. DRE Nah, that ain’t me. I'm good. WARREN G Come on, big bro. Loosen up. DRE (reconsidering) Fuck it, gimme that shit. Dre takes a deep pull, holding it in before COUGHING out a massive cloud. They all laugh. And Dre takes another hit. An even bigger one. DRE (CONT’D) Wow. What is in this shit? SNOOP That shit right there? That’s the Chronic. Dre TURNS UP the music. SNOOP (CONT’D) You never smoked before? DRE No. I can feel it in my nuts, man. Is that normal? Dre finds himself laughing with the guys as they cruise on...",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DRE’S HOUSE - LIVING ROOM - DAY 94 94 Dre’s behind the SSL, listening to a rhythm based on Leon Heywood’s I’M GONNA DO SOMETHING FREAKY TO YOU. Warren G, Snoop, and D.O.C are in different corners of the room. Smoke floats over Snoop’s head like a halo. The vibe is positive and laid back, but as we look at Dre’s face we can tell what he’s thinking: something’s missing. Dre turns to the MOOG Keyboard situated on the side of the board and starts noodling with a melody. It’s almost familiar. But not quite.101. Then he hits it: Da do dee dah dee dah dah dee do deee... Just like that, we’ve witnessed the birth of AIN’T NUTHIN’ BUT A G THANG. SNOOP Oh shit. Keep playing that. Dre does the same ten notes -- That’s it! It’s G THANG. SNOOP (CONT’D) (freestyling ) One. Two. Three into the Four. Snoop Doggy Dogg and Dr. Dre is at the door... (rap continues) Just like that, musical history is being created.",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. JERRY’S HOUSE - BACK YARD - DAY 95 95 Tapdancing for a slightly fatigued Eazy, Jerry tries hard to convince him that -- JERRY We’re about to get back into the game in a big way, Eric -- EAZY Yeah? How you figure? JERRY Are you just trying to insult me? Eazy stares back at Jerry, like indulge me . JERRY (CONT’D) Did you forget about Ren’s album? Or the fact that you’re working on an album that I believe is gonna be bigger than anything NWA ever -- EAZY Do you really believe that bullshit? All I know is Cube’s doin’ big things, makin’ movies and shit. And I keep hearin’ about this album Dre workin’ on -- JERRY Dre’s a fuckin’ producer, Eric! Producer’s don’t rap! It’s never gonna work! Period!102. OMITTED 96 96 OMITTED 97 97 OMITTED 98pt1 98pt1 I/E. DRE’S HOUSE - BEDROOM TO BACKYARD - DAY 98 98 The MUSIC IS BUMPIN'! There’s a party going on somewhere in this house, but not in this room. We're close up on a pair of blue Chuck Taylors with a pair Dickies and boxers draped on them. As we pull back, we realize that some LUCKY BASTARD is GETTING HEAD from a SEXY WOMAN with nice curves. As we pull back further, we can't even see who the Lucky Bastard is because another AMAZING FEMALE is sitting on his face, MOANING and smoking a blunt. Just as we attempt to register what's going on -- We track another SPECTACULAR FEMALE in a two-piece bikini. She grabs the blunt from her, hits it and walks out to the balcony. She blows out the smoke and passes it to one of the HOMIES who's already rolling up more blunts from the pound of weed sitting on the table in front of him. From there we crane down, passing the DJ rig on the second floor balcony. Even the DJ has GIRLS around him, a blunt in his mouth, and a drink in his hand. We crane down further to the bottom floor where MORE GIRLS in BIKINIS get sprayed by GUYS with SUPER SOAKERS and CHAMPAGNE BOTTLES. It’s an impromptu ""wet T-shirt"" contest. As we pull back across the pool, a few more TOPLESS GIRLS jump in and we realize we're at one of those famous Dr. Dre/Death Row pool parties. People everywhere. Sex in the air. Freezer-bags stuffed with high-grade weed are being passed out to everybody by Snoop Dogg himself. We catch a glimpse of two nice looking LADIES walking over to the bar. We will come to know one of them as NICOLE. But first-- IN THE GAZEBO, we find Dre smoking a blunt and playing DOMINOES with D.O.C., laughing, blowing off some much-needed steam. Until -- Dre’s eyes settle on Nicole, who’s different from the rest. She’s not drunk, or dancing, or flirting. She’s beautiful, but in an understated way. When her friend gets up and walks away, Nicole turns, like she senses Dre’s gaze. Looks right at him, with clear, bright, but wary eyes. He heads over --103. DRE You look like you're ready to go. NICOLE (smiles) I'm just waiting on my friend. I knew I should've drove. DRE You're not having fun? NICOLE Oh no, it was fun. I had a lot of fun. But now it's starting to get a little wild. DRE Yeah, it does get crazy around here sometimes. (extending his hand) Hi, I’m Andre. WOMAN (NICOLE) I know. (shaking his hand) I’m Nicole. DRE Hey Nicole, why don’t you come over here with me and kick it for a while til your friend gets back. She considers a moment. Then -- NICOLE I don't know, maybe another time and another place. But not now. And with that, a visibly tipsy Warren G walks over, trying to dump some USED COALS out of a kettle-style GRILL -- WARREN G Yo Dre, we're can I dump this shit? DRE Do it look like I give a fuck right now? Can't you see I'm tryin’ to make a Love Connection? NICOLE No, he's trying make a friend connection.104. WARREN G Aiight, regulate that shit! Warren G staggers off with the hot coals. They smile at Warren's walk off. DRE A friend connection? NICOLE Speaking of friends, I need to go find mine before she gets too lost. DRE You want me to help you? NICOLE No, seems like you need to get back to your game. I'll talk to you later. She gets up and heads off leaving Dre with a big smile on his face. As she goes -- DRE I'mma find you, Nicole! She turns. Smiles back. Disappears into the party. But it’s clear he’s crushing hard on this girl. PATIO - MOMENTS LATER 99 99 The PARTY is still going strong but we see some underlying tension developing. On one side, we have SNOOP’S CREW -- many of them straight-up Long Beach Rollin 20's CRIPS. While Suge’s crew, on the other side, are various Compton BLOODS. SNOOP is FREESTYLING for a small GROUP gathered around him, blowing all their minds -- SNOOP FREESTYLE TBD... Snoop STOPS mid-flow, and STARES, wide-eyed, at the HOUSE -- SNOOP (CONT’D) What the fuhhhh -- Everyone TURNS! GIRLS IMMEDIATELY START SCREAMING because -- DRE’S HOUSE IS ON FIRE! Huge orange FLAMES lick up the siding, spreading quickly. BLACK SMOKE pours into the sky!105. Everybody SCATTERS, tripping over each other, falling on the lawn, because let’s not forget everyone is WASTED. Find DRE, watching the flames, almost hypnotized by them, because it doesn’t seem real. Warren G staggers up beside him, watching on, eyes like saucers. WARREN G Your house is on fire. DRE Yeah. (beat) Shit’s crazy, right. WARREN G Maybe I shouldn't have thrown them coals in the trash. Dre suddenly snaps out of it. Because -- DRE MY FUCKIN’ MASTERS! Against all logic, Dre storms INTO THE BURNING HOUSE as the SOUNDS of DISTANT SIRENS ring out --",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAN AM STUDIOS - OFFICE - DAY 100 100 Dre and Suge talk in a corner of the studio. Voices low. DRE What do you mean that everyone is passing on this record? SUGE What do you think? Dre shakes his head. SUGE (CONT’D) They all turned it down. “Too many live instruments. It’s not hip- hop.” DRE It’s not hip-hop? Shit, it's the future. Ain't no more money in sampling everythang. SUGE This guy has a lot of money. This is the only shot we got. DRE Okay, shoot. 106. As they walk to the other side of the studio we WIDEN TO REVEAL JIMMY IOVINE. He’s older and white, wearing glasses with a baseball cap pulled low over his eyes. JIMMY (extends his hand) Jimmy Iovine. Interscope Records. It’s nice to meet you. Dre or Dr Dre. What should I call you? DRE Dre’s cool. How are you doing? I heard John McClain gave you my album. What did you think? Jimmy smiles. JIMMY IOVINE I think it was great. (beat) So, you’re the artist on this record. Who produced it? DRE I did. JIMMY IOVINE Who engineered it? DRE I did. JIMMY IOVINE Listen. I don’t know anything about hip hop. And to be honest with you, I don’t necessarily care for it. But I know this is special. The word special resonates with Dre. He nods. DRE Thank you. SUGE We'd love to bring it to Interscope . But there’s a problem. JIMMY IOVINE What’s the problem? SUGE Ruthless. Lawsuits. (beat) Contracts. 107. JIMMY IOVINE How about this. Give me three weeks. But I don’t want to hear any bullshit about you shopping it anywhere else. If you do that. I believe I can get you out of this mess. Sound good? Suge smiles.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LOS ANGELES - DAY 101 101 A sprawling city of orphans, calm before the storm. SUPERIMPOSE: APRIL 29, 1992 JERRY (PRE-LAP) Eazy. You may wanna see this.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JERRY’S HOUSE - LIVING ROOM - CONTINUOUS 102 102 Jerry turns the volume up as Eazy plops down on the couch beside him -- TOM BROKAW (V.O.) ... a stunning verdict of “not guilty” for the L.A. Four today in Simi Valley... PUSH IN CLOSE ON EAZY, seeing the verdict. JERRY (O.S.) Sorry... EAZY Sorry? We all ought to be sorry... (then) We had them on tape -- we had their asses on tape. Eazy continues to watch, pained and perplexed, as we see --",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SOUTH CENTRAL - STREETS - DAY Cube drives through SOUTH CENTRAL in the epicenter of the unfolding RIOTS. Looting stores. Burning buildings. He drives by GRAFFITI TAGS, many of which say FUCK THA POLICE. He sees a CRIP and a BLOOD, tying their RED and BLUE bandanas together in front of one such tag : a SYMBOL of the GANG TRUCE. NEARBY, crowds of young people CHANT:108. CROWD No justice, no peace! Everybody say, fuck the police! No justice, no peace! Everybody say, fuck the police! A very proud Cube watches. His own words turned into a unifying slogan for the riots. And we see -- ARCHIVAL NEWS FOOTAGE 103 103 Of the riots -- angry, violent. Years upon years worth of rage unleashed in a three day period. Marshall Law. Police brutality. Race hatred. The worst of humanity. OMITTED 104 104",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SOUTH CENTRAL - CRENSHAW BOULEVARD - DAY 105 105 Calm now, we behold a virtual wasteland of smoldering cars and buildings. Shell-shocked, CITIZENS wander around, trying to make their neighborhood livable again as -- A ‘64 IMPALA rolls down the boulevard. Dre, Snoop, D.O.C. and Warren G silently observe the damage, shell-shocked.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SUNSET BLVD - NIGHT 106 106 Eazy cruises down Sunset. He looks older, more anguished. SUPERIMPOSE: ONE YEAR LATER He passes by TOWER RECORDS where a massive mural of THE CHRONIC cover art fills up the entire side of the building. Eazy beholds it with a confluence of admiration and envy. As the bite of that really starts to sting, Eazy looks -- ACROSS THE STREET, he spots a BILLBOARD for Cube’s movie, BOYZ N THA HOOD. Cube is front and center, alongside CUBA GOODING JR. Eazy can’t believe it as we --",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. EAZY’S HOUSE - LIVING ROOM - NIGHT 107 107 Times are hard. Eazy’s not ballin’ like he was. Surrounded by MOVING BOXES and basic studio equipment, a few HOMIES do their thing on the board, the makings of NEIGHBORHOOD SNIPER playing, as Eazy, Ren and Yella huddle over -- THREE HUGE, ONE-POUND BAGS OF WEED sit on the coffee table. They divide them into smaller BAGS. 109. YELLA So all this weed. It’s for your Ruthless artists? EAZY Havin’ some cash flow problems. They can smoke it, they can sell it, I don’t care. As long as it keeps 'em off my back for a minute. YELLA Maybe you should think about diversifying into my kinda shit. There’s money in there, too. Eazy laughs, shakes his head. EAZY What, makin’ pornos? No thanks, man. That’s your thing. I’ll stick with this music shit. Once my new album right here’s done, I’mma be fine -- Eazy starts COUGHING. It doesn’t sound great. REN You all right, man? EAZY Yeah. Just tired. All this shit, downsizin’ to a new crib, just weighin’ on me. I’ll figure it out though. I always do. JERRY (O.S.) Eric -- Jerry enters. Approaches Eazy. JERRY (CONT’D) Can you come by my office? I need you to sign some checks -- But Eazy doesn’t even look up at Jerry. EAZY I’ll come when I can, Jerry. JERRY Eric -- But Eazy just keeps ignoring him. Annoyed, Jerry exits -- 110.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DEATH ROW RECORDS - LOS ANGELES - DAY 108 108 Death Row’s a thriving office space, especially in contrast to Ruthless. A few DOPE CARS sit parked out front as -- Dre SCREECHES up in his brand-new, WHITE FERRARI TESTAROSA -- Suge’s just behind him in a RED MERCEDES SL AMG CONVERTIBLE. A car is parked in Suge’s parking space. Suge blocks the car in. Suge’s Goons wait for him to exit his car. Dre and Suge hop out, ALL EYES ON THEM -- DRE Man, this is just the beginning... We’re building an empire. Dre LAUGHS as ... Suge storms off, flanked by his GOONS, bee-lining for the EMPLOYEE’S. He grabs the Employee by the collar and hauls him out of his car to his feet. SUGE You’re in my spot! The Employee just gapes at Suge, speechless... DRE Suge, it’s cool -- Suge shakes the Employee like a rag doll... SUGE Did you park in my muthafuckin' parking space or not? EMPLOYEE I didn’t know, I -- Suge pulls out a PISTOL and CRACKS the Employee across the face with it, blood gushing from his nose -- Startled, Dre shoots to a stand. What the fuck!? Even more so when Suge drags the bleeding Employee across the parking lot before tossing him against a car. Suge give the guy his keys. SUGE Now move yo' piece of shit and park my car. Wow... The guy is scared and confused at Suge's ""power drunk"" request. He slowly takes the keys.111. SUGE (CONT’D) -- And I bet not see one drop of blood in that mothafucka . And everyone watches in utter silence as Suge spins and struts into Death Row Records brand new offices. LOUD SILENCE. Off Dre, disturbed by Suge’s violent display. OMITTED 109 109 OMITTED 110 110",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CUBE’S HOUSE - LOS ANGELES - NIGHT 111 111 Cube sits in the living room, watching basketball, and doing something we haven’t seen before: WRITING A SCREENPLAY. Kim walks through, visibly PREGNANT, holding SHEA (1). Hands Cube a beer. He reaches for her, kisses her belly as their toddler, DARRELL (3), runs in. Hops up on Cube’s lap. CUBE Hey Darrell. What you been doing? -- playin’ with Shea? Darrell nods as Kim picks up the remote, starts FLIPPING channels. She STOPS when it lands on THE BOX, which just happens to be playing NWA’s STRAIGHT OUTTA COMPTON. Cube watches for a bit, lost in thought -- KIM Look how young you guys look. Cube looks for a moment -- shakes his head, in disbelief. CUBE Damn... We left some good records on the table... Kim walks closer-- rubs his shoulders lovingly... KIM Well-- ain't nobody burnt down the table did they? Ever thought about getting back together? CUBE All the time. But we've been feuding for so long. It might be ""ON"" on sight when we see each other. I really don't know.112. KIM That's a shame. It's terrible how money tears us apart. CUBE Yeah-- When it should be bring us together. Somebody always wants more then they're suppose to get. As that's when shit get funky. She nods in agreement -- as he continues working on his script. A movie called ""FRIDAY"".",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. NICE RESTAURANT - LOS ANGELES - NIGHT 112 112 Dre’s having dinner with NICOLE -- the woman who rejected him at his party. Even though they’re both clearly feeling this. DRE Aren’t you glad I tracked you down? NICOLE I wasn’t exactly hiding. They both chuckle. DRE So wassup, you been havin’ good time? NICOLE Yeah... Why? DRE Well I mean, I like comin’ over your place, but you know, your neighbors be complainin’ about “the noise” -- Nicole smiles, shoos Dre. He smiles at her, mesmerized. God damn this girl is special . He fills up their champagne. DRE (CONT’D) I think a little more privacy would be better. NICOLE So what, you want me to move? DRE Yeah, maybe. I know of a perfect spot. Plenty of room, and I know the owner.113. Nicole finally gets what Dre’s saying. Smiles. NICOLE After a few months, you sure you’re ready for that, Andre? DRE Yeah. I’m really feelin’ you like that. NICOLE I’m feelin’ you too, but... Nicole considers, conflicted. Dre can’t stand it any longer. DRE Hey you know what, don’t worry about it right now. Was just a thought... Dre drinks his glass of champagne down. DRE (CONT’D) Listen, I don’t mean to change the temperature in here. But it had to be crazy, bein’ married to a Laker. NICOLE Wasn’t what I’d call a good fit. It got crazy once we moved to L.A. I definitely went through some unnecessary shit when he started acting like an asshole. But I have a beautiful son and all that other nonsense is behind me now. DRE Look, no offense, but I’m a little glad he was an asshole. (raising his glass) His loss is my gain. To assholes. NICOLE (playfully) Chin-chin. They share a laugh as Nicole raises her glass -- CLINK. Dre downs his glass as we --",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. NICOLE’S APARTMENT - WESTWOOD - LATER 113 113 Dre walks Nicole to her door, and pretty soon they’re kissing. It’s nice, but after a bit, she pulls away. 114. NICOLE All right -- Good night. Dre looks surprised. DRE Really? Good night? NICOLE Are you okay to drive? DRE No. They both laugh. NICOLE Good night, Andre. DRE See, I can’t help thinkin’ , maybe you want me to come inside... NICOLE Of course I do. DRE So what’s different now? NICOLE I got a lot of things to think about. (beat) You’re asking me to move in... That’s a big step. I like you, Andre. But there’s a lot going on around you. DRE What do you mean? NICOLE I read the papers. I’m not stupid. I know about the whole Death Row business, the assault charges, the shooting... Just seems dangerous. My son’s my world. DRE But I thought we been havin fun. 115. NICOLE Fun is fun, Andre. But I refuse to walk away from one crazy life into another. She kisses him on the cheek. NICOLE (CONT’D) I’ll a call you. Nicole turns, walks into the building, leaving Dre standing there, embarrassed, angered. Head full of steam, he stumbles back, hops into his --",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DEATH ROW RECORDS - HALLWAY - NIGHT 113A 113A Dre walks into Death Row feeling the sting of Nicole’s words still reverberating in his head as -- We reveal two pitbulls snarling and lunging at each other being restrained by heavy duty chains. The screams and yells of a betting crowd of Bloods permeate the hallway as we see the Death Row signature electric chair squarely at the end. A guy walking a pitbull on a hain moves pass the screaming Bloods and howling dogs runs into Dre. GUY WITH DOG Dre, you want to put some money on this red nose? DRE (A little dazed and confused) Nah man, I’m good. The rowdy circle of betters grow more and more boisterous as the pitbulls are about to get it on. DRE (CONT’D) Where's Pac at? GUY WITH DOG Studio A...",FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DEATH ROW RECORDS STUDIO A - CONTINUOUS 113B 113B We hear 2Pac's iconic verse from ""Hail Mary"" as Dre enters the studio as the dog fight starts back in the hallway to reveal -- The control room of Studio A is in complete chaos. Bottles everywhere along with blunt smoke, Homies and Hoodrats . TUPAC is in the recording booth spitting out lyrics. 116. He's made an alter around him with lyric sheet stands -- each stand has 2 to 3 notebooks full of raps on it. When they notice Dre, the engineer stops the track. Dre pushes the talk-back button and looks at Tupac through the glass. DRE Wha’up Pac? TUPAC Oh shit! Wha’up Dre... I’m about to hit niggas in the mouth with this new album. Suge said you got some heat for a nigga. DRE Nigga what? I do...guess who I worked with last night. TUPAC Who dat? Dre hands a CD to the engineer --- DRE Roger fuckin’ Troutman . Man this shit is fire. Wait til you hear it. TUPAC Oh! OK what you thinking about calling it? DRE I’m thinking about calling it California love. Dre looks at the engineer --- DRE (CONT’D) Press play California Love screams out the speakers... we hear the iconic first few bars with Roger Troutman’s signature voice singing, California Love. We hear the sound of what seems like muffled gunshots coming from another room. Pop. Pop. Pop. Everyone is like what the fuck. This doesn't sit well with Dre. He exits to see what’s up.117.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DEATH ROW CONFERENCE ROOM - NIGHT 113C 113C We reveal a pitbull snarling at an emasculated poor bastard that is on the floor all bloody, in his underwear holding a glass of champagne. The pitbull continues to lunge at his face looking to rip his soul out. WE REVEAL Suge smoking a big cigar and laughing. He's at the center of a room full of Bloods and hoodrats plus Blood #1, Goon Girl and Goon #1, all intently watching the last moments of this emasculated homeboys toast. Dre opens the door at the far end of the room not expecting to see this spectacle. There's several blown holes in the wall where the gun shots were fired just above the cowering man’s head. DRE What the fuck y’all doin? SUGE (drunk with power) Yo Dre, you just in time. Watch this. Get up! (To the Poor Bastard) You know what to do. Bruised and bloody with one eye closed shut, the Poor Bastard raises the glass with a shaky hand and a quivering voice. Pit bull continues to stand at attention. POOR BASTARD I'd like to make a toast... Everyone in the room holds up their champagne glasses. Dre can't believe his eyes. There's even two (plain clothes) off duty COPS there with badges and gun holsters -- glasses raised high. POOR BASTARD (CONT’D) ...to Death Row Records... ROOM To Death Row... GOON GIRL (clowning him) May the west coast reign forever. POOR BASTARD (scared) May the west coast reign forever. BLOOD#1 What else!?118. POOR BASTARD I'd like to make a toast to Suge. For making this all happen. SUGE Don't forget to toast Dr. Dre. you little bitch ass mothafucka ! The Poor Bastard looks over at Dre. DRE (frustrated) Hold the fuck up! Put cha' glasses down. Put your fuckin clothes on. What the fuck is going on around here?! Seriously, what's going on?! Suge approaches Dre puts his hand on his shoulder. DRE (CONT’D) (to Suge) Nah Nah... (to Room) What the fuck is this shit. Is this why we got money? To act like we ain't got no god damn sense?! We could of did all this kind of dumb shit back in Compton! (to the room) This what you muthafuckas turned into!? Seriously! SUGE Its okay, Dre. The Cop #2 is on the couch with some street girls holding a champagne glass in her hand looks at Dre then over to Suge, who's laughing. DRE This shit is stupid! Do ya'll know what it took for us to get here. Do y’all know what you doin’? Y’all fuckin' it up! Y’all fucking it up! (to off duty cops) And what the fuck ya’ll doing here?! Cop raises the glass. DRE (CONT’D) Really, ok...119. SUGE (laughing) Who fuckin' shit up! You trippin. We can do anything we want to do. We started this shit. This is us. DRE Nah, Nigga. Death Row is us. (pointing around) This other shit -- is you! Suge’s Goons get in position. GOON #1 Better watch ya mouth, Blood. DRE ’Tha fuck you talking too? GOON #2 (dismissive) Nigga, you ain't nothing but a producer around here. DRE What the fuck?!!! This sends Dre into orbit. He goes after Blood #1. The whole conference room jumps in between them -- keeping these two human pit bulls from scrappin' . Everybody jumps but Suge who amused by the whole thing -- puffs on his cigar. Dre is being held back by the Off Duties. While Goon #1 is being held back by Goon #2 and a few others. World War III averted for now. DRE (CONT’D) Get the fuck off me. Dre breaks free and storms out. SUGE Man don’t even trip off this muthafucka . What he going to do? Where he going to go? TESTAROSA 113pt2 113pt2 And just sits there, seething. Reaches in the back seat, grabs a bottle of Hennessey . Takes a swig... Then -- A sudden look of determination washes over him. He TEARS out into the street, tires SQUEALING -- ERRRR!120. PASSING CARS, swerving, Dre punches the gas, RPMs maxed out. Shifts, flying through an intersection -- the needle passes 100mph. Keeps going, loving the release, the control... A POLICE CRUISER, coming the opposite direction, spots Dre’s Testarosa -- In a flash, they bang a U-turn, peeling so fast, smoke clouds the night air -- ON DRE, distant police lights now strobing off of his face from the rear view mirror. Fuck! Thinking fast, he switches off his headlights. Hits the gas, needle bottoming-out! As he reaches the next intersection, Dre makes a hard left -- SCREECHES to a stop, tucking into a spot along the side of the road. Shuts off his car. Waits, breathing fast, as -- DRE (TO HIMSELF) Come on, come on, come -- THE POLICE CRUISER barrels around the corner -- SLAMS THE BRAKES! Two LAPD OFFICERS fling open their doors, guns leveled at Dre’s car! Eyes wide, adrenaline coursing through his veins, chest heaving, Dre grits his teeth. He’s stuck... and he knows it. LAPD OFFICER 1 (VIA LOUDSPEAKER) Driver! Put your hands out of your window where we can see them! Now! Dre complies, reaches his hands out of his window. The two officers carefully approach, guns at the ready. OFFICER 2 slaps the cuffs on Dre, regret immediately registering on his face as we -- SMASH CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. JAIL - PASADENA - ESTABLISHING - DAY 114 114 Nicole hops out of her car and hurries into --,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JAIL - VISITING AREA - DAY 115 115 Dre and NICOLE sit across from each other, Plexiglas between them, talking via phone receivers. NICOLE Anybody else been here to see you, your so-called friends at Death Row?121. DRE Nope. You’re the only one I wanna see anyway. She surveys him, pain in his eyes. NICOLE 112 days? That doesn’t even make sense. DRE Yeah, well... That’s what happens when you violate your probation. They sit there, just being in the awkward, contrived moment. NICOLE You got one phone call and you called me? DRE ‘Cause you were right. Only other person that tells it to me like it is-- is my moms. So I know you care. She looks at him, nods, dabs at her wet eyes. DRE (CONT’D) I fucked up. But I’ve had a lot of time to think in here, and I promise you, things are gonna be different from now on. That lies there a minute. Then -- NICOLE You take care of yourself, Andre. She stands, heads away... And we see the reflexive disappointment on Dre’s face before...",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. EAZY’S NORWALK HOUSE - BEDROOM - NIGHT 116 116 Tomica and Eazy lie in bed together. He stares at the ceiling, and she runs her hand soothingly down his arm. EAZY I feel like I don’t know what I’m doin’ anymore. I don’t even know where the money’s going. Tomica props herself up on her elbow, looks at him. 122. TOMICA I can help, you know. Show me the files, the bills, the contracts. I know the business, I know how it all works. Let me look. Baby, if you’re feelin’ this way, Jerry’s not doin’ right by you. Eazy puts his arm around her, pulls her close. They both lie there a little longer, just breathing. EAZY Okay. After New York. Workin’ on that International Distribution with Sony. Jerry don’t know about that. I wanna keep it that way. Tomica nods, smiles. Encouraged he has a plan again.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. NEW YORK CITY - CHELSEA - NIGHT 117 117 Establish MANHATTAN, in winter, after hours. Dirty snow on the sidewalks. Cold-as-shit wind blowing off the Hudson. A line of CLUB KIDS on the 12th Avenue sidewalk, in front of the massive brick edifice of the legendary --",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TUNNEL NIGHTCLUB - VIP - NIGHT 118 118 ICE CUBE sits in a BOOTH, surrounded by friends, label-execs, and hangers-on. It’s pretty clear that Cube is a huge celebrity at this po",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int. He even has some big, unsmiling THUGS (The Lench Mob) standing close. Cube, mid-conversation, suddenly STOPS talking... Because he SEES that EAZY-E is entering the VIP with 2 HUGE SAMOANS, making his way over. CUBE (to his crew) Heads up y'all. This lil nigga might wanna do something. Cube stands up -- ready for whatever. Eazy and his Bodyguards arrives at the booth. There’s a tense silence -- almost a stand off before anyone speaks. Everybody looks to them, seeing how they're gonna react. After all, these two have dissed each other, ferociously and publicly, for years. Still, Eazy gives Cube a friendly, vaguely submissive smile. EAZY Relax everybody. Just came in the club-- heard you were over here. 123. CUBE (Still ready) Yeah. I'm over here. ( beat) What you need? EAZY I don't need shit. Out here with Bone Thugs-- Was just in the neighborhood. Wanted to say wassup. The tension between the sides eases up a bit, but not completely. They both stand there, neither sure what to say to the other. EAZY (CONT’D) Saw your movie. It was good. Cube slowly smiles. Knows that wasn’t easy for Eazy. CUBE Thought you said it was an after- school special. They both smile, laugh. Give each other a pound. In truth, they missed each other. Homie hug. EAZY Missed you, boy. CUBE Missed you too, E. Wish we could've work shit out. EAZY Guess it all happened like it was supposed to. You a movie star-- I'm a music mogul. Dre. Well Dre is tripping right now, but he's doing his thang. Just wanted to come over here and put something on your mind.. Cube is curious.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TUNNEL NIGHTCLUB - VIP - AFTER HOURS 119 119 The club has mostly emptied out. Only a few die-hards remain as we find Cube and Eazy slumped over their table, loose with alcohol. The vibe is cool, friendly, like the old days. But we notice Eazy has a subtle, persistent COUGH... EAZY I wish all that bullshit never happen between us. (MORE)124. Definitely never wanted it to get physical-- we should've kept it on wax. CUBE Never should've dissed each other in the first place. Made our fans choice between us. That ain't cool. EAZY Yeah you right. (After a few beats) Ever though we was going to be this big? CUBE Nope. I was reminiscing with my wife the other day. What it felt like-- In the beginning. We were so young and ferocious. Doing music straight for the hood. Trying to be ghetto stars... I thought I knew everything back then -- But I didn’t know shit. EAZY Me neither. I'm still trying to figure this stuff out. One minute I'm slangin' in a crack house -- next thing I know, they invite me to the White House. Cube laughs, shakes his head. CUBE Yeah. I get it. Everything changes so fast. Feels like it was 20 years ago. If we were still together do you know how large we'd be? They both sit there, thinking about that shit, amazed. EAZY You ever think about fuckin’ with some new NWA shit? Cube frowns, contemplates for a moment. CUBE I’d be lyin’ if I said I never thought about it. Eazy’s eyes flash. That’s what he was hoping to hear. EAZY (CONT'D)125. EAZY Me too, Cube. Been thinkin’ about it a lot. ( beat) Be like 1989 again. We changed the world forever. Mothafuckas can never go back to that fake shit after us. It gets no realer then NWA. No matter what... After a quick thought. CUBE If you can get Dre to do it, I’m in. But check this out homie-- I ain’t doin’ it if Jerry’s around. He done made enough off us. EAZY I hear you. An EMPLOYEE walks by, pushing a broom, glaring at them. It’s time to go. They both stand up. CUBE Cool. We done talked til the damn club closed -- I got a car coming. You need a ride back to your hotel? EAZY Naw, I’m cool. I wanna walk. CUBE (really?) Walk? It's cold as fuck Eric, this ain't L.A. EAZY I'm good. Hit me up later. Another HUG, this one last a little longer then normal. Eazy doesn’t say anything else. Just heads for the exit, without looking back. Cube watches him go off into the cold night...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. NEW YORK STREETS - NIGHT 120 120 Eazy walks back to his hotel in the freezing cold, his hands jammed in his pockets. The wind blows mercilessly. Eazy is shivering like crazy. But he keeps walking. It’s a longer walk than he thought. He tries to hail a cab, but of course, none stop. He keeps trudging along, his breath making clouds, through the lonesome pre-dawn City --126.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. JAIL - DAY 121 121 Dre emerges from the JAIL, shielding his eyes from the suddenly-blinding SUNSHINE. Interestingly, this is the SECOND TIME we’ve seen him get picked up from jail. NICOLE is there, waiting by her car. He wraps her in his arms, and they stand that way, together, for a long time.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JERRY’S HOUSE - KITCHEN - DAY 122 122 Jerry has the PAPERS on the counter for Eazy’s signature. But something’s different this time. Eazy doesn’t just sign. Instead, he starts GATHERING the papers into a pile. JERRY Wait, aren’t you gonna sign -- EAZY I’mma take these home with me. I’ll sign 'em. Get'em back to you in a couple days. Jerry looks alarmed. JERRY But this is how we’ve always done it. You have a lot on your plate Eric, there’s no need to add to it -- EAZY It’s cool, Jerry. They’re my bills, my checks. I mean look, my name’s right there. Eazy grins at Jerry, points to his name on the checks. JERRY I just wish we could do it here. I don’t want anything to get misplaced or lost -- EAZY Don’t worry so much, Jerry. I can handle it. Eazy picks up the pile of papers and heads for the door. Jerry stares after him, visibly shaken --",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. EAZY’S NORWALK HOUSE - NIGHT 123 123 Tomica watches on as Eazy finishes READING the immaculately- organized PAPERS she’s laid out for him. He puts them down. 127. TOMICA You had to know the truth sometime. Now you do. EAZY Cube tried to warn me. So did Dre. And I didn’t listen. I fucked up. And we stay with Eazy a moment, reeling, pissed....",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JERRY’S HOUSE - KITCHEN - LATER 124 124 Eazy walks into their familiar meeting place to find Jerry slumped at the table. JERRY Where the fuck have you been? I’ve been calling you -- Jerry glances down at the PAPERS in Eazy’s hand, sees the flat look on Eazy’s face... and gets it. JERRY (CONT’D) So what was it, the groupie? The executive assistant? Did she even go to college? Come on. You’re smarter than that, Eric -- EAZY This ain’t about Tomica, Jerry. It’s about you. And you really gotta stop acting like you never did anything wrong. JERRY Look, I know you’re upset. But I’d strongly advise you to take a breath, let me look at the paperwork -- Eric lets out a low, rumbling laugh. EAZY Jerry, for real? You can stop givin’ me advice. As of, like, now. I’m getting NWA back together. It’s happening. But you ain’t gonna have nothing to do with it this time. Jerry’s voice starts to RAISE in volume, desperation growing. JERRY Why would you say something like that? You’re not thinking straight. (MORE)128. I know what’s best for you, and for Ruthless, and we’ve built a trust over years of hard work. That trust is our foundation, Eric. Eazy laughs again, but this time... the laugh deteriorates into a ragged, hacking COUGH. Jerry watches, concerned -- JERRY (CONT’D) Are you okay? You don’t look -- EAZY Trust. God damn, that’s a word. Let me tell you somethin’ , Jerry. Trust is a muthafucka . Jerry is now full-on YELLING at Eric, who remains calm. JERRY Look, if what I’ve done is so illegal, why have I never been sued? I’m such a thief, such a liar, such a motherfucker, how come nobody’s come to collect? This is business. This is how it works. It’s not always pretty, but all of it, everything I’ve put into this company, my whole LIFE for all these years, it’s for you, Eric. Eazy absorbs this. Then -- EAZY You’re fired, Jerry. Jerry, who is now beet-red, starts to BELLOW with rage -- JERRY Goddammit , Eric! This is not how we do things! This is a business and I won’t let you -- But Eazy’s already out the door. Enraged, Jerry wipes his arm across the table sending everything SMASHING onto the floor!",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DRE’S HOUSE - BACK YARD - DAY 125 125 Long gone are the days of the infamous Dr. Dre pool parties as Dre and Nicole relax by the pool. Dre’s huge, early-model CELL PHONE rings from a table beside him. He picks it up -- DRE Hello? After a short pause, a familiar, gravelly voice comes on. JERRY (CONT'D)129. EAZY’S VOICE Wassup Andre, it’s Eric. Dre’s eyes widen. Eazy’s the last person he ever expected to hear from. DRE Yeah? Wassup wit you? INTERCUT WITH:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. EAZY’S NORWALK HOUSE - BACK YARD - CONTINUOUS 126 126 Chilling by his modest pool, Eazy looks worn but determined. EAZY Just felt like callin’ -- Dre is still vaguely mystified, at a loss. DRE Yeah. Okay. (beat) Wassup? EAZY You know. Doin’ my thing. Makin records. Killin’ all that pussy out there. Seated a few feet away from Eazy, Tomica rolls her eyes. EAZY (CONT’D) How about you? DRE Just makin’ tracks. EAZY That Snoop record you did was big. 850,000 copies in the first week?! Congratulations on the success of that. DRE Good lookin’ out. EAZY Well look, I know you’re busy, but I talked to Cube, and we were, like, talkin’ about some... possibilities. Dre gets up, walks around the edge of his pool, processing. 130. EAZY (CONT’D) And by the way, if you ain't heard-- I ain’t fuckin’ with Jerry Heller no more. Nigga's fired. Something in those words causes Dre to soften... a bit. DRE Really. Well it’s about time. He's the reason why we broke up. EAZY Listen man, I know everything got messed up and went the wrong way. I wish it didn’t. I wish we can go back to the days of Skateland when we were all just young, hungry and ferocious. The world's most dangerous group. Before all the money and fame got between us. DRE Yeah me too-- cause I’m not proud of all the shit I did, either. Eazy looks vaguely relieved Dre said that. EAZY So you think maybe, we can make somethin’ happen? DRE Yeah, that’s sounds cool -- Let’s stay in touch. EAZY Fair enough. They both hang up. Eazy turns to Tomica, big smile. EAZY (CONT’D) Everybody's all in. NWA is back!",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. EAZY’S NORWALK HOUSE - MAKESHIFT STUDIO - CONTINUOUS 127 127 Ren and Yella work the kinks out of a dope new beat -- Tomica enters, Eazy in tow, looking a bit sluggish. SUPERIMPOSE: TWO MONTHS LATER REN Wuddup, y’all.131. YELLA Hey so, when are Dre and Cube gonna roll in here? REN Yeah, you know -- Gettin’ kinda anxious to get this new shit goin’. EAZY I don’t know. Hopefully soon. Let’s just get ready. New NWA gonna change the game, just like back in the day -- REN No doubt. I got books of new shit -- Eazy’s legs buckle. He leans on the Board, winded -- YELLA Yo, you alright, Eazy? EAZY Yeah. Just. Like. Need some fresh air, somethin’ -- PANIC flashes in his eyes as he moves toward the door, suddenly CRUMPLES TO THE FLOOR, out cold -- TOMICA Eric! They all hurry over to him --",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LOS ANGELES STREET - DAY 128 128 An AMBULANCE blares through the night, running red lights, hurtling toward the hulking edifice of CEDARS SINAI --",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CEDARS - EAZY’S ROOM - DAY 129 129 Eazy lies in a propped-up hospital bed, watching TV. He doesn’t look ill, just annoyed with the situation. Tomica sits in a chair beside him, flipping through a magazine. A young DOCTOR walks in, carrying a chart. He looks troubled, preoccupied. His eyes dart from Tomica... to Eazy. TOMICA You gonna say something? Is it a respiratory infection -- pneumonia?132. DOCTOR Yes, well, it is those things... and more, I’m afraid... We ran a full blood battery and -- (beat) Mr. Wright, I’m sorry but you’ve tested positive for the HIV virus. Tomica reflexively stands, her hand over her mouth. Eazy squints, smiles, looks at the Doctor like he’s crazy. EAZY Get the fuck outta here. DOCTOR The normal T-cell count is anywhere between 500 and 1500. Right now, your T-cell count is... 14. Tomica just stands there, mouth agape, speechless. Eazy’s smile slowly fades to a look of pure dread. EAZY But I ain’t no faggot. DOCTOR Mr. Wright, there are actually quite a few ways that the virus can be transmitted -- EAZY It’s wrong. No way. Test me again. Test my shit again -- DOCTOR We’ve actually run the test five times, with five different samples... and the results remain -- Tomica suddenly lets out a choked CRY, runs from the room. Eazy watches her go, overwhelmed, confused... and then, all at once, he gets it . Voice trembles a little. EAZY Tomica. She’s pregnant. Oh fuck. Does that mean she -- DOCTOR No. Not necessarily. But we’ll need to test her, too. EAZY So what do we do? What’s the treatment? Let’s get started. (MORE)133. I got work to do. How long’s it gonna take to get me healthy again? The Doctor looks at Eazy, struggles a bit. He pulls up a chair, sits down next to the bed. DOCTOR Mr. Wright. You need to understand. You’re very, very sick -- EAZY But I don’t even feel that bad... DOCTOR With treatment, and palliative care, we can probably keep you comfortable for... maybe six months. At the very most. Panic washes over Eazy in a flood -- EAZY Comfortable? What you mean comfortable ? Six months!? DOCTOR I’m truly sorry, Mr. Wright. Eazy realizes that he's dying. HARD CUT TO: B-ROLL OF A CROWD OUTSIDE OF CEDARS SINAI (STOCK FOOTAGE) 130 130 REPORTER (V.O.) Last week, the rap world was stunned to learn in a press conference held by his lawyer, that Eazy-E had been admitted to Cedars Sinai Hospital in Los Angeles and diagnosed as suffering from full- blown AIDS.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CUBE’S HOUSE - CONTINUOUS 131 131 WE HEAR the STOCK FOOTAGE CONTINUE over -- At home, sitting on the couch with Kim and their KIDS, Cube watches on, stunned. Kim kisses him, leans on his shoulder as they try to process the shock --EAZY (CONT'D)134. RON SWEENEY (ON TV) Eazy started getting sick about a month ago but hadn’t shown signs of improvement, so he checked into the hospital. They ran extensive tests and as a result we found out that... he has what he has...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CEDARS - COURTYARD - DAY 132 132 Outside the hospital, we see PEOPLE have started to GATHER. About a dozen or so. They stand there quietly, shuffling around, staring up at the Hospital --",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CEDARS - EAZY’S ROOM - THE NEXT DAY 133 133 Tomica sits in a chair pulled right beside Eazy’s bed. They hold hands, look at each other. They’ve both been crying. EAZY Just glad you’re okay. You and the baby. Tomica takes his hand, kisses it, cries. TOMICA No. We can beat this. Together. Eazy nods reassuringly, but you can see in his eyes he doesn’t believe it. Eazy’s PHONE rings. He answers it. EAZY Yo. REN’S VOICE (filtered) Eazy! What the fuck, cuz? People been sayin’ some crazy shit. Like you got AIDS or somethin’ ? Can you believe that? Muthafuckin’ Eazy-E got AIDS? Niggas be starting too many rumors, huh? SILENCE. Ren is hit with the reality as Eazy TURNS OFF the phone -- Sticks it in the bedside table drawer. It’s pretty clear he’s never gonna turn it on again. TOMICA Who was that? Eazy doesn’t respond, just lies there, despondent. 135.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SOUNDSTAGE - VIDEO SHOOT - DAY 134 134 Dre’s chilling on a couch as NICOLE appears from around the corner holding a wireless phone -- NICOLE It’s for you. He grabs the phone, leans it on his shoulder. DRE What up. Dre’s face contorts with confusion as he listens...",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CEDARS - EAZY’S ROOM - NIGHT 135 135 Tomica and Yella stand by Eazy’s bedside. Eazy looks drained, depressed. Various members of Eazy’s FAMILY are also present. Yella holds a CASSETTE in his hand. YELLA It’s Bone Thugs’ new LP. It’s good, Eric. It’s gonna be huge when it drops. Everybody thinks so. Want me to play it for you? EAZY Put it on the table. I’ll listen later. Thanks for stoppin’ through. Hit you when I get outta here. Yella nods sadly, places the cassette on the bedside table and exits. Handwritten on the cover, it says BONE.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CEDARS - EAZY’S ROOM - THE NEXT DAY 136 136 Tomica sits holding Eazy’s hand, staring at him with haunted eyes. RON SWEENEY stands in the background, along with Eazy’s Family. Someone else is there now, too. A PASTOR. TOMICA I can’t. That’s not the way it should happen. It’s not right -- EAZY Please. It’s gotta happen, baby. I’m having my surgery tomorrow, so it has to happen now. Because I might not. Wake up. Eazy’s clearly struggling to come to terms with this. 136. TOMICA Don’t say that. EAZY It’s true, Tomica. I gotta make this right. Ron says it’s the only way to protect everything I built. Tomica looks to Ron, who nods. She stares off into space, slowly shaking her head. Her life has become a nightmare. TOMICA It’s so... fucked up -- EAZY Hey. Listen to me. It doesn’t matter what people think. They don’t know. They don’t understand. There’s no other way. Please. I know it’s not the way you pictured it. You deserve better. He reaches out, puts his hand on her stomach. EAZY (CONT’D) But if we don’t do this, I won’t be able to protect either of you. After looking deep into Eazy's eyes -- He needs her. TOMICA Okay. I love you, Eric. Ron steps forward, followed by the FAMILY, who gather around Eazy’s bed. Finally, the PASTOR, who smiles kindly at them. PASTOR Are we ready? Tomica and Eazy nod their heads yes. The Pastor reaches out, holds Tomica’s hand in one hand, Eazy’s hand in the other. PASTOR (CONT’D) Tomica Woods, do you take Eric Wright to be your lawfully wedded husband, to have and to hold... Tomica tries not to cry, but it’s impossible. The tears flow, and all she can do is wipe them away. Eazy won’t stop looking at Tomica. Like she’s the last thing he’ll ever see. 137.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CEDARS - COURTYARD - NIGHT 137 137 Outside the Hospital, the VIGIL has grown in size. There’s now about a HUNDRED PEOPLE standing outside. Holding candles. Many of them are crying. Holding pictures of Eazy.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CEDARS - EAZY’S ROOM - LATER 138 138 DRE quietly enters the room, nobody in there except him and Eazy. He walks to the bed. Looks down at his friend, whom he hasn’t seen in four years: Eazy’s eyes are closed, a RESPIRATOR doing his breathing for him. NOTE: The BONE TAPE is still sitting, untouched, on the bedside table. Eazy never got a chance to listen to it. Dre stands there, staring down, in this extended, surreal moment. He bends down, so his mouth is close to Eazy’s ear. DRE (softly) Yo, Eazy. Wanna tell you somethin’ . I know you can hear me. I know you’re still in there -- We PULL BACK, so WE CAN’T HEAR WHAT DRE IS SAYING. And we won’t hear it, because that’s between Dre & Eazy. After a few moments, Dre stands up straight. Whatever he had to say to Eazy, he’s finished now. He walks to the door -- On his way out, he passes TOMICA as she’s coming in. He looks at her. Then he looks at the ring on her finger. Walks away, without saying a word...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CEDARS - OUTSIDE EAZY’S ROOM - A SHORT TIME LATER 139 139 A phalanx of POLICE guards the front entrance, preventing the MOB OUTSIDE from getting in. OUTSIDE EAZY’S DOOR, find CUBE sitting in a chair. He spots DRE walking out, looking glazed. Cube gets up. They stand there looking at each other. CUBE S'up Dre? DRE Good to see you, Cube. It’s been awhile. Lot of water under the bridge. They finally step to each other, and hug quickly, intensely. 138. CUBE You see him? How he look? DRE He looks the same -- like Eric just sleeping. But he's in a coma. Got a machine breathing for him -- Cube frowns, looks at the ground, pained. CUBE Can’t see him like that, man. This is bad. I asked one of his homies to call me when he wakes up. Dre nods, doesn’t push it. He understands. As they exit together, they pass the Police Guards, in tight formation by the door, protecting the Hospital. Protecting Eazy.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CEDARS - COURTYARD - LATER 140 140 MORE PEOPLE keep arriving to the VIGIL. A steady flow. They all stare up at the Hospital, watching, waiting. The crowd STRETCHES far in all directions, clogging the street --",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CUBE’S HOUSE - BEDROOM - DAY 141 141 Cube lies on the bed with Kim, watching TV. The PHONE RINGS on the bedside table. Cube stares at it --",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DRE’S HOUSE - PORCH - DAY 142 142 Phone to his ear, Dre listens a while, nods, face desolate. Seated beside him, Nicole rubs his back, consoling her man. DRE Okay. Dre hangs up. Looks over to Nicole. DRE (CONT’D) He’s gone. She hugs him tight as we --",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LOS ANGELES - EVERYWHERE - DAY INTO NIGHT 143 143 A moment of quiet beauty. A TIME-LAPSE of the magnificent City of Los Angeles. From hazy, sun-blasted MORNING, to an explosively-hued SUNSET, into the electricity of NIGHT. We hear EAZY’S VOICE, one last time, through some of the final words he released to his fans. 139. The TIDES on the beach rise and fall. Endless VEHICLES swarm the FREEWAYS like teeming blood vessels in veins. Clouds race across the sky like an avalanche, a river --",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DEATH ROW RECORDS - DAY 144 144 Dre strides down the lipstick red hallway, lined with platinum records, a determined look on his face. Enters -- THE CONFERENCE ROOM To find Suge, looking confused, sitting at the end of the long conference table. He’s wearing another absurd Red-Devil suit, fedora, gold watch on a chain, flanked by a couple of jacked-up BLOODS. And his DOG is still by his side. SUGE What’s the urgency, Dre? DRE I’m out, man. I’m out of Death Row. SUGE You’re not making any sense. Death Row and Dr. Dre are one in the same. You can’t just up and go. Dre does not avoid Suge’s gaze. He looks right at him. DRE Gonna do my own thing now. Start fresh. Nobody to answer to but myself. It’s time, Suge. SUGE You’re one stupid muthafucka . You just gonna throw away all this money? ‘Cause if you leave, everything we created is mine. Suge starts to breathe hard through his nose. He’s pissed. DRE What we created? Ha -- Well you can have it. SUGE You ain’t takin nobody with you. Death Row stays Death Row. And if you even think about touching my money? You know how I handle shit. 140. DRE Do what you gotta do. I’m still out. SUGE You’re not gettin none of it. DRE I don't give a fuck-- You can't put a price on peace of mind. So you can keep the artists, the money, the masters and the bullshit. I’m startin’ my own thing. Suge stands there, huge, scary. He stares cold daggers into Dre’s eyes, but Dre refuses to look away. Suge finally nods. Something softens in him. SUGE What you gonna call it? Dre grins. DRE Aftermath. Dre walks away, smiling as -- STRAIGHT OUTTA COMPTON kicks in and we see the people and things that have been impacted by NWA. We begin with all the things that made NWA possible. We’ll end with all the things that NWA made possible. A little something we like to call... NWA HISOTRY: 145 145* BEFORE FINAL CREDITS... * We’ll see the actual real life members of N.W.A. in all of * their glory back in the day, chronicling what they went on to * do, and culminating with a PICTURE OF NWA, staring menacingly at the camera. The most dangerous band in the world . FADE OUT.Blue Rev. (9/15/14) 141.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. COMMUTER TRAIN STATION - DAY 1 It's gray. The platform is packed with business commuters: suits, overcoats. There is such a lack of color it almost seems as if it's a black and white shot, except one commuter holds a bright red heart-shaped box of candy under his arm. The platform across the tracks is empty. As an almost empty train pulls up to that platform, one of the suited men breaks out of the crowd, lurches up the stairs two at a time, hurries across the overpass and down the stairs to the other side, just at the empty train stops. The doors open and the man gets on that train. As the empty train pulls from the station, the man watches the crowd of commuters through the train's dirty window. We see his face for the first time. This is Joel Barish. He is in his 30's, sallow, a bit puffy. His hair is a little messy, his suit is either vintage or just old and dirty and sort of threadbare. His bright tie has a photograph of a rodeo printed on it. 2",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MONTAUK TRAIN STATION - DAY 2 Joel talks on a payphone. The wind howls around him. He tries to shield the mouthpiece as he talks. His speech is a self-conscious mumble, especially difficult to hear over the elements. JOEL Hi, Cindy. It's Joel. Joel. I'm not feeling well this morning. No, food poisoning, I think. I had clams. Clams! I'm sorry it took me so long to call in, but I've been vomiting a lot. I've been vomiting! Yes, that's right, a lot! 3",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BEACH - DAY 3 Joel wanders the windy, empty beach, with his briefcase. He passes an old man with a metal detector. They nod at each other. 4",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. BEACH - DAY 4 Later: Joel looks out at the ocean. 5,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BEACH - DAY 5 Later: Joel sits on a rock and pulls a big, tattered notebook from his briefcase. He opens it and reads his last entry. JOEL (V.O.) January 6, 2001. Nothing much. Naomi and I coexisting. Roommates. Nothing. Will it go on like this forever? My best guess? Yes. (CONTINUED) 2. 5 CONTINUED: 5 Under the entry is a detailed drawing of a paranoid, wild- eyed man huddled in the corner of a damp basement lit by a bare bulb on a cord. Joel notices something odd: a great many pages have been torn out after the last entry. He ponders it for a moment, then writes on the next page: JOEL (V.O.) (CONT'D) Valentine's Day 2003. First entry in two years. Where did those years go? If you're not careful it gets away from you. And then it's over and you're dead. And within a few years who even remembers you were here? (thinks) Called in sick today. Took the train out to Montauk. (thinks) Cold. (thinks some more) Don't know what else to say. I saw Naomi last night. First time since the break- up. We had sex. It was odd to fall into our old familiar sex life so easily. Like no time has passed. Suddenly we're talking about getting together again. I guess that's good. He has no other thoughts, does some work on the drawing on the opposite page. He glances up, spots a female figure in the distance, walking in his direction. She stands out against the gray in a fluorescent orange hooded sweatshirt. This is Clementine. She's in her early thirties, zaftig. He watches her for a bit, then as she nears, he goes back to his drawing, or at least pretends to. Once she has passed, he watches her walk away. She stops and stares out at the ocean. Joel writes. JOEL (V.O.) (CONT'D) Constitutionally incapable of making eye- contact with a woman I don't know. Guess I'd better get back with Naomi. Ought to buy her a Valentine. She loves roses, I believe. 6",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. BEACH - DAY 6 LATER: Joel walks up near the beach houses closed for the season. He peeks cautiously in a dark window. 7,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. BEACH - DAY 7 LATER: Joel digs into the sand with a stick. 3. 8,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DINER - DAY 8 It's a local tourist place, but off-season empty. An old couple drink coffee at the counter. Joel sits in a booth and eats a grilled cheese sandwich and a bowl of tomato soup. In his notebook he is drawing a wizened old man with a metal detector. His metal detector has led him to another dead old man clutching a metal detector. Joel meekly, unsuccessfully, tries to get the waitress's attention for more coffee. Clementine enters, looks around, takes off her hood. Joel glances at her bright blue hair. She picks an empty booth and sits. Joel studies her discreetly. The waitress approaches her with a coffee pot. CLEMENTINE Hi, it's me again! My home away from home. WAITRESS Coffee? CLEMENTINE God, yes. You've saved my life! Brrr! The waitress pours the coffee. WAITRESS You know what you want? CLEMENTINE (laughing) Ain't that the question of the century. The waitress is not amused. Clementine gets business-like. CLEMENTINE (CONT'D) You got grilled cheese and tomato soup again today? WAITRESS We're having a run on it. The waitress heads to the grill. Clementine fishes in her bag, brings the coffee cup under the table for a moment, pours something in, then brings the cup back up. CLEMENTINE (calling) And some cream, please. Clementine looks around the place. Her eyes meet Joel's before he is able to look away. She smiles vaguely. He looks embarrassed, then down at his journal. (CONTINUED) 4. 8 CONTINUED: 8 Clementine pulls a book from her purse and starts to read. Joel glances up, tries to see the book's cover. It's blue and white. He can't make out the title. 9",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BEACH - DAY 9 Joel stares out at the ocean. Far down the beach Clementine stares at it, too. Joel glances sideways at her then back at the ocean. 10",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MONTAUK TRAIN STATION PLATFORM - LATE AFTERNOON 10 Joel sits on a bench waiting for the train. Clementine enters the platform, sees Joel, the only other person there. She waves, sort of goofily enthusiastic, playing as if they're old friends. He waves back, embarrassed. She takes a seat on a bench far down the platform. Joel stares at his hands, pulls his journal from his briefcase and tries to write in order to conceal his awkwardness. JOEL (V.O.) Why do I fall in love with every woman I see who shows me the least bit of attention? 11",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. TRAIN - DUSK 12 There are a few more people in the car now. Clementine has inched a few seats closer to Joel. She watches him. His head is buried in his notebook. He's drawing Clementine. 13,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TRAIN - NIGHT 13 It's dark out. The train is pretty crowded. A couple of women hold bouquets of flowers, another has a red heart- shaped box of candy. Joel stares out the window. Clementine sits closer still to Joel, eyes him. 14",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. TRAIN STATION - NIGHT 14 The doors open and Joel emerges along with others. He heads to the parking lot, arrives at his car. There's a big dented scrape along the driver's side. 15",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. JOEL'S CAR - NIGHT 15 MOMENTS LATER: Joel drives. He passes Clementine walking. She looks cold. He considers, slows, rolls down his window. JOEL Hi. I could give you a ride if you need. CLEMENTINE No, that's okay. Thanks, though. JOEL You sure? It's cold. CLEMENTINE Yeah? It is frosty. He pulls over. She climbs in. They drive. JOEL Where do you live? CLEMENTINE You're not a stalker or anything, right? JOEL Stalker Channing. No, that's not really a color, is it? Quit while I'm ahead. CLEMENTINE You can't be too careful about stalkers. I've been stalked. (MORE) (CONTINUED) 13. 15 CONTINUED: 15 CLEMENTINE (CONT'D) I've been told by experts I'm highly stalkable. I don't need that. JOEL I'm not a stalker. You talked to me, remember? CLEMENTINE That's the oldest trick in the stalker book. (beat) You know Sherman Drive? JOEL Yeah. CLEMENTINE Sherman Drive. Near the high school. Joel turns. They drive in silence. CLEMENTINE (CONT'D) Look, I'm very sorry I came off sort of nutso. I'm not really. JOEL That's okay. I didn't think you were. There's a silence. She broods. CLEMENTINE Well, I am. Okay? (pointing to a house) Me. Joel pulls over. CLEMENTINE (CONT'D) Thanks very much. That was very nice of you. JOEL Oh, well, I wouldn't want to be nice -- CLEMENTINE Jesus, I'm full of shit. I already told you that. (pause) Anyway. See ya. Happy Valentine's Day. He looks at her. Clementine opens the car door. JOEL You too. I enjoyed meeting you. (CONTINUED) 14. 15 CONTINUED: (2) 15 CLEMENTINE (turning back) Hey, do you want to have a drink? I have lots of drinks. And I could -- JOEL Um -- CLEMENTINE Never mind. Sorry, that was stupid. I'm embarrassed. Good night, Joel. 16",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CLEMENTINE'S APARTMENT - NIGHT 16 A FEW MINUTES LATER: Joel stands in the living room, somewhat nervously. He tries to calm himself by focusing on the surroundings. He looks at the books on her shelves. Clementine is in the kitchen. We see her as she passes by the doorway several times, preparing drinks and chatting. CLEMENTINE Thanks! I like it, too. Been here about four years. It's really cheap. My downstairs neighbor is old so she's quiet, which is great. And the landlord's sweet, which is bizarre, but great, and I have a little porch in the back, which is great, because I can read there, and listen to my crickets and... Clementine is in the living room now with two gin and tonics. CLEMENTINE (CONT'D) Two blue ruins... Joel is looking at a framed black and white photograph of crows flying. CLEMENTINE (CONT'D) You like that? JOEL Very much. CLEMENTINE This... this guy gave that to me, just, like, recently. I like it, too. I like crows. I think I used to be a crow. She caws and hands Joel a drink. (CONTINUED) 15. 16 CONTINUED: 16 JOEL Thanks. That's a good caw you did. Your caw is something to crow about. CLEMENTINE Huh? Joel shakes his head embarrassedly and mumbles something. CLEMENTINE (CONT'D) Do you believe in that stuff? Reincarnation? JOEL I don't know. CLEMENTINE Me neither. Oh, there's an inscription on the back. Clementine takes the photo off the wall and shows Joel the * inscription on back. * JOEL Frost? CLEMENTINE (impressed) Yeah. I'm not, like, a Robert Frost lover by any stretch. His stuff seems strictly grade school to me. But this made me cry for some reason. Maybe because it is grade school. Y'know? JOEL It's pretty. CLEMENTINE I miss grade school. I don't know why I'm calling it grade school all of a sudden. When I went we called it elementary school. But I like grade school better. Sounds like something someone from the forties would call it. I'd like to be from then. Everyone wore hats. Anyway, cheers! JOEL Cheers. They clink glasses. Clementine giggles and takes a big gulp of her drink. Joel sips. She plops down on the couch and pulls her boots off. (CONTINUED) 16. 16 CONTINUED: (2) 16 CLEMENTINE God, that feels so fucking good. Take yours off. JOEL I'm fine. CLEMENTINE Yeah? Well, have a seat, anyway. Joel sits in a chair across the room. Clementine finishes her drink. CLEMENTINE (CONT'D) Ready for another? JOEL No, I'm okay for now. She heads toward the kitchen with her glass. CLEMENTINE Well, I'm ready. Put some music on. Joel crosses to the CD's and studies them. JOEL What do you want to hear? CLEMENTINE (O.S.) You pick it. JOEL You just say. I'm not really -- CLEMENTINE (O.S.) I don't know! I can't see them from here, Joel! Just pick something good. Joel studies the unfamiliar CD's. He picks up Bang On a Can performing Brian Eno's Music for Airports to look at. Clementine reenters with her drink. CLEMENTINE (CONT'D) Oh, excellent choice. She grabs it and sticks it in the CD player. The music is dreamy and haunting and slow. Clementine falls back onto the couch, closes her eyes and sips her drink. CLEMENTINE (CONT'D) Mmmmmmm. Way to go, Joel. You pick good. (CONTINUED) 17. 16 CONTINUED: (3) 16 Joel sits down in his chair and drinks. There's a silence, which seems fine to Clementine but makes Joel anxious. JOEL Well, I should probably get going. CLEMENTINE No, stay. Just for a little while. (opens her eyes, brightly) Refill? JOEL No, I sort of have to go and -- CLEMENTINE Stop mumbling. She grabs Joel's drink from his hand, takes it into the kitchen. CLEMENTINE (CONT'D) (O.S.) (CONT'D) God bless alcohol, is what I say. Where would I be without it. Jesus, Mary, and Joseph, maybe I don't want to think about that. She giggles. Joel looks around the room again. There are several potatoes dressed as women in beautiful handmade costumes: a nurse potato, a stripper potato, a schoolteacher potato, a housewife potato. He stares at the potatoes, confused. Clementine returns with Joel's drink and a refill for herself. JOEL Thanks. CLEMENTINE Drink up, young man. It'll make the whole seduction part less repugnant. Joel looks a little alarmed. CLEMENTINE (CONT'D) I'm just kidding. C'mon. Or was I? She laughs maniacally, sits back on the couch, closes her eyes. Joel watches her, looks at her breasts. She opens her eyes, smiles drunkenly at him, winks. CLEMENTINE (CONT'D) Y'know, I'm sort of psychic. (CONTINUED) 18. 16 CONTINUED: (4) 16 JOEL Yeah? CLEMENTINE Well, I go to a psychic and she's always telling me I'm psychic. She should know. Do you believe in that stuff? JOEL I don't know. CLEMENTINE Me neither. But sometimes I have premonitions, so, I don't know. Maybe that's just coincidence. Right? Y'know, you think something and then it happens, or you think a word and then someone says it? Y'know? JOEL Yeah, I don't know. It's hard to know. CLEMENTINE Exactly. Exactly! That's exactly my feeling about it. It's hard to know. Like, okay, but how many times do I think something and it doesn't happen? That's what you're saying, right? You forget about those times. Right? JOEL Yeah, I guess. The human mind creates order where there is none. CLEMENTINE (dreamy beat) But I think I am. I like to think I am. It's helpful to think there's some order to things. You're kind of closed- mouthed, aren't you? JOEL Sorry. My life isn't that interesting. I go to work. I go home. I don't know what to say. You should read my journal. It's just, like, blank. CLEMENTINE (considers this) Does that make you sad? Or anxious? I'm always anxious thinking I'm not living my life to the fullest, y'know? Taking advantage of every possibility? (MORE) (CONTINUED) 19. 16 CONTINUED: (5) 16 CLEMENTINE (CONT'D) Just making sure that I'm not wasting one second of the little time I have. JOEL I think about that. She looks at him really hard for a long moment. Joel tries to hold her gaze, but can't. He looks down at his drink. Clementine starts to cry again. CLEMENTINE You're really nice. I'm sorry I yelled at you before about it. God, I'm dreadful. JOEL I have a tendency to use that word too much. It is a little nondescript. CLEMENTINE I like you. That's the thing about my psychic thing. I think that's my greatest psychic power, that I get a sense about people. My problem is I never trust it. But I get it. And with you I get that you're a really good guy. JOEL Thanks. CLEMENTINE And, anyway, you sell yourself short. I can tell. There's a lot of stuff going on in your brain. I can tell. My goal... can I tell you my goal? JOEL (mock put out) Yeah, I guess. CLEMENTINE (ala Paul Simon) What's the goal, Joel? (laughs) My goal, Joel, is to just let it flow through me? Do you know what I mean? It's like, there's all these emotions and ideas and they come quick and they change and they leave and they come back in a different form and I think we're all taught we should be consistent. Y'know? You love someone -- that's it. Forever. You choose to do something with your life -- that's it, that's what you do. (MORE) (CONTINUED) 20. 16 CONTINUED: (6) 16 CLEMENTINE (CONT'D) It's a sign of maturity to stick with that and see things through. And my feeling is that's how you die, because you stop listening to what is true, and what is true is constantly changing. You know? JOEL Yeah. I think so. It's hard to -- CLEMENTINE Like I wanted to talk to you. I didn't need any more reason to do it. Who knows what bigger cosmic reason might exist? JOEL Yeah. CLEMENTINE I'm gonna marry you! I know it! JOEL Um, okay. CLEMENTINE (laughing) You're very nice. God, I have to stop saying that. You're nervous around me, huh? JOEL No. Yeah. Sort of. Not really. CLEMENTINE I'm nervous. You don't need to be nervous around me, though. I like you. Do you think I'm repulsively fat? JOEL No, not at all. CLEMENTINE I don't either. I used to. But I'm through with that. Y'know, if I don't love my body, then I'm just lost. You know? With all the wrinkles and scars and the general falling apart that's coming 'round the bend. You ever inhale hairspray? Fucking good high. I don't anymore. It causes cellulite. (beat) So, I've been seeing this guy... Joel looks slightly crestfallen. (CONTINUED) 21. 16 CONTINUED: (7) 16 CLEMENTINE (CONT'D) (off his reaction) Oh, Joel, you're so sweet! Yay! (kisses him on the cheek) Just been seeing him for the last week. He's kind of a kid. Kind of a goofball, but he's really stuck on me, which is flattering. Who wouldn't like that? And he's, like, a dope, but he says these smart and moving things sometimes, out of nowhere, that just break my heart. He's the one who gave me that crow photograph. JOEL Oh, yeah. Caw. CLEMENTINE It made me cry. But, anyway, we went up to Boston, because I had this urge to lie on my back on the Charles River. It gets frozen this time of year. JOEL That sounds scary. CLEMENTINE Exactly! I used to do it in college and I had this urge to go do it again, so I got Patrick and we drove all night to get there and he was sweet and said nice things to me, but I was really disappointed to be there with him. Y'know? And that's where my psychic stuff comes in. Like, it just isn't right with him. Y'know? JOEL I think so. I had a girlfriend two years ago and just yesterday -- CLEMENTINE I don't believe in that soulmate crap anymore, but... Patrick says so many great things. We like the same writers. This writer Joel Townsley Rogers he turned me on to. JOEL Yeah, he's one of my favorites. I saw you had his book in your purse. One of the oddest locked room mysteries. (CONTINUED) 22. 16 CONTINUED: (8) 16 CLEMENTINE And this kid's cute, too. It's fucked up. I mean, here it is Valentine's Day and I can't bring myself to call him. (beat) Joel, you should come up to the Charles with me sometime. JOEL Okay. CLEMENTINE Yeah? Oh, great! She sits closer to him. CLEMENTINE (CONT'D) I'll pack a picnic -- a night picnic -- night picnics and different -- and -- JOEL (shy) Sounds good. But right now I should go. CLEMENTINE (pause) You should stay. JOEL I have to get up early in the morning tomorrow, so... CLEMENTINE (beat) Okay. Joel puts on his overcoat. Clementine heads to the phone table, grabs a pen. CLEMENTINE (CONT'D) I would like you to call me. Would you do that? I would like it. JOEL Yes. She scribbles her phone number on Joel's right hand. He stands there uncomfortably for a moment, then forces himself to speak. (CONTINUED) 23. 16 CONTINUED: (9) 16 JOEL (CONT'D) I don't think your personality comes out of a tube. I think the hair is just... a pretty topping. She tears up, swallows, and kisses him on the cheek. JOEL (CONT'D) (shyly formal) So, I enjoyed meeting you. CLEMENTINE You'll call me, right? JOEL Yeah. CLEMENTINE When? JOEL Tomorrow? CLEMENTINE Tonight. Just to test out the phone lines and all. JOEL Okay. Joel exits. Clementine watches him through an open window as * Joel gets in his car. * CLEMENTINE And wish me a happy Valentine's Day when you call! That'd be nice! 17",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. JOEL'S CAR - NIGHT 17 Joel drives home. He seems agitated. He parks in the lot behind his apartment building, gets out of the car and heads around to the front. 17A",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. VAN - NIGHT 17A It drives slowly down the street. There are two dark figures inside. STAN I can't see any numbers. (CONTINUED) 24. 17A CONTINUED: 17A PATRICK (squinting) One-thirty-seven? Joel appears from the side of the house. STAN There! That's him, right? PATRICK I think so. The van trails Joel, who looks back at it, then makes his way toward his building. The van parks across the street. 18",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. JOEL'S APARTMENT BUILDING - CONTINUOUS 18 * Joel heads up the walk to his building. He looks back at the * van, tries to see in. The window rolls down and a hand comes out and waves cheerily. MUFFLED PATRICK FROM INSIDE VAN Thanks, Joel. Laughter from in the van. The window is rolled up. Joel enters his building. 19",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JOEL'S APARTMENT ENTRANCEWAY - CONTINUOUS 19 * Joel pulls his mail from his box. In the light we see that Joel has a blue dot drawn on either side of his forehead. A man enters the building. This is Frank. FRANK Joel. JOEL Frank. The man opens his mailbox, sifts through some envelopes. FRANK Jesus, shit. The only Valentine's Day cards I get are from my mother. How pathetic is that? Joel chuckles, distracted. FRANK (CONT'D) You're lucky you have Clementine, man. She's way cool. (CONTINUED) 25. 19 CONTINUED: 19 Joel looks at him. The guy continues to sift through his envelopes. A yellow envelope with the name ""Lacuna"" in the upper left catches Joel's eye. FRANK (CONT'D) Any big Valentine's plans with her? JOEL No. Joel continues to stare at the yellow envelope. FRANK It's only a day away, better make reservations somewhere. Don't want to end up at Mickey D's. The guy laughs. Joel smiles wanly. FRANK (CONT'D) McRomance! The guy laughs again, too much. FRANK (CONT'D) Do you want fries with that shake? JOEL I've got to get to bed, Frank. Frank looks at his watch. FRANK It's 8:30. Joel shrugs, heads down the hall, unlocks his door, which is on the first floor. FRANK (CONT'D) What's with the dots? 20",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JOEL'S APARTMENT - CONTINUOUS 20 * Joel changes into a pair of pajamas fresh from the package. * He picks up a small vial from his night table, opens it, dumps a round pink pill into the palm of his hand, studies it, then swallows it quickly. He looks around the room, somewhat panicked, as if going through some checklist. He crosses to the window and looks out into the night. He tries again to squint into the van across the street. 26. 21",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. VAN - CONTINUOUS 21 * The two figures inside are watching Joel in his apartment, * squinting out at them. Joel gives up and walks away from the window. PATRICK (singing under breath) She's a maniac, maniac on the floor -- STAN Patrick, stop it. Silence. PATRICK (singing unconsciously) -- and she's dancing like she's never danced before -- The lights in Joel's apartment click off. PATRICK (CONT'D) Show time at the Apollo. The two guys get out of the van. 22",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. VAN - CONTINUOUS 22 * Stan, in hip glasses, and Patrick open the back of the van * and pull out a few briefcase-sized machines. They head up the apartment building walkway. 23",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JOEL'S APARTMENT BUILDING - MOMENTS LATER 23 * Stan inserts a key and opens Joel's apartment door. He and * Stan enter. They switch on the light. Patrick unconsciously hums ""Maniac"" as the two enter. BLACK. 24",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JOEL'S APARTMENT - NIGHT 24 The room now looks a little vague. Joel changes into a pair of pajamas fresh from the package. He picks up a small vial from his night table, opens it, dumps a round pink pill into the palm of his hand, studies it. We see the pill from his POV. There's a code imprinted on it, but we can't make it out. He swallows the pill quickly. He looks around the room, somewhat panicked, as if going through some checklist. (CONTINUED) 27. 24 CONTINUED: 24 VOICE-OVER Everything ready? Are they out there? Joel crosses to the window and looks out into the night. He tries to squint into the van across the street. He can make out the two figures but no detail. He stands there for a moment, crosses to the bed, sits, dials the night table phone. RECORDED VOICE The number you have dialed is no longer in service. Please check your number and -- JOEL (weepy) Bye. He hangs up the phone, turns off the light and lies on his back on the bed. He stares up at the ceiling. The pills seems to be taking effect and Joel is getting drowsy. But something else is also happening: the room is getting darker, less distinct. He tries to keep his eyes open to watch this strange phenomenon, but can't. His eyes close and the room plunges into darkness. We hear a key in the door, the door opening, floorboards creaking under shoes and someone quietly humming ""Maniac."" These noises grow faint and disappear. 25",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. JOEL'S APARTMENT BUILDING - NIGHT 25 Joel gets out of his car, spots a van parked across the * street. There are two dark figures inside. VOICE-OVER Them. The van window opens, a hand waves. Laughter. Joel hurries inside the building. Footsteps loud. 26",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JOEL'S APARTMENT ENTRANCEWAY - NIGHT 26 Joel pulls his mail from his box. A man enters the building. * MAN Hey, Joel. What's up? JOEL Oh, hi, Frank. The man opens his mailbox, sifts through some envelopes. (CONTINUED) 28. 26 CONTINUED: 26 MAN I only get Valentine's Day cards from my mom. How sad is that? Joel chuckles. MAN (CONT'D) You're lucky you have Clementine, Joel. Joel looks at the guy as he sifts through his mail. A yellow envelope stamped with the ""Lacuna"" logo catches Joel's eye. MAN (CONT'D) Any big Valentine's plans? JOEL No. Joel continues to stare at the yellow envelope. He sees a mole on the man's hand. MAN It's only a day away, better get -- The guy with the mail is just a shadow now. Joel studies his ghostly form. 27",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROB AND CARRIE'S LIVING ROOM - NIGHT 27 MAN -- crackin'. Joel is pacing. He clutches a small gift box wrapped in red paper. Rob and Carrie, 40's, watch from the couch. JOEL ... so I get home from work tonight and I'm just tired of the bullshit. It's been going on long enough, so I call her, I figure, y'know, Valentine's day is three goddamn days away and I want this resolved. I'm willing to be the one to resolve it. So -- 28",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JOEL'S APARTMENT - NIGHT 28 Joel dials the phone. VOICE-OVER -- I called her. (CONTINUED) 29. 28 CONTINUED: 28 RECORDED VOICE ON TELEPHONE The number you have dialed has been disconnected. If you -- Joel, startled, hangs up. 29",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. STORE (ANTIC ATTIC) - NIGHT 29 Joel looks through a display case of funky necklaces. He talks as he examines the jewelry. JOEL I thought, what the hell...So I hurried over to Antic Attic, y'know -- 30",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. ANTIC ATTIC - NIGHT 30 Quick shot of the exterior of Antic Attic. 31,SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. STORE (ANTIC ATTIC) - NIGHT 31 JOEL -- to look for something for her. - A saleswoman wraps the jewelry box in red paper. JOEL (CONT'D) I just thought, y'know, I'd go see her at work, give her an early Valentine. Because I'm going crazy. - A hand writes on a heart-shaped card: ""Clem -- I'm sorry. I love you. Joel."" 32",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BARNES AND NOBLE BOOKSTORE - NIGHT 32 Joel walks through the store with the small wrapped box in his hand. He spots Clementine, now with magenta hair. He approaches her, nervously. JOEL (quiet and mumbly) What's wrong with your phone? Clementine turns, smiles at him. It's a professional smile. CLEMENTINE I'm sorry, can I help you find something? Joel is taken aback. He just stares at her for a moment. She continues to smile at him. Patrick, a young man with a shadowy, vague face, approaches her from behind. (CONTINUED) 30. 32 CONTINUED: 32 He seems almost out of breath. Joel registers that, for a split second, Patrick glances at him before speaking to Clementine. PATRICK Hey, Clem-ato! CLEMENTINE Baby boy! They kiss. Joel watches, confused and horrified. CLEMENTINE (CONT'D) What you doin' here, baaaaaaay-beeee? (to Joel) I'll be with you in a minute, sir. 33",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROB AND CARRIE'S LIVING ROOM - NIGHT 33 Joel stops pacing, looks at Rob and Carrie. JOEL Why would she do that to me? CARRIE I don't know, honey. It's horrible. ROB Does anyone want a joint? CARRIE Fuck, Rob. Just give it a rest. JOEL She's punishing me for being honest. I should just go to her house. ROB I don't think you should go there, man. JOEL Right, I don't want to seem desperate. CARRIE Maybe you need to look at this as a sign to move on. Just make a clean break. ROB Joel, look, the thing is -- CARRIE Rob! (CONTINUED) 31. 33 CONTINUED: 33 ROB What the fuck do you suggest, Carrie? What's your brilliant, reasoned solution? CARRIE Jesus, does everything have to turn into your shit about us? This is not about us. ROB I agree. It's about Joel, who's an adult. Not Mama Carrie's child. Joel watches in confusion. Carrie boils over with rage and frustration and storms from the room. Rob and Joel look at each other. 33C",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROB AND CARRIE'S KITCHEN - NIGHT 33C Joel watches as Rob digs through a drawer. He finally pulls out a yellow card and hands it to Joel. Joel reads it. Dear Rob and Carrie Eakin: Clementine Kruczynski has had Joel Barish erased from her memory. Please never mention their relationship to her again. Thank you. LACUNA, LTD. 424 GRAND STREET, NY, NY Joel stares at the card, incredulous. It's the same yellow as the Lacuna envelope his neighbor held. 34",TWIST +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. LACUNA - DAY 34 Joel walks along the street. He sees a flash of himself ahead carrying two garbage bags. The second Joel is almost hit by a truck. The first Joel is confused for a moment then pushes open a door marked Lacuna Inc. 35,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LACUNA WAITING ROOM - MOMENTS LATER 35 * Joel is at the reception desk. He watches Mary, 25, busily * answering phones and printing out Lacuna envelopes. MARY (into phone) Good morning, Lacuna. No, I'm sorry, that offer expired after the new year. Yes. Certainly, we can fit you in on the second. That's a Wednesday. Great. Could you spell that please. Great and we need a daytime phone. Terrific. (MORE) (CONTINUED) 32. 35 CONTINUED: 35 MARY (CONT'D) See you then. (hangs up, speaks to Joel without looking up) May I help you? JOEL Joel Barish. I have an appointment with Dr. Mierzwiak. 36",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LACUNA OFFICE HALL - MOMENTS LATER 36 * Joel walks behind Mary. * MARY (not looking back) How are you today? JOEL Not too good. Stan, a young man in a lab coat, pops his head out from an office. STAN (to Mary) Boo. MARY Not now, Stan. I'm working. STAN Sorry. I just -- (to Joel) Sorry. I was just -- MARY Here we are, Mr. Barish. Mary shows Joel Mierzwiak's office. 37",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LACUNA, HOWARD'S OFFICE - DAY 37 MOMENTS LATER: Mierzwiak fingers the yellow card. Joel looks from Mierzwiak to Mary. She stands behind the doctor and eyes Mierzwiak longingly. Mierzwiak is unaware. MIERZWIAK (to Joel) You should not have seen this. I apologize. JOEL This is a hoax, right? This is Clem's -- (CONTINUED) 33. 37 CONTINUED: 37 MIERZWIAK I assure you, no. Mary shakes her head ""no"" in agreement with Mierzwiak. JOEL There is no such thing as this! MIERZWIAK Look, our files are confidential, Mr. Barish, so I can't show you evidence. Suffice it to say Ms. Kruczynski was not ... 38",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. ROB AND CARRIE'S KITCHEN - DAY /,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LACUNA - DAY 38 Joel paces as Carrie busies herself making coffee. Hammering sounds. MIERZWIAK'S VOICE JOEL ... happy and she wanted to ""... happy and she wanted to move on. move on. We provide that possibility."" What the hell is that? I was the nicest guy she ever went out with. I mean -- Joel looks over and sees Rob smoking a joint and hammering a birdhouse in the other room. CARRIE Rob! For God's sake! ROB I'm making my birdhouse! The hammering continues. Carrie strangles a frustrated scream, then: CARRIE Joel, Clementine met some woman on line at the supermarket, the woman told her about this company, Lacuna. She decided to erase you, almost as a lark. JOEL A lark?! The scene splits in half. As Joel continues to talk to Carrie, he also watches himself being led through the halls of Lacuna by Mierzwiak. (CONTINUED) 34. 38 CONTINUED: 38 MIERZWIAK CARRIE Mr. Barish, we're certainly You know Clementine, Joel. not here to twist anyone's She's like that. What can I arm. This is a personal and say? Impulsive. profound decision to make, but might I suggest that you at least consider the potential pitfalls of a psyche forever spinning its wheels. 39",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. JOEL'S CAR - NIGHT 39 Joel sits in his car crying. He is parked outside a drive-in movie theater. As he cries the windows fog up until the exterior is obliterated. 40,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LACUNA, MIERZWIAK'S OFFICE - NIGHT 40 Joel barges in followed by Mary. Mierzwiak looks alarmed. MARY I'm so sorry, Howard. He just -- JOEL Okay, I want it done! Now! MARY I told him pre-Valentine's Day is our busy time and -- MIERZWIAK It's okay, Mary. MARY Really? There are people waiting and -- MIERZWIAK Mr. Barish is in an unenviable position for which we bear some responsibility and we need to take that into consideration. MARY Of course. You're right, Howard. She exits. MIERZWIAK Now, then, Mr. Barish, first thing we need you to do is go home and -- 35. 41",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JOEL'S APARTMENT - DAY 41 Joel drags around a big black plastic garbage bag and places various objects in it. * MIERZWIAK'S VOICE * -- collect every single thing you own that has some association with Clementine. Anything. Photos. Clothing. Gifts. Journal entries. Perfume. Books she bought for you. CD's you bought together. We want to empty your home... your life of Clementine. Joel pulls books off the shelves, toiletries out of the bathroom, clothing out of the closet, knickknacks, art work, photographs from albums (he finds a photo of Clementine as a little girl, wearing a pink cowboy hat and posing with a puppy), perfume, the Rain Dogs CD, some potatoes that are dressed up to look like different types of women, a skeleton costume, a shoebox of letters from Clementine, the wrapped giftbox from Antic Attic. He rips pages out of various journals: writing, portraits of Clementine he has drawn. As he does all this, his apartment begins to look more and more barren. * MIERZWIAK'S VOICE We'll use these items to -- 42",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. NEW YORK STREET - DAY 42 Joel walks carrying two big, full garbage bags. He is almost hit by a truck as he crosses the street. It is a replay of the near accident he witnessed earlier, but it is now in the first person. MIERZWIAK'S VOICE -- create a map of Clementine -- * 43",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LACUNA WAITING ROOM - DAY 43 Joel sits with his garbage bags. A woman with red-rimmed eyes and a cardboard box full of dog toys, dog bowls, and other pet paraphernalia in her lap, sits across from him. MIERZWIAK'S VOICE -- in your brain. Mary is on the phone at the reception desk. She hangs up and acknowledges Joel. MARY How are you today, Mr. Barish? (CONTINUED) 36. 43 CONTINUED: 43 Before Joel can respond, Mary is back into her work. Mierzwiak pokes his head out from the inner office. MIERZWIAK Mr. Barish? 44",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LACUNA HALLWAY - DAY 44 Joel walks with his bags behind Mierzwiak. They pass Mary printing out some yellow Lacuna cards in the reception area. She smiles professionally as they pass. MIERZWIAK February is very busy because of Valentine's Day. As they pass a lab, Mierzwiak stops. Joel glances in and sees Stan working on a female client. She is being shown an old super eight home movie. MIERZWIAK (CONT'D) This is Stan Fink, one of our most skilled and experienced technicians. He'll be handling your case tonight. Stan approaches Joel and shakes his hand. STAN Great to meet you, Mr. Barish. Joel looks at the equipment in the lab. 45",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MIERZWIAK'S OFFICE - DAY 45 Joel enters with Mierzwiak. Mierzwiak directs Joel to a sitting area. There's a tape recorder on the coffee table between them. MIERZWIAK We'll start here. You and I will chat a little. I'll tape record our session, if you don't mind, and we'll get a sense of the memory you wish to erase. Okay? Joel nods. Mierzwiak smiles kindly and switches on the tape recorder. He moves a box of tissues closer to Joel. MIERZWIAK (CONT'D) So please tell me your name and who you are here to erase. (CONTINUED) 37. 45 CONTINUED: 45 JOEL My name is Joel Barish and I'm here to erase Clementine Kruczynski. MIERZWIAK Very good. Tell me about Clementine. JOEL Um, like what? MIERZWIAK Everything. We'll need everything. (off Joel's confused look) Just begin talking. I'll direct the conversation as need be. JOEL Um, well, y'know, I was living with this woman Naomi, about two years ago, and my friends Rob and Carrie invited us to a party on the beach. Naomi couldn't go. She was working on a paper for school. So I went. I didn't really want to either. I don't like parties. But I went. And Clementine was there. In her orange sweatshirt. And her hair. She was really special. Later. JOEL (CONT'D) I mean, the whole thing with the hair? It's all bullshit. And it's sort of pathetic when you're thirty and you're still doing that shit. There's a noise, something's dropped. Joel looks over. Patrick is in the corner of the room at a filing cabinet. He's dropped some folders and he's bending down to pick them up. PATRICK Sorry. Patrick exits. JOEL So, um, I really liked her for some reason, down there by the ocean. I fall in love easily... The room is starting to fade. Joel looks quizzically at the eroding environment. (CONTINUED) 38. 46A",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LAB - DAY 46A Joel is now sitting in an examination chair. Stan draws a blue dot on either side of his forehead. As Mierzwiak talks, the room colors start to fade, Mierzwiak's tone of voice is also affected; it becomes dry and monotonous. MIERZWIAK We'll start with your most recent memories and go backwards -- more or less. There is an emotional core to each of our memories -- As we eradicate this core, it starts its degradation process -- By the time you wake up in the morning, all memories we've targeted will have withered and disappeared. As in a dream upon waking. Joel watches Stan as he covers the blue dots with electrodes. JOEL Is there any risk of brain damage? MIERZWIAK Well, technically, the procedure itself is brain damage, but on a par with a night of heavy drinking. Nothing you'll miss. 47",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LACUNA LAB - DAY 47 Joel's outside himself watching himself in the chair. The room is fading. STANDING JOEL (confused, disoriented) Why am I -- I don't understand what I'm looking at. STAN (turning to Standing Joel) Well, we're going to create a map of your brain and -- (CONTINUED) 39. 47 CONTINUED: 47 STANDING JOEL But how am I -- standing here and -- Oh my God, deja vu! Deja vu! (holding head) This is so -- MIERZWIAK So, let's get started -- If we want to get the procedure... MIERZWIAK (CONT'D) JOEL ... underway tonight, we have ... underway tonight, we have some work to do. some work to do. (to Mierzwiak) I'm in my head already aren't I? MIERZWIAK (CONT'D) (looking around at faded room) I suppose so, yes. This looks about right. This is what it would look like. (back into memory) Stan, if you will... Stan pulls a snow globe from one of Joel's bags, shows it to Joel. STAN Study this object, if you will. Joel sees the equipment showing the map of his neural connections getting more complex. STAN (CONT'D) Very good. Stan pulls out a potato dressed as a Vegas showgirl. Joel studies it. The machines register his response. MIERZWIAK JOEL We'll dispose of these We'll dispose of these mementos when we're done mementos when we're done here. That way you won't be here. That way you won't be confused later by their confused later by their unexplainable presence in unexplainable presence in your home. your home. Stan pulls out a coffee mug with a photo of Clementine printed on it. Joel looks at the cup. The machines record his reaction. STAN (CONT'D) Good. We're getting healthy read-outs. (CONTINUED) 40. 47 CONTINUED: (2) 47 The room, Stan, and Mierzwiak are now vague and wispy. STAN'S VOICE Patrick, do me a favor -- JOEL (trying to remember) Patrick, Patrick, Patrick, Patrick, Patrick.... PATRICK'S VOICE Yeah, Stan? Joel watches Stan. Stan is not speaking, yet his voice continues. STAN'S VOICE Check the voltage levels. I'm not wiping as clean as I would like here. Joel looks up. Stan's voice seems to be coming from above. Joel looks past Stan. Beyond him Joel sees a husky version of Mary leading him down the hall; himself sitting in the waiting room; walking down the block with his bags; collecting mementos in his apartment. He screams. 48",SENTI +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JOEL'S APARTMENT - NIGHT 48 Joel lies on his back in fresh pajamas. His eyes are closed and electrodes connect his head to several machines. The machines are operated by Stan, now in grubby street clothes and in need of a shave, and by Patrick, dressed similarly. The monitor on one of the machines traces a myriad of light blips running like streams through an image of Joel's brain. Stan presses buttons and operates a joystick, aiming for the lines. Patrick (who we saw earlier with Clementine at the bookstore) studies a meter on one of the machines. PATRICK The voltage looks fine. STAN Then check the connections. Patrick fiddles with some jacks. PATRICK Does that help? STAN Yeah, that looks better. Thanks. 41. 49",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LACUNA LAB ROOM - DAY 49 The memory is becoming vague, characters' affects flat. Stan pulls out a pile of loose-leaf pages. Mierzwiak smiles. MIERZWIAK Ah, your journal. This will be invaluable. STAN (reading) I met someone tonight. Oh, Christ. I don't know what to do. Her name is Clementine and she's amazing. So alive and spontaneous and passionate and sensitive. Things with Naomi and I have been stagnant for so long. The scene is just a shell of itself as Stan rattles on. STAN'S VOICE I think we got this one. Let's push on. Standing Joel searches for the disembodied voices while sitting Joel listens to Stan's monotonous reading. PATRICK'S VOICE So, this place is kind of a dump, don't you think? 50",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JOEL'S APARTMENT - NIGHT 50 Patrick is checking out the apartment. Stan monitors the equipment. STAN (uninterested) It's an apartment. PATRICK Not a dump, then, but kind of plain. Uninspired. And there's a stale smell. Sort of stuffy. I don't know. Eggy? STAN Patrick, let's just get through this. We have a long night ahead of us. PATRICK Yeah. Patrick returns to the bedside, focuses on the machines for a moment. He glances at the unconscious Joel. (CONTINUED) 42. 50 CONTINUED: 50 PATRICK (CONT'D) So who do you think is better-looking, me or this guy? Stan glances sideways at Patrick. 51",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JOEL'S APARTMENT - NIGHT 51 Joel sits in his dark, vague room and listens. STAN'S VOICE Listen, Mary's coming over tonight. 52",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JOEL'S APARTMENT - NIGHT 52 Stan works the joystick. Patrick sits on the bed with Joel. PATRICK Yeah? STAN Just wanted to let you know. PATRICK I like Mary. I like when she comes to visit. I just don't think she likes me. STAN She likes you okay. PATRICK I wonder if I should invite my girlfriend over, too. I have a girlfriend now. STAN You can if you want. PATRICK Did I tell you I have a new girlfriend? STAN (re: memory on monitor) This one's history. Moving on... PATRICK The thing is ... my situation is a little weird. My girlfriend situation. STAN Patrick, we need to focus. 43. 53",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JOEL'S APARTMENT - NIGHT 53 Joel distractedly reads a book, checks the clock, goes back to the book. The door opens. He looks up. Clementine is staggering in, drunk. CLEMENTINE Yo ho ho! JOEL VOICE-OVER It's three. Shit. The last time I saw you. CLEMENTINE (CONT'D) Anyhoo, sweetie, I done a bad thing. I kinda sorta wrecked your car... JOEL You're driving drunk. It's pathetic. CLEMENTINE ...a little. I was a little tipsy. Don't call me pathetic. JOEL Well it is pathetic. And fucking irresponsible. You could've killed somebody. The scene is starting to degrade. The acting becomes anemic. JOEL (CONT'D) I don't know, maybe you did kill somebody. CLEMENTINE VOICE-OVER Oh Christ I didn't kill Right! She called me an old anybody. It's just a fucking lady here, too! And I dent. You're like some old remember, I said... lady or something. JOEL (CONT'D) And what are you like? A wino? CLEMENTINE A wino? Jesus. Are you from the fifties? A wino! (laughs) Face it, Joel. (MORE) (CONTINUED) 44. 53 CONTINUED: 53 CLEMENTINE (CONT'D) You're freaked out because I was out late without you, and in your little wormy brain, you're trying to figure out, did she fuck someone tonight? JOEL No, see, Clem, I assume you fucked someone tonight. Isn't that how you get people to like you? This shuts Clementine up. She is stung and she starts gathering up her belongings, which are strewn about the apartment. Joel is immediately sorry he's said this. He follows her around. JOEL (CONT'D) I'm sorry. Okay? I didn't mean that. I just... I was just... annoyed, I guess. Clementine is out the door. Joel follows. 53A",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HALLWAY - NIGHT 53A Joel looks for Clementine in the hallway, but she is gone. 54",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. JOEL'S STREET - NIGHT 54 Joel looks at his dented car slammed against a fire hydrant, spots Clementine clomping off in the distance. 55",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. JOEL'S CAR - NIGHT 55 CONTINUOUS: Joel drives to catch up to Clementine. He rolls down his window to talk to her. JOEL Let me drive you home. CLEMENTINE (without turning) Fuck you, Joel. Faggot. JOEL (screaming) Look at it out here. It's falling apart. I'm erasing you. And I'm happy. She keeps clomping. JOEL (CONT'D) You did it to me first. I can't believe you did this to me. He stops the car, gets out. 45. 56",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. STREET - NIGHT 56 It's a street you might see in a dream, more an impression of a quiet street than an actual one, with what little detail there is obscured in darkness. In the distance Clementine walks off, but as in an animated loop, she doesn't get any farther away. JOEL (yelling after her) By morning you'll be gone! Ha! She keeps walking. Joel runs after her. JOEL (CONT'D) You hear me? You'll be gone! A perfect ending to this piece of shit story! He stops. He's in exactly the same place he was when he started. PATRICK'S VOICE See, remember that girl? The one we did last week? The one with the potatoes? Joel looks up, startled to hear a strange voice talking about Clementine. STAN'S VOICE Yeah, that's this guy's girlfriend. Was. 57",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JOEL'S APARTMENT - NIGHT 57 Stan watches the screen. Patrick paces, fidgets, looks at the unconscious Joel. PATRICK I gotta tell you something. I kind of fell in love with her that night. STAN She was unconscious, Patrick. PATRICK She was beautiful. So sweet and funky and voluptuous. Crazy hair. I kind of stole a pair of her panties, is what. STAN Jesus, Patrick! 46. 58",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. STREET - NIGHT 58 On the vague street, getting more vague by the second, Joel listens to Patrick and Stan as he walks past the same landmarks again and again. Clementine continues to walk away in the distance. PATRICK'S VOICE I know. It's not like... I mean, they were clean and all. STAN'S VOICE Look, just don't tell me this stuff. I don't want to know this shit. PATRICK'S VOICE Yeah, okay. STAN'S VOICE We have work to do. The scene fades completely away and Joel finds himself in -- 59",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JOEL'S APARTMENT - NIGHT 59 Joel and Clementine sit and eat dinner in front of the TV. It's hard to make out what they're watching. They sit on opposite ends of the couch. They look bored. The scene quickly degenerates. The room fades. PATRICK'S VOICE Okay, but there's more. Joel listens. Clementine doesn't seem to hear it. PATRICK'S VOICE (CONT'D) After we did her, I went to where she works and I asked her out. JOEL Jesus! Joel looks over at the faded Clementine across the couch. She stares straight ahead at the TV. STAN'S VOICE Patrick... do you know how unethical... JOEL There's some guy here who stole your underwear. (CONTINUED) 47. 59 CONTINUED: 59 CLEMENTINE Where? Joel points up. Clementine, bored, looks up at the ceiling. CLEMENTINE (CONT'D) I don't see anyone. Joel finds himself in -- 60",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JOEL'S APARTMENT - NIGHT 60 Joel watches TV. He hears Clementine coming and stretches himself out on the floor pretending to be dead. Clementine walks by in her underwear, looks at the TV. She does not acknowledge Joel on the floor as she slips into a skirt. CLEMENTINE How can you watch this crap? I'm fucking crawling out of my skin. Joel opens his eyes and sits up, embarrassed. The scene starts to fade. Clementine puts on her shoes and heads out the door. CLEMENTINE (CONT'D) I should have left you at that flea market. 61",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FLEA MARKET - DAY 61 Joel and Clementine walk around unhappily. They barely look at the wares. Clementine watches parents with babies. JOEL (to Clementine) Want to go? CLEMENTINE (wistful) I want to have a baby. JOEL Let's talk about it later. CLEMENTINE No. I want to have a baby. I have to have a baby. JOEL I don't think we're ready. (CONTINUED) 48. 61 CONTINUED: 61 CLEMENTINE You're not ready. JOEL Clementine, do you really think you could take care of a kid? She turns violently toward him, glaring. CLEMENTINE What?! JOEL (mumbly) I don't want to talk about this here. CLEMENTINE I can't hear you! I can never the fuck understand what you're saying. Open your goddamn mouth when you speak! Fucking ventriloquist. JOEL (over-enunciating) I don't want to talk about this here! CLEMENTINE We're fucking gonna talk about it! Joel looks around. People are watching. CLEMENTINE (CONT'D) You can't fucking say something like that and say you don't want to talk about it! JOEL Clem, I'm sorry. I shouldn't have -- CLEMENTINE (screaming now and weeping) I'd make a fucking good mother! I love children! I'm creative and smart and I'd make a fucking great mother! It's you! It's you who can't commit to anything! You have no idea how lucky you are I'm interested in you! The scene starts to fade. Clementine's rant continues but becomes attenuated and vague. JOEL Oh, thank God. It's going. (CONTINUED) 49. 61 CONTINUED: (2) 61 CLEMENTINE I don't even know why I am! I should just end it right here, Joel. Leave you at the flea market with the stupid costume jewelry. Maybe you could find a nice antique rocking chair to die in! She's crying still, but it's almost animatronic, no real emotion in it. The scene is a husk. JOEL It's going, Clementine. All the crap and hurt and disappointment. It's all being wiped away. She looks up at him. CLEMENTINE I'm glad. Their eyes lock. She is fading before his eyes. JOEL Me, too. 63",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BAR - NIGHT 63 Joel makes his way with two drinks from the crowded bar to a table where Clementine sits with another guy. She looks up from her conversation. CLEMENTINE Joel, this is Mark. He likes my boobs. He came over special to tell me that. Isn't that nice. He doesn't think I'm fat. The scene starts to fade. Mark rises. MARK I didn't know she was with someone, buddy. JOEL I don't think she's aware of it either, buddy. CLEMENTINE S'okay, Marky-Mark. Joel doesn't like my boobs. (MORE) (CONTINUED) 50. 63 CONTINUED: 63 CLEMENTINE (CONT'D) (stage whisper) I don't think he likes girls. The bar gets quiet and vague. JOEL You're drunk. CLEMENTINE You're a whiz kid. So perceptive, so -- Clementine keeps talking but there are no more intelligible words, just a whisper -- like a breeze. A doorbell buzzes. Joel looks around. The bartender, across the silent, vaguely populated, bar speaks in a whisper. BARTENDER That's your doorbell, isn't it, Joel? 64",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JOEL'S APARTMENT - NIGHT 64 Patrick opens the door. Mary stands there in a winter coat, carrying a backpack. MARY (coolly) Oh, hey, Patrick. PATRICK Hi, Mary. How's it going? She walks in past him. STAN Hey, you. Stan and Mary kiss. She looks down at Joel as she takes off her coat. MARY It's freezing out. STAN You found us okay? MARY Yeah. (re: Joel) Poor guy. Mary sees a cooler of beer in one of the Lacuna cases. (CONTINUED) 51. 64 CONTINUED: 64 MARY (CONT'D) Is there anything real to drink? STAN We haven't checked. MARY Well, allow me to do the honors. It's fucking freezing and I need something. She heads into the kitchen. Stan turns back to monitor the slivers of light. PATRICK Mary hates me. I've never been popular with the ladies. STAN Maybe if you stopped stealing their panties. PATRICK (guilty beat) Okay, there's more, Stan -- Stan looks over at Patrick. Mary returns with a bottle of scotch and two glasses. MARY Hey, hey. She pours the whiskey. MARY (CONT'D) Oh, Patrick, you didn't want any, did you? PATRICK Nah, I don't know. That's okay. Mary hands a glass to Stan. She holds hers up in a toast. MARY Blessed are the forgetful, for they get the better even of their blunders. Mary and Stan click glasses. MARY (CONT'D) Nietzsche. Beyond Good and Evil . Found it in my Bartletts. (CONTINUED) 52. 64 CONTINUED: (2) 64 STAN That's a good one. MARY Yeah, I can't wait to tell Howard! STAN (a little sulky) It's a good one all right. PATRICK What's your Bartlett's? STAN It's a quote book. MARY I love quotes. So did Winston Churchill. He actually has a quotation in Bartlett's about Bartlett's. Isn't that trippy? PATRICK (trying to engage) Yeah. Cool. MARY ""The quotations when engraved upon the memory give you good thoughts."" PATRICK Trippy. It's like it turns in on itself. MARY I like to read what smart people say. So many beautiful things. The human race is having this constant conversation with itself. Y'know? STAN Yup. MARY Don't you think Howard's like that? Just so smart? STAN (beat) Yup. PATRICK Definitely! (CONTINUED) 53. 64 CONTINUED: (3) 64 MARY I think he'll be in Bartlett's one day. Stan focuses on his monitor. Mary pours herself another drink. PATRICK Definitely. Howard is pure Bartlett's. 65",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JOEL'S BEDROOM - NIGHT 65 It's dark. Joel and Clementine are in bed. The memory is already in the midst of being erased. Clementine is talking in a monotonous, robotic manner. She sips tea from a coffee mug with her photo on it. CLEMENTINE You don't tell me things, Joel. I'm an open book. I tell you everything. Every damn embarrassing thing. You don't trust me. JOEL You don't have to be afraid of silence, Clementine. Constantly talking isn't necessarily communicating. CLEMENTINE (takes this in) I don't do that. I want to know you. I don't constantly talk. Jesus. People have to share things. That's what intimacy is. I'm really pissed that you said that to me. JOEL (backing off) I'm sorry. I just don't have anything very interesting about my life. CLEMENTINE Joel, you're a liar. You're like one of those locked room mysteries. I want to read some of those journals you're constantly scribbling in. (complete monotone) What do you write in there if you don't have any thoughts or fears or passions or love? The scene is faded now. The coffee mug is blank. 54. 66",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CHINESE RESTAURANT - NIGHT 66 Joel and Clementine eat dinner in silence. Joel looks around at other couples in the restaurant. Some seem happy and engaged. Others seem bored with each other. He turns back to his food. JOEL VOICE-OVER How's the chicken? Is that like us? Are we just bored with each other? I can't stand the idea of being a couple that people think that about. CLEMENTINE Good. He watches her as she downs her wine and pours herself another glass. She holds the wine bottle up to Joel. CLEMENTINE (CONT'D) More? JOEL VOICE-OVER No. Thanks. She's going to be drunk and stupid now. There's a silence. CLEMENTINE (CONT'D) Hey, would you do me a favor and clean the goddamn hair off the soap when you're done in the shower? JOEL Oh. Yeah. Okay. CLEMENTINE It's really gross. It's just, y'know, it's repulsive. Anyway... They continue to eat in silence as the scene dissolves. PATRICK'S VOICE Hi, Clementine! Joel looks around, surprised. JOEL Someone you know? Clementine doesn't respond, she continues to eat robotically. (CONTINUED) 55. 66 CONTINUED: 66 PATRICK'S VOICE Why, Clem-ato, what's wrong? Joel looks over and sees: 67",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BARNES AND NOBLE BOOKSTORE - NIGHT 67 A decayed version of Barnes and Noble. Joel, at the Chinese restaurant with Clementine, now inside Barnes and Noble, watches himself talking to a Clementine with magenta hair. The scene plays out as if dead. Patrick approaches her from behind. Seated Joel tries to see Patrick's face but it is in shadows. PATRICK Hey, Clem-ato! CLEMENTINE Patrick! Baby boy! They kiss. Joel from the restaurant walks over to try to get a closer look at Patrick. No matter how close he gets, Patrick's face doesn't get any more detail in it. 68",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CHINESE RESTAURANT - NIGHT 68 Back in the Chinese restaurant, Joel listens to Patrick's voice. PATRICK'S VOICE -- Oh, I'm sorry. -- Well, I'm not sure I should come over right now, I kind of have to study for my test -- 69",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JOEL'S APARTMENT - NIGHT 69 Patrick is on the phone next to Joel's bed. Stan watches the lights on the computer screen. PATRICK Hold on. Let me ask my study partner. (covering mouthpiece) Stan, can I leave for a little while? My girlfriend is very -- STAN Patrick, we're in the middle of -- PATRICK She's right in the neighborhood. She's upset. (trying for camaraderie) Women. (CONTINUED) 56. 69 CONTINUED: 69 Mary is in the kitchen. She pokes her head out. She's got some pie on a plate. MARY Let him go, Stan. I can help. STAN (sighing, to Patrick) Go. PATRICK (quietly) Mary hates me. She wants me to go. (into phone) I'll be right over, Tangerine. Joel, unconscious on the bed, jerks. 70",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. VOID - DAY 70 Slowly, a fluorescent orange sweatshirt comes into being. It gets filled by Clementine, who now has orange hair and is modeling the sweatshirt for Joel in his living room, which comes into focus around them. CLEMENTINE You like? I matched my sweatshirt exactly. She twirls. JOEL I like it. You look like a tangerine. CLEMENTINE Clementeen the tangerine, I like that. JOEL How did he know to call you that? CLEMENTINE How did who know? Joel looks at Clementine, something's beginning to click. JOEL Oh, God... Clementine is now on her side on the floor and Joel is next to her. The room becomes -- 57. 71",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CLEMENTINE'S APARTMENT - NIGHT 71 Candles are lit. Joel and Clementine are under a blanket on the living room rug listening to music. CLEMENTINE Joely... JOEL Yeah, Tangerine? CLEMENTINE Do you know The Velveteen Rabbit ? JOEL No. CLEMENTINE It's my favorite book. Since I was a kid. It's about these toys. There's this part where the Skin Horse tells the Rabbit what it means to be real. (crying, then laughing at herself) I can't believe I'm crying already. (reading from a worn copy of the book) He says, ""It takes a long time. That's why it doesn't often happen to people who break easily or have sharp edges, or who have to be carefully kept. Generally by the time you are Real, most of your hair has been loved off, and your eyes drop out and you get loose in the joints and very shabby. But these things don't matter at all, because once you are Real you can't be ugly, except to people who don't understand."" She's weeping. Joel is stroking her hair. They kiss and begin to make love under the blanket. It's sweet and gentle and then it starts to fade. JOEL (screaming) Mierzwiak! Mierzwiak! He looks down and Clementine's tear-streaked face is fading. She continues as if she's still being made love to, even though Joel is completely beside himself. He jumps up naked and yells at the ceiling. (CONTINUED) 58. 71 CONTINUED: 71 JOEL (CONT'D) Please! Please! I've changed my mind! (looks down at fading Clementine, then at ceiling) I don't want this. Wake me up! Stop the procedure! Plea -- 72",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JOEL'S APARTMENT - NIGHT 72 Joel is unconscious on the bed, completely still. Mary and Stan watch the monitor and smoke a jo",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int. After a silence: MARY It's amazing, isn't it? Such a gift Howard is giving the world. STAN (a sigh) Yeah. MARY To let people begin again. It's beautiful. You look at a baby and it's so fresh, so clean, so free. Adults... they're like this mess of anger and phobias and sadness... hopelessness. And Howard just makes it go away. STAN You, um, love him, don't you? Mary seems surprised, taken aback, caught. She is silent for a long moment. MARY No. (beat) Besides, Howard's married, Stan. He's a very serious and ethical man. I'm not going to tempt him to betray all he believes in. STAN That's cool. Stan takes another drag on the joint, passes it to Mary. 73",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CLEMENTINE'S STREET - NIGHT 73 Patrick, bundled up and carrying a full backpack, trudges down the block. * 59. 74",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CLEMENTINE'S APARTMENT - NIGHT 74 CONTINUOUS: Clementine watches out the window as Patrick nears. She's crying. He makes his way up her front stairs. She swings open the door and hugs him. PATRICK Oh, baby, what's going on? CLEMENTINE I don't know. I'm lost. I'm scared. I feel like I'm disappearing. I'm getting old and nothing makes any sense to me. PATRICK Oh, Tangerine. CLEMENTINE Nothing makes any sense. Nothing makes any sense. She pushes herself out of the embrace and looks at Patrick. CLEMENTINE (CONT'D) Come up to Boston with me? PATRICK Sure. We'll go next weekend and -- CLEMENTINE Now. Now! I have to go now. I have to see the frozen Charles! Now! Tonight! PATRICK (beat) I'll call my study partner. CLEMENTINE Yay! It'll be great! I'll get my shit. She runs into the bedroom. Patrick is at the phone and realizes he doesn't know Joel's number. After a moment's * thought, he *69's. The phone rings. JOEL'S VOICE Hi, it's Joel. Please leave a message after the beep. Beep. PATRICK (whisper) Stan, it's Patrick. Pick up. (CONTINUED) 60. 74 CONTINUED: 74 STAN'S VOICE Hey, where are you? PATRICK I got into a situation with the old lady. Can you handle things tonight alone? I'm really sorry, man. 75",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JOEL'S APARTMENT - CONTINUOUS 75 * Stan is on the phone. He's really stoned and watches Mary, * stoned herself, dancing in a sexy trance to something soft and low on the stereo. STAN I can handle it. He's pretty much on auto-pilot anyway. 76",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CLEMENTINE'S APARTMENT - DAY 76 * PATRICK Thanks, Stan. I owe you big time. Patrick hangs up, rifles quickly through his backpack. He pulls out the red gift-wrapped box Joel was going to give Clementine for Valentine's Day, puts it in his pocket, then pulls out a bunch of letters, flips through them, keeping an eye on the bedroom door. He finds what he's looking for. The handwriting is a woman's. He reads: CLEMENTINE'S VOICE Dear, dear Joel: Thank you so much for joining me on the Charles River last night. I know how nervous you were about stepping onto the ice, but that you overcame your fear just to please me is so fucking sweet I could eat you. I will! -- When we watched the stars on our backs and you took my hand and said, ""I could... 77",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CHARLES RIVER - NIGHT 77 Joel and Clementine lie together holding hands on the frozen river. They look up at the stars. JOEL ... die right now, Clem. I'm just... happy. I've never felt that before. I'm just exactly where I want to be. (CONTINUED) 61. 77 CONTINUED: 77 Clementine looks over at him. Her eyes are filled with love and tears. Then they get vague, clouded-over. The scene is being erased. Joel is panicked. JOEL (CONT'D) Clem, no! Please! Oh, fuck! Please! (screaming at the fading crumbling night sky) Can you hear me? I want to call it off! I'll give you a sign! I'll give you a sign! Joel scrunches his face, focuses intently, shakes with concentration. 78",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JOEL'S BEDROOM - CONTINUOUS 78 * Joel's eyes roll almost imperceptibly. Stan and Mary are * dancing together now, not watching him. 79",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CHARLES RIVER - CONTINUOUS 79 * Crazily, Joel grabs the fading Clementine's hand and runs * toward shore. The slow dance music from Stan and Mary's scene drifts through the night. Joel and Clementine run through a series of decayed scenes: 81 MONTAGE: DECAYING MEMORIES 81 We see snippets, details: Joel and Clementine in front of a diorama in the Natural History Museum, Joel and Clementine arguing in a car, having sex on the hall stairs of Clementine's apartment building, laughing and holding hands at a movie, eating grilled cheese and tomato soup together in bed, Joel watching her sleep, listening to Rain Dogs together, drinking at a bar, Joel and Clementine playing a board game with Rob and Carrie. Joel arrives at a decayed version of his first meeting with Mierzwiak. Still desperately clutching Clementine's hand, he yells to Mierzwiak. JOEL Please! Joel turns to look at Clementine. It's no longer her. He is holding the hand of some woman he's never seen before. He drops her hand with a panicked yelp. And runs into the decayed Lacuna office. 62. 82",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LACUNA MIERZWIAK'S OFFICE - NIGHT 82 Faded Joel sits across from Mierzwiak. A tape recorder between them. MIERZWIAK Why don't you start now by telling me everything you can remember about -- JOEL You have to stop this! MIERZWIAK What? What do you mean? JOEL I don't know! You're erasing her from me! You erased me from her! I don't know! You got a thing... I'm in my bed! I know it. I'm in my brain! You're erasing Clementine! Right? I love her! But I won't when I wake up ... right? I won't know her, so... please, just leave me alone! Please. MIERZWIAK Yes, but...I'm just something you're imagining, Joel. What can I do from here? I'm in your head, too. I'm you. Mierzwiak goes back to talking to the faded Joel in the scene. JOEL Look! That guy! Joel sees a shadowy Patrick down the hall watching them. MIERZWIAK He works here. (oddly drawn out) That's Paaaaa-trick. Baaaby-boy. JOEL He's stealing my identity. He stole my stuff. He's seducing my girl with my words and my things. He stole her panties! Jesus! Her panties! Joel runs from the office. 63. 82A",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HALL - NIGHT 82A Joel runs toward the shadowy Patrick, who just stands there. But Joel doesn't get any closer. 83",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CLEMENTINE'S APARTMENT - NIGHT 83 Patrick reads the letter. CLEMENTINE'S VOICE ... and when we made love right on the ice it was absolutely freezing on my ass! I just have to tell you that. It was wonderful. Clementine enters, dressed for the cold. Patrick puts the letter away. CLEMENTINE I'm so excited. Yay! PATRICK I'm excited, too. Oh, and I wanted to give you this. It's a little... thing. Happy Early Valentine's Day. Patrick pulls the box from his pocket, hands it to her. CLEMENTINE Wow. What is it? PATRICK I don't know! Open it up! Clementine pulls the wrapping, opens the box, pulls out the necklace Joel bought for her earlier. CLEMENTINE (slipping it on) Oh! It's gorgeous. (kisses him) Just my taste. I've never gone out with a guy who bought me a piece of jewelry I liked. (kisses him) Thank you so much! 84",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. JOEL'S APARTMENT - NIGHT 84 Stan and Mary have sex on the floor next to Joel's bed. 64. 85,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FOREST - DAY 85 A wide shot of the trees in springtime. Joel and Clementine are hiking, Clementine in front. The sounds of Stan and Mary's sex play inconspicuously in the distance. As we move into close-up the forest seems wintry and dead. CLEMENTINE Such a beautiful view. JOEL (looking at her) Yes. (snapping out of memory) Shit! They're erasing you, Clem! CLEMENTINE Oh, look at the flowers! What are those, tulips? I don't know fuck about flowers. JOEL Focus! I hired them. I'm sorry. I'm so stupid! I'm -- CLEMENTINE Calm down, sweetie. Enjoy the scenery. JOEL I need it to stop, before I wake up and don't know you anymore. CLEMENTINE Okay, well, y'know, just tell them to cancel it then. JOEL What the hell are you talking about? I can't cancel it. I'm asleep. She sits on a rock and looks out at the vista. Joel sits next to her. He holds her hand. She has a thought. CLEMENTINE (cheerfully shaking him) Just wake yourself up! JOEL Stop it. I took some pill. I can't just -- CLEMENTINE Joel, you're always so negative. Just try. You never try anything. (MORE) (CONTINUED) 65. 85 CONTINUED: 85 CLEMENTINE (CONT'D) Remember all the times I tried to get you to taste sour cream and you wouldn't? Remember? Then you tasted it and you loved it. (shakes him again) I rest my case. JOEL Okay, fine. You want me to try? Will that make you happy? Look, trying... Joel concentrates, pulls open his eyes with his fingers. Suddenly the sky changes to -- 85A",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. JOEL'S APARTMENT - NIGHT 85A For a brief moment we are looking through Joel's eyes at the apartment ceiling. The night table lamp and some Lacuna electronic equipment are in our field of vision. There are vague sounds of sex. 85B,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FOREST - DAY 85B The sky is once again the sky. Joel is flipped out. JOEL It worked. For a second. But I couldn't keep my eyes open. I couldn't move. It wasn't going to work. I don't even think anyone's there. It must be done robotically or something. CLEMENTINE Well, isn't that just another one of Joel's self-fulfilling prophecies. It's more important to prove me wrong than to actually -- JOEL Look, I don't want to have this discussion right now. Y'know? It didn't work. CLEMENTINE Well, it did work. JOEL Fine, but I couldn't do anything once I was there. CLEMENTINE Fine. Then what? I'm listening. (CONTINUED) 66. 85B CONTINUED: 85B JOEL I don't know! (blurting angrily) You did it, too! You erased me first. It's the only reason I'm doing it. CLEMENTINE I'm sorry. You know me. I'm impulsive. He stares at her a long time, softens. JOEL It's what I love about you. The memory and Clementine are fading around him. Even though the sky is clear, Joel hears the sound of rain. He looks over and sees a window hanging in midair. JOEL'S VOICE That day... It's raining outside the window. 86",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JOEL'S APARTMENT - DAY 86 It's raining out. Joel and Clementine are lying huddled on the couch. They are reading a book together. It's The Red Right Hand by Joel Townsley Rogers. Joel finishes the page first. Clementine, in panties and bra, reads slowly, uses her finger. JOEL Done? CLEMENTINE Nope. JOEL Poke. Pokey. Pokemon. Pocahontas. Joel looks out the window at the rain. He feels her skin against him. He looks at her bare legs, her crotch, her feet in bulky socks. VOICE-OVER JOEL She's so sexy. I loved you on this day. I love this memory. The rain. Us just hanging. Clementine looks over at him, smiles. CLEMENTINE Done. This book is weird. But cool. (CONTINUED) 67. 86 CONTINUED: 86 Joel turns the page. They read. CLEMENTINE (CONT'D) (furrowing brow) So I have an idea. JOEL Does it involve fucking? CLEMENTINE Seriously. I have another idea for this thing, this problem. Like, okay, suppose you want to keep me from being erased, right? So, like, if you have memories of me, that's where these eraser-guys go, right? JOEL I assume. I don't know. CLEMENTINE (formulating) I mean, here. This is a memory of me. The way you wanted to fuck on the couch after you looked down at my crotch. JOEL (embarrassed) Yeah. CLEMENTINE Well then they're coming here. So what if you take me somewhere else, somewhere where I don't belong? (proud) And we hide there till morning. JOEL No. That's stu -- (considering) Well, maybe it's not bad. CLEMENTINE It's fucking great. I'm a genius! The scene and Clementine are beginning to dissolve. Joel looks around, horrified. He focuses on the rainy window. It starts to rain in the room. Then: 86A MONTAGE OF MEMORY FRAGMENTS 86A Fragments of memory: rainy sidewalk with earthworms on it, a little hand picks up a worm; (CONTINUED) 68. 86A CONTINUED: 86A a puddle with raindrops falling in it; a broken rain gutter spouting water, kids feet in yellow rubber rain boots; a young Joel giggling and running under an overhang for protection from a sudden rainstorm. 88",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DATED KITCHEN - DAY 88 Four year old Joel runs and hides under the kitchen table. Joel watches his mother at the stove stirring a saucepan and talking to a neighbor woman also in period clothes. The neighbor has Clementine's face, but is completely engaged in conversation with the mother. We can't make out what they're saying. Joel draws a picture in crayon on the bottom of the table top. Joel's mother excuses herself and leaves the room. Clementine looks around, spots Joel under the table. She approaches, bends down to his level. CLEMENTINE Jesus, it worked. (checking herself out) I love this dress, man. Wish I could take it with me. Who am I? JOEL Mrs. Hamlyn. I must be about four. (oddly) I want my mommy. She's busy. She's not looking at me. No one ever looks at me! (beat) I want my mommy! CLEMENTINE (giggling) This is sort of warped. Joel starts to cry. Clementine tries to comfort him. She hugs him. CLEMENTINE (CONT'D) It's okay, Baby Joel. JOEL (crying still) I want mommy. (adult, to Clementine) I don't want to lose you, Clem. CLEMENTINE I'm right here. (CONTINUED) 69. 88 CONTINUED: 88 JOEL I'm scared. I want my mommy. I don't want to lose you. I don't want to lose.... CLEMENTINE Joel, Joely, look... it's not fading. The memory. I think we're hidden. Look, honey, my crotch is still here just as you remember it. She lifts her skirt to reveal the underwear from the previous scene. Joel looks, sucks in some snot. His mother hurries back in. The room is not decaying. Joel smiles. 89",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JOEL'S APARTMENT - NIGHT 89 Stan and Mary lie on the floor, their stoned minds wandering after sex. Stan suddenly perks up. He looks at the monitor. STAN It's stopped. MARY What? STAN Listen, it's not erasing. He makes his way, naked, to the computer screen. STAN (CONT'D) It's not erasing. He's off the screen. MARY Where? STAN I don't know! Stan tries to break through his marijuana haze. He fiddles nervously with the equipment. STAN (CONT'D) I don't know what to do! I don't know what to do! Crap. Crap... MARY Well, what should we do? (CONTINUED) 70. 89 CONTINUED: 89 STAN I don't know! I just said that! MARY Sor-ry. (beat, stoned) So, what should we do? Oh, sorry. But we have to do something. He can't wake up half-done. All gooey and unbaked inside. Hey, that sounds good. I'm hungry. Mary giggles. STAN Shit! He jerks the joystick spastically. Mary, also naked, gets up and looks over his shoulder at the screen. MARY (definitively) We need to call Howard. Stan turns and looks at her. He's stoned and trying to understand her motivation. STAN No, sir. I can handle this. MARY This guy's a half-baked cookie. There's no time to fuck around, Stan! Stan tries to think. He paces. Mary watches him. Finally: STAN (without making eye contact) Okay. (dials the phone, waits) Hello, Howard? 90",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MIERZWIAK'S BEDROOM - NIGHT 90 CONTINUOUS: The room is dark. A groggy Mierzwiak is in bed on the phone. His wife lies beside him, eyes open, listening. MIERZWIAK Stan? What's going on? (CONTINUED) 71. 90 CONTINUED: 90 STAN'S VOICE The guy we're doing? He's disappeared from the map. I can't find him anywhere. MIERZWIAK Okay, stay calm. What happened right before he disappeared? STAN'S VOICE I was away from the monitor for a second. I had it on automatic. I had to go pee. MIERZWIAK Well, where was Patrick? STAN'S VOICE He went home sick. MIERZWIAK Jesus. All right, what's the address. STAN'S VOICE 159 South Village. Apartment 1E, Rockville Center. Mierzwiak writes it down on a bedside note pad. He hangs up. 91",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JOEL'S APARTMENT - NIGHT 91 Stan hangs up the phone, looks for Mary. She's in the kitchen eating some cookies. MARY He's coming? STAN You better go. MARY Hell no. She tromps into the living room, starts getting dressed. MARY (CONT'D) Shit, I'm so stoned. I don't want him to see me stoned. Stop being stoned, Mary! She hurries into the bathroom with her bag. MARY (CONT'D) (O.C.) (CONT'D) God, I look like shit! God! (CONTINUED) 72. 91 CONTINUED: 91 Mary slams the bathroom door. Stan puts his head in his hands. 92",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. KITCHEN - DAY 92 Joel and Clementine are under the table having sex. Joel's mother reaches down as she hurries by and pats Joel on the head. Startled, Joel pulls off of Clementine. MOTHER How's my baby boy? JOEL I really want her to pick me up. It's weird how strong that desire is. Clementine holds his hand. He looks over at her. CLEMENTINE (very focused) You'll remember me in the morning. And you'll come to me and tell me about us and we'll start over. JOEL I loved you so much this day. It was raining. On my couch in your panties. I remember I thought, how impossibly lucky am I to have you on my couch in your panties. She kisses him. JOEL (CONT'D) You smelled so good, like you just woke up, slightly sweaty. And I said something like -- CLEMENTINE -- another rainy day. Whatever shall we do? He laughs. They begin to make love again. Joel's mother hurries around the kitchen. Joel stops, looks at Clementine. JOEL This Patrick guy is copying me! CLEMENTINE What Patrick guy? (CONTINUED) 73. 92 CONTINUED: 92 JOEL He's here. In my apartment. (pointing up) He's one of the eraser guys, okay? And he fell for you when they were doing you. So he introduced himself the next day as if he were a stranger and now you're dating him. CLEMENTINE Really? Is he cute? JOEL He stole a pair of your panties! CLEMENTINE Gross! You've got to tell me this in the morning. Don't forget! Okay? JOEL And I think using the stuff I said in my session to seduce you. CLEMENTINE I'm, like, so absolutely freaked out now. (beat) Which pair? 93",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CLEMENTINE'S CAR - NIGHT 93 It's a rust bucket. Clementine drives. She's crying and holding Patrick's hand. CLEMENTINE What's wrong with me? PATRICK Nothing is wrong with you. You're the most wonderful person I've ever met. You're kind and beautiful and smart and funny and nice and pretty and, um, ... She glances gratefully at him then starts to cry even harder. Patrick is over his head. 94",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JOEL'S BEDROOM - NIGHT 94 Stan works on trying to get the signal back. His hair is combed and he's dressed neatly, looking professional but still stoned. Mary is pacing nervously to and from the window, looking out into the light. She's dressed also, and she's wearing more make-up now. Her hair is pulled up into some sort of style. The intercom buzzes. (CONTINUED) 74. 94 CONTINUED: 94 MARY There he is. Oh my God. Oh my God. Do I look okay? Stan doesn't say anything. MARY (CONT'D) I'm still stoned. Are you? Crap. She looks in the mirror. MARY (CONT'D) (to Joel) Your prescription eye drops didn't do shit, fella. The doorbell buzzes. Mary lunges for the door, then calms herself before opening it. Mierzwiak, holding an equipment bag, looks surprised. MIERZWIAK Mary. What are you doing here? STAN She came to help, Howard. MARY I wanted to learn as much about the procedure as possible, Howard. I think it's important for my job... to understand the inner workings of the... work... we do. Well, not me, but the work that is done by others where I also work. The work of my colleagues. You know? Mierzwiak looks from Mary to Stan, nods, and enters. Mary closes the door. Mierzwiak crosses to the equipment. MIERZWIAK Let's get to the bottom of this. Shall we? He sits down in front of the computer and does some fiddling. MIERZWIAK (CONT'D) Odd. He fiddles some more. Mary looks on, fascinated. STAN I tried that already. (CONTINUED) 75. 94 CONTINUED: (2) 94 MIERZWIAK Did you try going in through C-Gate? STAN Yeah, of course. I mean, yes. Mierzwiak ponders. He unzips his equipment bag, pulls out another laptop computer and plugs it into the system. MIERZWIAK I'm going to do a search through his entire memory, see if anything comes up. Mierzwiak presses some more buttons. The program starts up. A much more complex and detailed human brain appears on this screen. It rotates. Eventually Mierzwiak sees a small distant light in the brain. He zeroes in on it. MIERZWIAK (CONT'D) Okay, here it is. I don't know why it's off the map like that, but -- 95",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. KITCHEN - DAY 95 Joel is being bathed in the oversized sink by his mother. Clementine sits in the water with him, laughing. The mother doesn't seem to see her. MOTHER Little baby getting awwwwl clean. Awl clean. JOEL (to Clementine) I love getting bathed in the sink. It's such a feeling of security. CLEMENTINE (giggling) I've never seen you happier, Baby Joel. JOEL Look, it's my Huckleberry Hound doll! I told you about that, remember? Clementine looks over. CLEMENTINE Where? The doll can be seen now on the counter, an undefined lump of blue synthetic fur. (CONTINUED) 76. 95 CONTINUED: 95 JOEL (distraught) Oh! It's going! Oh! As he tries to lunge for it, the elements of the scene flash explosively away: Joel's mother, his Huckleberry Hound doll, the details of the kitchen, Clementine. Joel, alone, starts to slip and drown in the sink. He gasps and then: 96",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. JOEL'S CAR - NIGHT 96 He sits with Clementine in the parked car, outside a drive-in movie theater. The movie on the giant screen is partially obscured by a fence. Joel and Clementine drink wine. 97",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JOEL'S BEDROOM - NIGHT 97 Mierzwiak looks up from the computer screen. MIERZWIAK Okay, we're back in. MARY That was beautiful to watch, Howard. Like a surgeon or a concert pianist. MIERZWIAK Well, thank you, Mary. STAN (sighing) You get some sleep, Howard. I'll be fine here. MIERZWIAK Yeah, probably a good idea. I'm an old man, guys. An old, cranky man. MARY Oh, nonsense. She giggles and then is suddenly stoned and self-conscious. 98",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JOEL'S CAR - NIGHT 98 Clementine and Joel laugh as they try to give voice to what the characters on the drive-in screen are saying. * CLEMENTINE Can't you see... I love you, Antoine. JOEL Don't call me Antoine. The name's Wally. (CONTINUED) 77. 98 CONTINUED: 98 CLEMENTINE Yes, but who could love a man named Wally? She starts to fade. Joel looks confused. The scene starts to fade. JOEL (remembering) Oh! CLEMENTINE Shhh! I want to watch the movie! JOEL Clem, think! They'll find you here. He looks over and she's gone. 98A",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. JOEL'S APARTMENT - NIGHT 98A Mierzwiak watches a blip disappear from the screen. MIERZWIAK Got it. 98B,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. JOEL'S CAR - NIGHT 98B Joel lunges and desperately hugs the air where Clementine was. JOEL Tangerine. She reappears in her arms, seemingly willed back into existence. 98C",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. JOEL'S APARTMENT - NIGHT 98C Mierzwiak and Stan watch the blip reappear on the screen. MIERZWIAK Odd. It popped back. Mierzwiak fiddles with some controls. 98D,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. JOEL'S CAR - NIGHT 98D Joel pushes open the door and pulls Clementine out of the car. They run off. Joel never lets go of his tight grip on her. (CONTINUED) 78. 98D CONTINUED: 98D JOEL (looking back and seeing that the car is gone) Shit! The sky turns into -- 98DD,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JOEL'S APARTMENT - NIGHT/EXT 98DD We see the ceiling from Joel's POV. Howard, Stan, and Mary hover over Joel at the edges of the frame. MIERZWIAK His eyes are open. Has that happened before with him? STAN No. MIERZWIAK This is no good. Here. Give him this. We see a brief flash of a hypodermic passing over Joel's face and we are back in -- 98DDD",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. JOEL'S CAR - NIGHT 98DDD Joel is thrust back into the world of his memory. 98DDE 98DDE (looks at fading Clementine) Shit! He stops, tries to figure out which way to go. CLEMENTINE Hide me somewhere deeper? Somewhere really buried? Joel, hide me in your humiliation. He looks at her. Then, holding her close, runs through already dark, decayed memories of their time together. 98E",FLASHBACK +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JOEL'S APARTMENT - NIGHT 98E Mierzwiak and Stan watch a trail of light on the monitor. Mierzwiak glides after it, erasing its wake. STAN It doesn't make any sense. He's in memories I already erased. (CONTINUED) 79. 98E CONTINUED: 98E MIERZWIAK Well, at least we know where he is and we're back on track. Right? 98F",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. STREET - NIGHT 98F Joel drags Clementine through decayed New York Streets. He sees a silhouette of himself hauling two garbage bags to Lacuna, almost getting hit by a UPS truck. JOEL Humiliation. Humiliation. Humiliation. CLEMENTINE Think! 99",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JOEL'S BEDROOM - NIGHT 99 Stan is back at the controls. Unconscious Joel's face screws up slightly. Mierzwiak's at the door with Mary. STAN Wait, Howard, they've disappeared again. MIERZWIAK Oh dear. MARY I'm so sorry, Howard. You must be exhausted. He nods distractedly. She smiles to herself as he heads back to the equipment. 100",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BLACK VOID - NIGHT 100 Joel and Clementine crouch in murky blackness. JOEL (under his breath) Humiliation, humiliation, humil -- 101",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BEDROOM - NIGHT 101 It's dark. Joel, junior high school size, is in bed masturbating. He has a flashlight trained on a comic book he has been drawing which seems to be getting increasingly pornographic as it progresses. Clementine is there, too, slightly faded. JOEL -- iation. (CONTINUED) 80. 101 CONTINUED: 101 CLEMENTINE (mock offended) Joel! JOEL (continuing to masturbate) I don't like it either, I'm just trying to find horrible secret places to -- Joel's mother pops her head in the door. MOTHER Joel, I was just -- (sees what's going on) Oh. Um... I'll ask you in the morning, honey. Good night. The mother backs out, closes the door. Joel cringes. Clementine laughs. Suddenly the walls of the room are gone and the bed is on the beach. Clementine glances up. CLEMENTINE Look. Look where we are. 102",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JOEL'S APARTMENT - NIGHT 102 Mierzwiak is at the machines. MIERZWIAK Okay, we got him back on track. Stan, I think I'm just going to have to get through this manually. We're running late. 103",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BEACH - DAY 103 It's cold. Joel and Clementine walk, all bundled up. She points at a house up the beach. CLEMENTINE Our house! Our house! She runs ahead, laughing. The scene is decaying. Joel chases after her. JOEL C'mon! The house is gone. Joel grabs Clementine's arm and yanks. 81. 104",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JOEL'S BEDROOM - NIGHT 104 Joel lies on his back. Clementine sits over him holding a pillow. They are both laughing. CLEMENTINE Okay, ready? Again? He stops laughing, nods seriously. She puts the pillow over his face and holds it down hard. Joel struggles and screams, muffled by the pillow. Suddenly he goes limp. Clementine pulls the pillow off his face and looks horrified. CLEMENTINE (CONT'D) Joel! Joel? Are you okay? Joel! Oh my God. Oh my God! She shakes him dramatically. He remains limp for a moment, then starts to laugh. CLEMENTINE (CONT'D) That was terrible! That was like three seconds. JOEL (trying to stop laughing) Okay, okay, let me try again. CLEMENTINE All right, once more. Then I get to go. He watches her start to fade. JOEL Oh, Clem! Don't! He closes his eyes. The room becomes: 105",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. JOEL'S CHILDHOOD SUBURBAN STREET - DAY 105 Joel is one of a group of five year olds. He holds a hammer and is poised to hit a dead bird in a red wagon. The other boys are goading him. Clementine, now the little girl with the puppy we saw in the photograph earlier, watches with the other kids. BOYS C'mon, Joel, you have to. Do it already. Joel doesn't want to. (CONTINUED) 82. 105 CONTINUED: 105 JOEL VOICE-OVER I can't. I have to go home. I didn't want to do this. I'll do it later. But I had to or they would've called me a girl. Joel miserably smashes the bird repeatedly with the hammer. Red jelly guts cover the hammer and the wagon bottom. The kids hoot. VOICE-OVER I can't believe I did that. I'm so ashamed. A live bird watches from a tree. Clementine pulls Joel away from the other boys. The two of them walk down Joel's suburban street. CLEMENTINE It's okay. You were a little kid. She kisses him and they walk holding hands. JOEL God, I wish I knew you when we were kids. My life would've turned out so differently. (pointing to a house) That's where I live. Lived. She lays down on the front lawn of the childhood house. CLEMENTINE It's my turn, sweetie. She hands him a pillow. He smiles and puts it over her face. She struggles, then acts dead. After a long moment of no reaction from Clementine, Joel pulls the pillow from her face. She is gone. His childhood house is crumbling. 106",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JOEL'S BEDROOM - NIGHT 106 Mierzwiak works the equipment. He has located a small area of light in the brain imaging and eradicates it. MIERZWIAK I'm getting the hang of it. I still don't understand it. But I am finding him quickly enough. I'm hopeful there won't be too much collateral eradication. Mary sits on the bed. (CONTINUED) 83. 106 CONTINUED: 106 MARY (a little giggly) I like watching you work. Stan grabs his coat. STAN I'll go out for a smoke. If no one minds. I mean, it seems like everything is under control here. MIERZWIAK (not looking up) That's fine, Stan. Mary doesn't say anything. Stan huffs and is out the door. Mierzwiak continues to find and erase points of light. Mary gets up her courage to speak. MARY Do you like quotes, Howard? MIERZWIAK How do you mean? MARY Oh, um, like famous quotes. I find reading them inspirational to me. And in my reading I've come across some I thought you might like, too. MIERZWIAK Oh. Well, I'd love to hear some. Mary is thrilled, beside herself. She tries to calm down. MARY Okay, um, there's one that goes ""Blessed are the forgetful, for they get the better even of their blunders."" MIERZWIAK Is that Nietzsche? MARY Yeah, yeah it is, Howard. And here I was thinking I could tell you something you didn't know. MIERZWIAK It's a good quote, Mary. I'm glad we both know it. (CONTINUED) 84. 106 CONTINUED: (2) 106 He smiles at her. She's flustered, flattered. MARY (sputtering) There's another one I like, I read. It's by Pope Alexander. MIERZWIAK Alexander Pope? MARY Yes, shit. Oops, sorry! (puts hand over mouth) Sorry. It's just I told myself I wasn't going to say Pope Alexander and sound like a dope and then I go ahead and do it. Like a psyched myself out into saying it wrong. MIERZWIAK It's no big deal. MARY You are such a sweetheart. There's an embarrassed moment as that line hangs in the air. Then Mary plunges ahead to bury it. MARY (CONT'D) The quote goes ""How happy is the blameless Vestal's lot! The world forgetting, by the world forgot: Eternal sunshine of the spotless mind! Each prayer accepted, and each wish resign'd."" She smiles, proud and embarrassed. MIERZWIAK I didn't know that one. And it's lovely. MARY Really? I thought it was appropriate, maybe. That's all. (beat, then quickly) I really admire the work that you do. I know it's not proper to be so familiar but I guess since we're outside the workplace I feel a certain liberty to -- MIERZWIAK It's fine, Mary. I'm happy to hear it. (CONTINUED) 85. 106 CONTINUED: (3) 106 MARY Okay. Good. Great. Thanks. (blurting) I like you, Howard... an awful lot. Is that terrible? Mierzwiak seems momentarily taken aback, then returns to his unflappable self. MIERZWIAK You're a wonderful girl, Mary. She leans over and kisses him, then pulls away quickly. MARY I've loved you for a very long time. I'm sorry! I shouldn't have said that. MIERZWIAK I've got a wife, Mary. Kids. You know that. MARY (suddenly weepy) I wish I was your wife. I wish I had your kids. I would be so happy... Mierzwiak comforts her with a hug. It turns into a kiss. He pulls away. MIERZWIAK We can't do this. MARY No, you're right. Once again. You're a decent man, Howard. He smiles sadly at her. She smiles courageously at him. MIERZWIAK I want you to know it's not because I'm not interested. If that means anything. They look at each other for a long while, then Howard goes back to locating and eradicating blips of light. 107",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. THE VAN/JOEL'S APARTMENT BUILDING - DAY 107 Stan sits in the van and smokes a cigarette. He has an unobstructed view into Joel's bedroom window. He watches Mierzwiak and Mary. They're talking as Howard works. It appears to be a very serious discussion. A car pulls up outside. Stan turns to see. A middle-aged woman gets out. (CONTINUED) 86. 107 CONTINUED: 107 In the window, Mierzwiak's resolve has apparently weakened and he and Mary kiss again. This leads to groping, partial undressing, and falling onto the bed alongside the unconscious Joel. The woman checks the address on Joel's building. Stan recognizes her. As the woman approaches the only lit window, Stan agonizes over what to do. He honks his horn. The woman looks back at the van, then hurries to the window. Mierzwiak and Mary, in partial undress, squint out into the night. The woman and Mierzwiak lock eyes. He practically shrieks and jumps up. 108",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. COUNTRY ROAD - DAY 108 Joel and Clementine walking, hand-in-hand, look up simultaneously. 109",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. JOEL'S BEDROOM - NIGHT 109 * Mary looks confusedly at Howard. * MARY Who is it? (realizing) Oh my God! Mierzwiak is already in his coat. He's out the door. 110,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. JOEL'S APARTMENT BUILDING - CONTINUOUS 110 * The woman is at her car. Stan watches from the van. * Mierzwiak hurries to the woman. MIERZWIAK Hollis! Hollis! HOLLIS (THE MIDDLE-AGED WOMAN) I knew it, Howard. I don't even know why I bothered to copy the damn address and get out of bed. I could've used the sleep. MIERZWIAK It didn't start out to be this. I came here to work. It's a one-time mistake. Mary is right behind Mierzwiak now. Hollis is in her car. MARY (heroically) Mrs. Mierzwiak, it's true. And it's not Mr. Mierzwiak's fault. I'm a stupid little girl with a stupid little crush. I basically forced him into it. I swear. (CONTINUED) 87. 110 CONTINUED: 110 Hollis turns, looks at Mary and then at Mierzwiak. HOLLIS Don't be a monster, Howard. Tell the girl. Stan is out of the van now, listening. Mary shivers in the cold, hugs herself. There's a long silence. Then: MARY Tell me what? Hollis and Mierzwiak have locked eyes. Mary looks back and forth between them. Hollis starts her car. HOLLIS Poor kid. You can have him. You did. She drives off. Mary watches Howard with increased foreboding. MARY What, Howard? MIERZWIAK We... have a history. I'm sorry. You wanted the procedure. You wanted it done... to get past. I have to finish in there. It's almost morning. We'll talk later. He shuffles inside. Mary stands there, unable to digest this, struggling in vain to remember. Stan watches. STAN Let me take you home. Mary shakes her head ""no."" She walks off, dazed. 111",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CHARLES RIVER - NIGHT 111 Clementine and Patrick lie on the their backs on the frozen river and look up at the night sky. PATRICK I could die right now, Clem. I'm just happy. I've never felt that before. I'm just exactly where I want to be. Clementine looks over at him. Their eyes meet. She sobs. CLEMENTINE I want to go home. (CONTINUED) 88. 111 CONTINUED: 111 She hurries toward the shore, slips on the ice, gets up, and continues, now running. 113",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. JOEL'S BEDROOM - NIGHT 113 It's deathly silent as Mierzwiak and Stan work on completing the job. Mierzwiak locates a light hidden very deep in the map of Joel's brain. He targets it. 114,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. ROWBOAT/,SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JOEL'S APARTMENT - DAY 114 Joel and Clementine sit in his apartment on the couch. Clementine is dressed in a skeleton costume. Joel draws a portrait of her. The reverse angle is Joel's father fishing in a rowboat. CLEMENTINE (peeking) That's so great. Creepy. JOEL Thanks. The subject is inspiring. The father is drunk and sullen. He faces away from Joel, looks out at the lake. FATHER Don't be like me, son. Don't waste your life. You'll come to a point someday where it'll be too late. You'll be sewn into your fate... JOEL It was horrifying, seeing my father like that. There was no hope for me if his life was such a failure. And he saw failure in me, too, written in my future. Clementine watches the confused, frightened Joel. CLEMENTINE Joel, you're not sewn in. He's wrong. FATHER ... and there'll be nowhere to go except where you're headed, like a train on a track. Inevitable, unalterable. (a quiet dirge-like afterthought) Chooo-chooo. The scene pops out of existence with a flash of light. 89. 115",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. THEATER - NIGHT 115 Clementine leads Joel into a crowd of people outside a Broadway theater. They listen to conversations around them. Clementine adopts a mock-sophisticated tone, attempting to make it look like they are playgoers. CLEMENTINE Blah blah blah good acting. Blah blah blah iambic pentameter. JOEL (laughing) You always break into places? CLEMENTINE Second Acting is a subversive act. Ticket prices are insane. Theater belongs to the masses. The theater lights flash and the crowd begins to head back inside. Joel looks nervous. Clementine takes his hand and leads him into the crowd. VOICE-OVER JOEL Your hand, I remember it. I'm done, Clem. I'm just going to ride it out. Hiding is clearly not working. CLEMENTINE (CONT'D) Yeah. JOEL I want to enjoy my little time left with you. CLEMENTINE This is our first ""date"" date. JOEL Do you remember what we talked about? 117",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. THEATER - NIGHT 117 Joel and Clementine walk past the usher. CLEMENTINE Naomi, I guess. JOEL Yeah. (CONTINUED) 90. 117 CONTINUED: 117 CLEMENTINE What was I wearing? JOEL God, I should know. Your hair was red. I remember it matched the curtains. CLEMENTINE Egad, were you horrified? JOEL No! Oh, I think you were wearing that black dress, y'know, with the buttons. She is wearing the black dress with the buttons. CLEMENTINE No, you were with me when I bought that. At that place on East 6th. It was later. 118",FLASHBACK +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. DRESS SHOP - DAY 118 The scene has already been erased. It's just a decayed husk. A vague Joel watches a vague Clementine model a black dress. 119,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. THEATER - NIGHT 119 Clementine wears a generic black dress now. As the paying customers take their seats, Joel and Clementine search discreetly for unoccupied seats. JOEL Right. Something black though. CLEMENTINE I'll buy that. Black's always good. Slenderizing. JOEL We did talk about Naomi. CLEMENTINE I said: Are you sure? You seem unsure. JOEL I'm sure, I said. CLEMENTINE But you weren't. I could tell. JOEL (beat) I am now. I'm so sure. (CONTINUED) 91. 119 CONTINUED: 119 She tears up. They kiss. JOEL (CONT'D) I was nervous. I remember I couldn't think of anything to say. There were long silences. There is a long silence. They both stare straight ahead and watch the still lowered curtain. JOEL (CONT'D) I thought I was foolish. I thought I'd mistaken infatuation for love. You said: CLEMENTINE So what. Infatuation is good, too. JOEL And I didn't have an argument. 120",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. JOEL'S CAR - NIGHT 120 Joel and Clementine pull up to Clementine's house. JOEL I dropped you off after. You said -- CLEMENTINE (Mae West) Come up and see me... now. JOEL It's very late. CLEMENTINE Yes, exactly. Exactly my po",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. CLEMENTINE'S APARTMENT - NIGHT 121 Joel and Clementine are in the midst of awkward shy sex. JOEL This was our first time. The scene starts to fade. Joel watches Clementine disappear. 122,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LACUNA RECEPTION AREA - NIGHT 122 Mary enters the dark room, frazzled. She flips on the fluorescent lights and searches the file folders, pulling them out and dropping them on the floor. She can't find what she's looking for. She exits into the inner office area. 92. 122A",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MIERZWIAK'S OFFICE - NIGHT 122A Mary rifles through Mierzwiak's desk, through his personal file cabinets, pulls boxes of papers out of the closet and rifles through them. She finally comes upon a file with her name on it. Her jaw drops and with a shaky hand she puts the tape into the player the office and presses ""play."" MIERZWIAK'S VOICE Okay, so just tell me what you remember. And we'll take it from there. MARY'S VOICE (shaky) Um, okay, I like you immediately. At the job interview. You seemed so... important and mature. And I loved that you were helping all these people. You didn't come on to me at all. I liked that. I was so tongue-tied around you at first. I wanted you to think I was smart. You were so nice. I loved the way you smelled. I couldn't wait to come to work. I had these fantasies of us being married and having kids and just... (starts to cry) ... and so... then... when... that one day, when I thought you looked at me back... like... Oh, Howie, I can't do this? How can I do this? MIERZWIAK'S VOICE It's what's best, Mary. You know that. Mary slumps to the floor. We move into her eyes. MARY'S VOICE Yeah, I know. Oh, God. Okay, well, I was I so excited... 123 A SERIES OF MURKY IMAGES. NO DETAIL. 123 A flirtatious look from Mierzwiak. MARY'S VOICE ... Remember you bought me that little wind-up frog? A vague shot of a wind-up frog. MARY'S VOICE (CONT'D) And you said... (CONTINUED) 93. 123 CONTINUED: 123 A vague shot of Mierzwiak mouthing to Mary's voice. MARY'S VOICE (CONT'D) ""This is for your desk. Just a little token."" Back to Mary sitting on the floor, listening to the tape. MARY'S VOICE (CONT'D) * I knew then... I knew something was going * to happen... something wonderful. * 124",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JOEL'S APARTMENT - NIGHT 124 * Joel sits in the quiet living room. The scene is fading. * JOEL * Naomi. * VOICE-OVER * On the couch. Dark. Quiet. I wondered * if I had made a terrible mistake. I * almost reached for the phone about a * thousand times. I thought I could take * it back, erase it, explain I had * momentarily lost my mind. Then I told * myself we weren't happy. That was the * truth. That what we were was safe. It * was unfair to you and to me to stay in a * relationship for that reason. I thought * about Clementine and the spark when I was * with her, but then I thought what you and * I had was real and adult and therefore * significant even if it wasn't much fun. * But I wanted fun. I saw other people * having fun and I wanted it. Then I * thought fun is a lie, that no one is * really having fun; I'm being suckered by * advertising and movie bullshit... then I * thought, maybe not, maybe not. And then I * thought, as I always do at this point in * my argument, about dying. * 125",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. ROOM - DAY 125 * An elderly man sits. * VOICE-OVER * I projected myself to the end of my life * in some vague rendition of my old man * self. I imagined looking back with a * tremendous hole of regret in my heart. * 94. * 126,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JOEL'S APARTMENT - NIGHT 126 * Joel sits on the couch. A ghostly image of Naomi sits curled * up on the other end of the couch. * JOEL * I didn't pick up the phone to call you, * Naomi. I didn't pick up the phone. * The scene dissolves. * 127",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. BORDER'S BOOKSTORE - NIGHT 127 * Joel talks to Clementine. The scene is fogging over. * JOEL * I told her today I need to end it. * CLEMENTINE * Is that what you want? * JOEL * I did it. I guess that means something. * Clementine shrugs. The scene fades. * 128,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PARK - DAY 128 Joel walks with Naomi. NAOMI So what's going on, Joel? JOEL I don't know, I've just been thinking, maybe we're not happy with each other. NAOMI What? JOEL Y'know, we've been, I don't know, sort of, unhappy with each other and -- NAOMI Don't say ""we"" when you mean ""you."" JOEL I think maybe, we're both so used to operating at this level that -- How can one person be unhappy? (MORE) (CONTINUED) 95. 128 CONTINUED: 128 JOEL (CONT'D) If one person is unhappy, both have to be... by definition. NAOMI Bullshit. Who is it? You met someone. JOEL No. I just need some space, maybe. NAOMI The thing is, Joel, whatever it is you think you have with this chick, once the thrill wears off, you're just going to be Joel with the same fucking problems. JOEL VOICE-OVER It's not somebody else. I hate myself. Naomi walks off. Joel watches her. The scene fades. 129",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BARNES AND NOBLE BOOKSTORE - NIGHT 129 Joel enters, looks around. There's no sign of Clementine. Joel approaches a male employee. JOEL Is there a Clementine who works here? MALE EMPLOYEE #1 (calling to another male employee) Mark, is Clem on tonight? MALE EMPLOYEE #2 On my dick, bro. (turns, sees Joel, embarrassed) Oh, hey. Yeah, I think she's in Philosophy. Joel climbs stairs, searches the aisles, spots Clementine. JOEL Hi. She turns. CLEMENTINE I didn't think you'd show your face around me again. I figured you were humiliated. You did run away, after all. JOEL Sorry to track you down like this. I'm not a stalker. But I needed to see you. (CONTINUED) 96. 129 CONTINUED: 129 CLEMENTINE (seemingly uninterested) Yeah? JOEL I'd like to... take you out or something. CLEMENTINE Well, you're married. JOEL Not yet. Not married. CLEMENTINE Look, man, I'm telling you right off the bat, I'm high maintenance. So I'm not going to tiptoe around your marriage or whatever it is you got going there. If you want to be with me, you're with me. JOEL Okay. CLEMENTINE So make your domestic decisions and maybe we'll talk again. She goes back to stacking. Joel stands there helplessly. JOEL I just think that you have some kind of... quality that seems really important to me. The scene is disintegrating. Clementine's speech is delivered without passion. CLEMENTINE Joel, I'm not a concept. I want you to just keep that in your head. Too many guys think I'm a concept or I complete them or I'm going to make them alive, but I'm just a fucked-up girl who is looking for my own peace of mind. Don't assign me yours. JOEL I remember that speech really well. CLEMENTINE (smiling) I had you pegged, didn't I? (CONTINUED) 97. 129 CONTINUED: (2) 129 JOEL You had the whole human race pegged. CLEMENTINE Probably. JOEL I still thought you were going to save me. Even after that. CLEMENTINE I know. JOEL It would be different, if we could just give it another go around. CLEMENTINE Remember me. Try your best. Maybe we can. The scene is gone. 133",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JOEL'S APARTMENT - DAY 133 Joel is at his closet, putting on a sweater. Naomi is at the dining room table, papers spread out before her, writing. Joel turns and watches her for a moment. JOEL So you don't mind? NAOMI I've got to finish this chapter anyway. The scene is fading. JOEL Okay. I wish you could come. VOICE-OVER This is it. The day we met. My God, it's over. NAOMI Me, too. (CONTINUED) 98. 133 CONTINUED: 133 He approaches Naomi, kisses her on the top of her head. She continues to write. NAOMI (CONT'D) Say hi to Rob and Carrie. Have some fun! Get laid! Just kidding. JOEL I hope you get your work done. NAOMI (sighing) 133 Maybe when we're ninety. 133 136",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BEACH PARKING LOT - DAY 136 Rob, Carrie, and Joel emerge from the car, parked amidst a small cluster of cars in an otherwise empty parking lot. 137",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. BEACH - DAY 137 Joel watches his shoes in the sand as he trudges along. CARRIE Is this the right way? Rob? Rob? 138,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BEACH - DAY 138 MOMENTS LATER: Joel, Rob, and Carrie step out of the brush and see a bonfire down the beach. People and music can be heard. 139",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BEACH - DAY 139 LATER: Joel sits on a log, a paper plate of chicken and corn on his lap. People warm themselves at the fire. Joel watches couples talking, kissing, Rob sharing a joint with a guy. JOEL You were down by the surf. I could just make you out in the distance. Joel looks down to the water. There's Clementine, in her orange sweatshirt, looking out to sea. (CONTINUED) 99. 139 CONTINUED: 139 JOEL (CONT'D) VOICE-OVER Your back to me. In that I remember being drawn to you orange sweatshirt I would even then. I thought, how come to know so well and even odd, I'm drawn to someone's hate eventually. At the time back. I thought, I love this I thought, how cool, an woman because she's alone orange sweatshirt. down there looking out at the ocean. JOEL (CONT'D) But I went back to my food. The next thing I remember, I felt someone sitting next to me and I saw the orange sleeve out of the corner of my eye. A shot of the orange sleeve. Joel looks up. CLEMENTINE Hi there. JOEL VOICE-OVER Hi. I was so nervous. What were you doing there, I wondered. Your hair was lime green. Green revolution. A shot of her green hair. JOEL You said... CLEMENTINE I saw you sitting over here. By yourself. I thought, thank God, someone normal, who doesn't know how interact at these things either. JOEL Yeah. I don't ever know what to say. CLEMENTINE I can't tell you how happy I am to hear that. I mean, I don't mean I'm happy you're uncomfortable, but, y'know... I'm such a loser. Every time I come to a party I tell myself I'm going to be different and it's always exactly the same and then I hate myself after for being such a clod. (CONTINUED) 100. 139 CONTINUED: (2) 139 JOEL VOICE-OVER Even then I didn't believe But I thought, I don't know, you entirely. I thought how I thought it was cool that could you be talking to me if you were sensitive enough to you couldn't talk to people? know what I was feeling and that you were attracted to it. CLEMENTINE (CONT'D) But, I don't know, maybe we're the normal ones, y'know? I mean, what kind of people do well at this stuff? VOICE-OVER And I just liked you so much. CLEMENTINE You did? You liked me? JOEL You know I did. CLEMENTINE Yeah, I know. I'm fishing. JOEL You said -- She picks a drumstick off of Joel's plate. CLEMENTINE JOEL I'm Clementine. Can I And you picked it out of my borrow a piece of your plate before I could answer chicken? and it felt so intimate like we were already lovers. JOEL (CONT'D) VOICE-OVER I remember -- The grease on your chin in the bonfire light. Shot of a smudge of chicken grease on Clementine's chin. CLEMENTINE Oh God, how horrid. JOEL VOICE-OVER I'm Joel. No, it was lovely. CLEMENTINE (CONT'D) Hi, Joel. So no jokes about my name? (CONTINUED) 101. 139 CONTINUED: (3) 139 JOEL You mean, like... (singing) Oh, my darlin', oh, my darlin', oh, my darlin', Clementine... ? Huckleberry Hound? That sort of thing? CLEMENTINE Yeah, like that. JOEL Nope. No jokes. My favorite thing when I was a kid was my Huckleberry Hound doll. I think your name is magic. She smiles. CLEMENTINE (eyes welling) This is it, Joel. It's gonna be gone soon. JOEL I know. CLEMENTINE What do we do? JOEL Enjoy it. Say goodbye. She nods. Joel and Clementine are walking near the surf. JOEL (CONT'D) VOICE-OVER So you're still on the Next thing I remember we were Zoloft? walking down near the surf. You were walking as close as you could to the water without getting wet. CLEMENTINE No, I stopped. I didn't want to feel like I was being artificially modulated. JOEL I know what you mean. That's why I stopped. CLEMENTINE But my sleeping is really fucked up. (CONTINUED) 102. 139 CONTINUED: (4) 139 JOEL I don't think I've slept in a year. CLEMENTINE You should try Xanax. I mean, it's a chemical and all, but it works... and it works just having it around, knowing that it's there. Like insurance. JOEL Sleep insurance. The latest thing. CLEMENTINE I'll give you a couple. See what you think. JOEL Okay. CLEMENTINE Have you ever read any Anna Akhmatova? JOEL I love her. CLEMENTINE Really? Me, too! I don't meet people who even know who she is and I work in a book store. JOEL I think she's great. CLEMENTINE Me too. There's this poem -- JOEL CLEMENTINE Did this conversation come I think, before. before or after we saw the house? JOEL Seems too coincidental that way. CLEMENTINE Yeah, maybe. 140",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BEACH (NEAR BEACH HOUSE) - DUSK 140 Joel and Clementine wander near some beach houses closed for the winter. (CONTINUED) 103. 140 CONTINUED: 140 CLEMENTINE Do you know her poem that starts ""Seaside gusts of wind,/And a house in which we don't live... JOEL Yeah, yeah. It goes ""Perhaps there is someone in this world to whom I could send all these lines""? CLEMENTINE Yes! I love that poem. It breaks my heart. I'm so excited you know it. (pointing to houses) Look, houses in which we don't live. Joel chuckles appreciatively. CLEMENTINE (CONT'D) I wish we did. You married? JOEL Um, no. CLEMENTINE Let's move into this neighborhood. Clementine tries one of the doors on a darkened house. Joel is nervous. JOEL I do sort of live with somebody though. CLEMENTINE Oh. She walks to the next house, tries the door. CLEMENTINE (CONT'D) Male or female? JOEL Female. CLEMENTINE At least I'm not barking up the wrong tree. She finds a window that's unlatched. She lifts it. CLEMENTINE (CONT'D) Cool. (CONTINUED) 104. 140 CONTINUED: (2) 140 JOEL What are you doing? CLEMENTINE It freezing out here. She scrambles in the window. Joel looks around, panicked. JOEL VOICE-OVER (whisper) I couldn't believe you did Clementine. that. I was paralyzed with fear. The front door opens and Clementine stands there beckoning. CLEMENTINE (CONT'D) C'mon, man. The water's fine. Nobody's coming here tonight, believe me. This place is closed up. Electricity's off. JOEL CLEMENTINE I hesitated for what seemed I could see you wanted to like forever. come in, Joel. He walks cautiously toward the door. CLEMENTINE (CONT'D) As soon as you walked in. I knew I had you. You knew I knew that, right? 141",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BEACH HOUSE - CONTINUOUS 141 Joel enters the darkened house and Clementine closes the door behind him. JOEL I knew. CLEMENTINE I knew by your nervousness that Naomi wasn't the kind of girl who forced you to criminally trespass. JOEL It's dark. CLEMENTINE Yeah. What's your girlfriend's name? JOEL Naomi. (CONTINUED) 105. 141 CONTINUED: 141 She's searching through drawers for something. She pulls out a flashlight, shines it in Joel's face. CLEMENTINE Ah-ha! Now I can look for candles, matches, and the liquor cabinet. JOEL I think we should go. CLEMENTINE No, it's our house! Just tonight -- (looking at envelope on counter) -- we're David and Ruth Laskin. Which one do you want to be? I prefer to be Ruth but I'm flexible. (opens cabinet) Alcohol! You make drinks. I'm going find the bedroom and slip into something more Ruth. I'm ruthless at the moment. She runs upstairs, giggling. The room is drying out, turning into a husk. JOEL VOICE-OVER (calling after her) I didn't want to go. I was I really should go. I really too nervous. I thought, need to catch my ride. maybe you were a nut. But you were exciting. You called from upstairs. CLEMENTINE (CONT'D) (flat) So go. JOEL I did. I walked out the door. I felt like a scared little kid. I thought you knew that about me. I ran back to the bonfire, trying to outrun my humiliation. You said, ""so go"" with such disdain. CLEMENTINE (poking her head downstairs) What if you stay this time? JOEL I walked out the door. There's no more memory. (CONTINUED) 106. 141 CONTINUED: (2) 141 CLEMENTINE Come back and make up a good-bye at least. Let's pretend we had one. Clementine comes downstairs, vague and robotic, making her way through the decaying environment. CLEMENTINE (CONT'D) Bye, Joel. JOEL I love you. She smiles. They kiss. It fades. CLEMENTINE I -- 142",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BEACH - NIGHT 142 Joel finds himself hurrying back to the bonfire. This scene, too, is disintegrating. It dries up and Joel is just standing there on a faded beach at night, the bonfire frozen in the distance like a photograph. 143",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ROB AND CARRIE'S CAR - NIGHT 143 Joel sits in the back seat, Rob and Carrie are in the front. CARRIE Did you have fun? Joel nods glumly. Carrie continues to talk, but her voice goes under as Joel studies the faded husks of memories, piled up like refuse outside the moving car window. He sees dried-out version of previous interactions with Clementine playing out in loops. He looks back and sees the memory of his ride home from the beach with Rob and Carrie. It, too, is decaying. Soon all has crumbled into dust. Everything goes black. 144",FLASHBACK +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JOEL'S BEDROOM - EARLY MORNING 144 Howard watches the monitor. The last specks of light are fading. It grows dark. He is tired, his eyes are hollow. He turns to Stan, who is staring out the window at the dawn. MIERZWIAK Okay. (CONTINUED) 107. 144 CONTINUED: 144 Stan turns and wordlessly begins the clean-up. He pulls the electrodes off of Joel's scalp, coils cable, packs bags. Howard dials the bedside phone. He waits as it rings. HOLLIS'S VOICE Hi, you've reached the Mierzwiaks. We can't come to -- Howard hangs up. 145",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MIERZWIAK'S OFFICE AREA - EARLY MORNING 145 Mary sits in the corner listening to the tape and crying. MARY'S VOICE ... then you said I had to have a, y'know, an abortion. MIERZWIAK'S VOICE Mary, you know we both agreed to that. MARY'S VOICE You said, it would be for the best. MIERZWIAK'S VOICE I think it was. MARY'S VOICE But I can't forget about the baby, Howard! My baby. Our baby. MIERZWIAK'S VOICE That's why we need to take this additional step, sweetheart. So you can be the happy Mary you once were. MARY Yes. 146",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. JOEL'S APARTMENT BUILDING - EARLY MORNING 146 Stan and Howard load the last of the equipment into the back of the van. He and Howard look at each other. STAN So, I've got to drop the van off. MIERZWIAK Thanks, Stan. Thanks. (beat) We'll talk. Stan doesn't respond, just gets in the van and drives off. 108. 147",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT./,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CLEMENTINE'S CAR - EARLY MORNING 147 Patrick and Clementine are heading home from Boston. Clementine is silent and depressed. Patrick tries to break the silence. PATRICK You want to stop for coffee or something? Clementine shakes her head ""no."" Long silence. PATRICK (CONT'D) Well, it was sure beautiful on that river. Thanks for sharing it with me. Clementine doesn't say anything. Silence. PATRICK (CONT'D) We'll do it again soon. 148",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CITY STREET - EARLY MORNING 148 Stan parks the van in front of ""Lacuna."" He gets out, crosses to his car. Mary is walking out of the office with a cardboard box of stuff. STAN Hey. MARY (walking past him toward her car) Hey. STAN I take it you're not coming back. Got your stuff, I see. MARY That's right. My stuff. STAN I don't blame you. I wouldn't come back either. Mary stops and turns back to Stan. MARY Do you swear you didn't know? STAN I swear. (CONTINUED) 109. 148 CONTINUED: 148 MARY So you didn't do the erasing. STAN Of course not. God. No. MARY (studies him) And you never even suspected we were together? Never saw us behaving in any unusual way together? STAN Once, maybe. She watches him closely, waiting for him to continue. STAN (CONT'D) It was here. At his car. I was coming back from a job and spotted you together. You seemed caught. I waved. You giggled. MARY How did I look? STAN (beat) Happy. Happy with a secret. Mary starts to cry. MARY And after that? STAN I never saw you together like that again. So I figured I was imagining things. Mary says nothing. STAN (CONT'D) I really like you, Mary. You know that. MARY Do you remember anything else? What I was wearing? Was I standing close to him? Was I leaning against his car like I owned it? How did he look at me when I giggled? Tell me everything. (CONTINUED) 110. 148 CONTINUED: (2) 148 STAN (thinking) You were in red. That red sweater with the little flowers, I think. You were leaning against his car. (thinking) He looked a little like a kid. Kind of goofy and wide-eyed. I'd never seen him look like that before. Happy. You looked beautiful. You looked in love. MARY (heading toward her car) Thanks, Stan. She stops but doesn't turn to face him. MARY (CONT'D) You're really nice. (beat) But I love him. I knew I loved him. I knew it! Now I know. So what am I supposed to do? He nods. She waves without looking back and heads to her car. When she arrives at it and opens the trunk, we see that is already filled with boxes and boxes of Lacuna files. She adds the last box and closes the trunk. 149",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JOEL'S BEDROOM - MORNING 149 Joel awakens. The apartment is neat, like when he went to sleep. He gets out of bed and heads into the bathroom. 149A",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. JOEL'S APARTMENT - MORNING 149A Joel sees the dent in his car, doesn't know why it's there. He touches it, looks around. 150",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. COMMUTER TRAIN STATION - MORNING 150 Joel waits on the crowded platform. The platform across the tracks is empty. Joel's train arrives. It's packed. He squeezes on with all the other commuters. 151,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. MARY'S CAR - MORNING 151 * Mary listens to her tape on the car radio. She cries. The * backseat of her car is piled high with Lacuna files. * 111. 152,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JOEL'S OFFICE - MORNING 152 * Joel works in his cubicle over the light table. He seems * distracted. He dials his phone. He's nervous. * JOEL * Hi... Naomi? Yeah, hi! How are you? I * know, I know. It's been a long time. * Not too much. You? Oh, that's great! * Congratulations! Maybe I could buy you * dinner to celebrate? Tonight? I'm free. * Okay, good! * 153",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MARY'S APARTMENT - MORNING 153 * Mary sits on the floor in an unkempt pile. Mierzwiak, tired- * looking, stares out the window. After a long silence. * MARY * Patrick Henry said, ""For my part, * whatever anguish of spirit it may cost, I * am willing to know the whole truth; to * know the worst, and to provide for it."" * I found that quote last night. Patrick * Henry was a great patriot, Howard. * MIERZWIAK * It's a good quote. * MARY * I don't like what you do to people. * MIERZWIAK * I understand. I'm sorry. * (beat) * I really do need the files back, Mary. * MARY * No. The memories are mine now. * 154",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CITY STREET - NIGHT 154 Joel and Naomi walk, both bundled up. NAOMI (oddly cautious) So... you haven't been involved with anyone in all this time? JOEL It's been a pretty lonely couple of years. (CONTINUED) 112. 154 CONTINUED: 154 NAOMI I'm sorry. JOEL Well, it was my fault -- the break-up. I'm sorry. I don't even know what happened. NAOMI Oh, sweetie. It really does cut both ways. We were taking each other for granted and -- JOEL I miss you. NAOMI Miss you, too. (awkward pause) I have been seeing someone for a little while. JOEL (trying for enthusiasm) Oh! Great. That's great! NAOMI A religion instructor. A good guy. He's a good guy. JOEL I'm sorry. I really shouldn't have -- NAOMI I'm glad you called. There is a silence and then Naomi kisses Joel. 156",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. CLEMENTINE'S APARTMENT - NIGHT 156 Clementine lies in bed crying. Patrick sits by the window and flips furiously through Joel's journal looking for tips. 157,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. COMMUTER TRAIN STATION - MORNING 157 It's gray. The platform is packed with business commuters: suits, overcoats. There is such a lack of color it almost seems as if the scene is in black and white. A man holds a red heart-shaped box. The platform across the tracks is empty. (CONTINUED) 113. 157 CONTINUED: 157 As an almost empty train pulls up to that platform, Joel * breaks out of the crowd, lurches up the stairs two at a time, * hurries across the overpass and down the stairs to the other side, just as the empty train stops. The doors open and Joel * gets on the train. * 158",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CLEMENTINE'S APARTMENT - NIGHT 158 Joel says goodbye to Clementine. CLEMENTINE So you'll call me, right? JOEL Yeah. CLEMENTINE When? JOEL Tomorrow? CLEMENTINE Tonight. Just to test out the phone lines. JOEL Yeah. Joel exits. We stay on Clementine as she watches Joel head to his car. 159",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JOEL'S APARTMENT - NIGHT 159 Joel enters, drops his overcoat on a chair, and hurriedly dials the phone. NAOMI'S VOICE Hello? JOEL Hi, Naomi, it's Joel. (beat) How's it going? NAOMI'S VOICE Good. I called you at work today. They said you were home sick. JOEL I know. I had to take the day to think. (CONTINUED) 114. 159 CONTINUED: 159 NAOMI'S VOICE Yeah, I tried you at home, too. Did you get my message? JOEL I just got in. NAOMI'S VOICE Long day's thinking into night. Joel flips on messages with volume down. JOEL Yeah, I suppose so. NAOMI ON MACHINE (cheerful) Hi. They told me you were sick! So... Where are you?! I had a really nice time last night. Just wanted to say hi, so... hi. Call me. I'm home. Call me, call me, call me! NAOMI'S VOICE That's me. JOEL There you are. (pause) Naomi, it's just... I'm afraid if we fall back into this fast without considering the problems we had... NAOMI (long exhalation) Okay, Joel. I suppose you're right. JOEL I had a good time last night. I really did. NAOMI So I'm going to get some sleep. I'm glad you're okay. JOEL We'll speak soon. NAOMI 'Night. She hangs up and Joel stands there for a minute feeling creepy, then he dials the number on his hand. (CONTINUED) 115. 159 CONTINUED: (2) 159 CLEMENTINE'S VOICE What took you so long? JOEL I just walked in. CLEMENTINE'S VOICE Hmmm. Do you miss me? JOEL Oddly enough, I do. CLEMENTINE'S VOICE Ha Ha! You said, ""I do."" I guess that means we're married. JOEL I guess so. CLEMENTINE'S VOICE Tomorrow night... honeymoon on ice. 161",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CHARLES RIVER - NIGHT 161 Clementine steps out onto the ice. Joel follows nervously. CLEMENTINE Don't worry. It's really solid this time of year. JOEL I don't know. She takes his hand and he is suddenly imbued with confidence. JOEL (CONT'D) This is so beautiful. She squeezes his hand. CLEMENTINE Isn't it? She runs and slides on the ice. She slips and falls hard on her ass. Joel is by himself now, watching her. CLEMENTINE (CONT'D) (laughing) Ouch! My ass. Oh my God! (CONTINUED) 116. 161 CONTINUED: 161 JOEL You okay? CLEMENTINE Yeah, come join me. JOEL I don't know. What if it breaks? CLEMENTINE What if? Do you really care right now? Clementine lies on her back and stares up at the stars. Joel is paralyzed. He looks back at the shore. JOEL I think I should go back. CLEMENTINE Joel, come here. Please. He hesitates then gingerly makes his way over to her. She reaches for his hand and gently pulls him down. He lies on his back beside her, their bodies touching. He wants to turn to her, but out of shyness, doesn't. She holds his hand. They look up at the stars. She smiles, doesn't say anything and snuggles closer to him. JOEL Listen, did you want to make love? CLEMENTINE Make love? JOEL Have sex. Y'know -- I don't know what you call it. CLEMENTINE Oh, um... JOEL Because I just am not drunk enough or stoned enough to make that happen right now. CLEMENTINE That's okay. I -- JOEL I'm sorry. I just wanted to say that. This seems like the perfect romantic exotic place to do it and -- (CONTINUED) 117. 161 CONTINUED: (2) 161 CLEMENTINE Hey, Joel -- JOEL -- and I'm just too nervous around you right now. CLEMENTINE I'm nervous, too. JOEL Yeah? I wouldn't have thought that. CLEMENTINE Well, you obviously don't know me. JOEL I'm nervous because I have an enormous crush on you. She smiles up at the sky. CLEMENTINE Show me which constellations you know. JOEL Um... oh... I don't know any. CLEMENTINE Show me which ones you know! JOEL Okay. There's Osidius. CLEMENTINE Where? JOEL There. See? It's sort of a swoop and then a cross? Osidius the Emphatic. CLEMENTINE You're full of shit. Right? She looks at him. He continues to study the sky. JOEL Nope. Osidius the Emphatic. Right there. Swoop and cross. She punches him in the arm, looks back at the sky. (CONTINUED) 118. 161 CONTINUED: (3) 161 CLEMENTINE Shut the fuck up. 162",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JOEL'S CAR - MORNING 162 Joel drives and sips from a paper cup of coffee. Clementine is asleep in the seat next to him. He pulls up in front of her house. He sits there for a few moments, shyly uncertain about waking her; she seems so peaceful. He gingerly touches her arm. She doesn't wake. He touches it again. Still nothing. He touches her face. JOEL (whispering) Clementine? Nothing. He sits there. He shakes her a little. JOEL (CONT'D) I'm sorry to have to wake you but -- She opens her eyes. CLEMENTINE (groggy smile) Hey. JOEL Hi. I'm sorry to wake you but we're here. She cranes her neck, sees her house. CLEMENTINE Okay. (closes her eyes again, beat) Can I come over to your house? To sleep? I'm so tired. JOEL (beat) Yeah, sure. Okay. It's probably a mess. CLEMENTINE Let me get my toothbrush. Joel nods. She smiles and leaves the car. Joel watches her head to the house. He leans his head back against the headrest and closes his eyes. He's happy, tired, and a bit anxious. He opens his eyes and casually watches a distant figure walking in the direction of Clementine's house on the otherwise empty sidewalk. As the figure nears, Joel sees it's a young man. (CONTINUED) 119. 162 CONTINUED: 162 The young man gets closer and we see that it's Patrick. Joel watches him without any particular interest; it's just something to look at. Patrick gets close and seems to be about to head up to Clementine's house when he happens to glance into Joel's car and spots Joel. He reacts but barely and keeps walking down the block past Clementine's house. Joel watches in his rearview mirror as Patrick continues down the street. Joel closes his eyes again. After a few moments there's a tap on the driver's-side window. Joel opens his eyes and sees Patrick standing there. Joel rolls down his window. JOEL Yes? PATRICK Can I help you? JOEL What do you mean? PATRICK Can I help you with something? JOEL No. Patrick doesn't know how to continue. He takes another stab. PATRICK What are you doing here? JOEL I'm not really sure what you're asking me. PATRICK Oh. (long pause) So I was just wondering if I could bum a cigarette, mister. JOEL No, I don't smoke. Sorry. PATRICK Okay, thanks. Patrick walks off. Joel watches him again in his rearview mirror. 120. 163",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CLEMENTINE'S APARTMENT - MORNING 163 Clementine wanders around putting things in an overnight bag. Her toothbrush is in her mouth. She's being overly selective in her choice of a change of clothing and toiletries. A phone message is playing in the background. PATRICK'S VOICE ... so where are you, Clem? I'm worried. I feel like you're mad at me and I don't know what I did. What did I do? I love you so much. I'd do anything to make you happy. Just tell me what you want me to do and I'll do it. Listen, I'm going to stop by in the morning just to make sure you're okay. I'm worried. 163A",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JOEL'S CAR - MORNING 163A Joel waits. Clementine emerges from her place with her overnight bag and her mail. She gets into the car. CLEMENTINE Vamanos, senor. Joel smiles at her, starts the car and drives off. They pass Patrick sitting on someone's stoop watching them. Neither of them notices him. Clementine sifts through her mail. JOEL I had a really nice time last night. CLEMENTINE Nice? JOEL I had the best fucking time I've ever had in my fucking life last night. CLEMENTINE That's better, senor. She looks at a small padded manila envelope with her name and address scrawled on it. She rips it open, pulls out a note and an audio cassette. She reads the note. CLEMENTINE (CONT'D) This is weird. (reading aloud) Dear Clementine. We've met but you don't remember me. I worked for a company you hired to have part of your memory erased. (CONTINUED) 121. 163A CONTINUED: 163A JOEL It's a teaser ad or something. CLEMENTINE (reading) You've erased your two year relationship with Joel Barish from your memory. JOEL Jesus, that's creepy. How'd they know we even know each other? Clementine shrugs and inserts the cassette in the tape player. (note: the tape plays throughout the scene under Joel and Clementine's dialogue) CLEMENTINE'S VOICE My name is Clementine Kruczynski and I'm here to erase Joel Barish. MIERZWIAK'S VOICE Tell me all about your relationship. CLEMENTINE'S VOICE Well, he's a giant asshole. Is that enough? MIERZWIAK'S VOICE No, I'm afraid we really do need to delve. JOEL What is this? CLEMENTINE I don't know. CLEMENTINE'S VOICE I can't stand to even look at him. His pathetic, wimpy, apologetic smile. That sort of wounded puppy shit he does. Y'know? Is it so much to ask for an actual man to have sex with? JOEL CLEMENTINE What are you doing? I'm not doing anything. CLEMENTINE'S VOICE (CONT'D) ... I might as well be a lesbian. At least I could have someone pretty to look at while I'm fucking. Not that we fuck anymore. I mean, I don't call it fucking on the rare occasions that it happens. (MORE) (CONTINUED) 122. 163A CONTINUED: (2) 163A CLEMENTINE'S VOICE (CONT'D) Not fucking... faking. Honey, let's fake tonight. Make a few faces, get it over with. Shit... JOEL CLEMENTINE Why did you make this tape? I didn't do this! I completely don't understand what you're doing. JOEL CLEMENTINE It's your voice! I know! CLEMENTINE'S VOICE (CONT'D) ... Now the only fuel keeping it going is my feeling sorry for him. He's so needy. The way he looks at me, like I should be ashamed of myself for going out and having some fun in my life. I mean, I've got to have it somewhere, right? I suppose I could sit and watch television with him until we both kick. There's a plan. Y'know Joel is a guy who is never going to do anything with his life... CLEMENTINE Joel, I don't understand. I swear. CLEMENTINE'S VOICE ... I remember this time I made him come out onto this frozen river with me. He was terrified. Like a goddamn girl... Joel turns the car around. JOEL So someone just recorded you saying this without you knowing you were saying it. CLEMENTINE JOEL I don't know! Maybe it's This is fucked up! That's some kind of Future thing, ridiculous. This is fucked like a look into the future. up! It's called A Christmas Like that thing in Scrooge! Carol, not Scrooge. Maybe some force is trying to help us. I think I've read about that happening. I'm sure I have. CLEMENTINE'S VOICE ...Ugh. I don't want to think about all the time I've wasted in this quote- unquote relationship. Isn't it about fun? (CONTINUED) 123. 163A CONTINUED: (3) 163A Joel stops the car in back in front of Clementine's house. She's crying. CLEMENTINE I didn't say this. I don't know what this is. Look, I just -- She stops talking. CLEMENTINE'S VOICE ... I mean, shouldn't the good times out number the shit times? I don't know. I don't know what the hell to expect. But the bloom is certainly fucking off the rose at this po",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int. I want to have kids. I can't be wasting my time with this kind of disaster. Not to mention, do I want my kids to have his creepy little genes? Joel just stares straight ahead. CLEMENTINE (quietly, resignedly) Okay. I'm gonna go. She gets out of the car. CLEMENTINE'S VOICE ...How could I even look at them if they looked like him? How could anybody? Y'know, I think about that... Joel ejects the tape, hands it to her, and closes the door. He drives off, leaving her just standing there, crying. After a moment, Patrick appears seemingly from nowhere. PATRICK Clem, what's wrong? Oh, sweetheart... I was just coming over to -- CLEMENTINE Get away from me! Get the fuck away from me! Get away from me! Get away from me! 163B",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. CLEMENTINE'S CAR - MORNING 163B It's a bit later. Clementine drives slowly down Joel's street. In her hand she's got a ripped out page from a phone book with his address circled. She spots his car on the street and parks behind it. 124. 163C,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. JOEL'S APARTMENT - MORNING 163C Clementine approaches the apartment entrance. As she nears, the door opens and Frank the neighbor emerges. He holds the door open for her. FRANK Hey, Clementine. She has no idea who he is and she's freaked out. CLEMENTINE Hey. 164A",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JOEL'S APARTMENT BUILDING - MORNING 164A Clementine watches the hall looking at apartment numbers until she comes to Joel's. The door is ajar. Inside she can hear Joel's voice, but can't make out what he's saying. She stands there for a moment then enters. 165",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JOEL'S APARTMENT - DAY 165 Clementine looks around; the place is not what she expected. She comes upon Joel in his study. The room looks as if it's been ransacked. He's listening to a tape of his own voice and holding a drawing. She stands and listens, too, unbeknownst to him. JOEL'S VOICE ... that's Clementine all over. Complete selfishness. Complete and utter disregard for anyone else's feelings. CLEMENTINE Hi. He looks, up, his eyes are red-rimmed and wild-looking. They stare at each other. JOEL Hey. Joel's taped voice drones on in the background. He holds up the drawing for Clementine to see. It's the picture of her in the skeleton costume. JOEL (CONT'D) Look what I found. (CONTINUED) 125. 165 CONTINUED: 165 She studies it, touched and confused. She doesn't know what to say. CLEMENTINE Well, you made me look skinny. JOEL'S VOICE She's like a train wreck, tearing people apart leaving chaos and destruction in her wake. And ... CLEMENTINE It's a nice place you have. JOEL Thanks. Y'know, it's... relatively cheap. I like it. The location's good. It's not usually this messy. CLEMENTINE It's nice. JOEL'S VOICE ... seems obvious to me that it's all based on some kind of mammoth insecurity. JOEL I'm sorry I yelled at you. JOEL'S VOICE She plays at being this rebel, free- spirit. CLEMENTINE It's okay. (beat) I like you so much. I hate that I said mean things about you. JOEL I'll turn this off. CLEMENTINE No. I think it's... I think it's only fair. JOEL'S VOICE I mean, the whole thing with the hair? It's all bullshit. And it's sort of pathetic when you're thirty and you're still doing that shit. (CONTINUED) 126. 165 CONTINUED: (2) 165 JOEL CLEMENTINE I really like your hair. Thank you. JOEL Can I get you something to drink? CLEMENTINE Do you have any whiskey? I'm cold. JOEL Yeah. * Clementine enters the study as Joel exits into the kitchen. 165A",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. KITCHEN - DAY 165A Joel finds his almost empty bottle of scotch in the cabinet. He pours the little left into two glasses, exits. 166",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JOEL'S STUDY - DAY 166 Joel enters with the two glasses of whiskey. Clementine sits on the couch, looking stunned. He hands her a glass. JOEL Sorry, I thought there was more. JOEL'S VOICE ... that's what's occurred to me that night, that the only way Clem thinks she can get people to like her is to fuck them or at least dangle the possibility of getting fucked in front of them. And I think she's so desperate and insecure that she'll sooner or later she'll just go around fucking everyone. CLEMENTINE I don't do that. JOEL I wouldn't have thought so. CLEMENTINE Because I don't. JOEL I know. Joel turns off the tape. (CONTINUED) 127. 166 CONTINUED: 166 CLEMENTINE (crying) Because it really hurts me that you said that. Because I don't do that. JOEL Okay. I'm sorry. They both stare off. Finally: CLEMENTINE JOEL I'm sorry about this. I'm Okay. Yeah. I'm sorry. going to go. I'm a little confused. I don't think I can be here. Clementine gets up. CLEMENTINE So... bye. It was nice meeting you and all. JOEL Yeah, you too. I had a good time. She exits. 168",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. APARTMENT HALLWAY - DAY 168 * Clementine walks down the hall. Joel appears behind her. * JOEL * Hey, wait. * CLEMENTINE * What? * JOEL * I just wanted to... * He doesn't know what to say, stops. * CLEMENTINE * What? * JOEL * I just wanted to... Um, I was just * wondering... how your bruise is? From * falling. Y'know? * CLEMENTINE * It hurts. My ass is purple. * (CONTINUED) 128. 168 CONTINUED: 168 JOEL * I'm sorry. It was a nasty fall. I mean, * it was sort of funny once I realized you * weren't dead. * CLEMENTINE * I'm good for a laugh, anyway. * JOEL * No, that's not what I meant. * CLEMENTINE * Anyway, look, I'm gonna go. Take care of * yourself. * JOEL * You too. * She heads down the hall. * JOEL (CONT'D) * Wait! * CLEMENTINE * What? * JOEL * I came up with another hair color. * CLEMENTINE * (not turning) * Oh, yeah? * JOEL * Brown versus The Board of Education. * CLEMENTINE * (walking, no change of * expression) * It's a little cumbersome. * JOEL * Wait! * She stops and turns. * CLEMENTINE * (impatiently) * What, Joel? What do you want? * JOEL * (at a loss) * I don't know. * (MORE) (CONTINUED) 129. 168 CONTINUED: (2) 168 JOEL (CONT'D) (pause) * Just wait. I just want you to wait for a * while. * They lock eyes for a long moment: Clementine stone-faced, * Joel with a worried, knit brow. Clementine cracks up. * CLEMENTINE * Okay. * JOEL * Really? * CLEMENTINE * I'm not a concept, Joel. I'm just a * fucked-up girl who is looking for my own * peace of mind. I'm not perfect. * JOEL * I can't think of anything I don't like * about you right now. * CLEMENTINE * But you will. You will think of things. * And I'll get bored with you and feel * trapped because that's what happens with * me. * JOEL * Okay. * CLEMENTINE * Okay. * THE END *",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SENATE OFFICE -- DAY (BLACK-AND-WHITE SEQUENCE) CLOSE: on a prosperous sixty-three-year-old man, LEWIS STRAUSS, as he takes a cup of coffee from a SENATE AIDE... SUPER TITLE: "" 2. FUSION "" STRAUSS I forget. Three days, or so. The whole hearing took a month. SENATE AIDE An ordeal. STRAUSS I’ve only read the transcripts, but who’d want to justify their whole life? SENATE AIDE You weren’t there? STRAUSS As Chairman, I wasn’t allowed to be. Are they really going to ask about it? It was years ago. SENATE AIDE Four years ago. Oppenheimer still divides America- the committee will want to know where you stood. (checks his watch) Ready?",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CORRIDOR, SENATE BUILDING -- MOMENTS LATER (B&W) The Senate Aide leads Strauss along the corridor. SENATE AIDE Senator Thurmond asked me to say not to feel you’re on trial. STRAUSS I didn’t, till you said that. SENATE AIDE Really, Mr Strauss- STRAUSS (CONT’D) Admiral. SENATE AIDE (CONT’D) Admiral Strauss, this is a formality. (MORE) (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 2. SENATE AIDE (CONT ’D) (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 3. President Eisenhower’s asked you to be in his cabinet, the Senate has no choice but to confirm you. They arrive at the door. STRAUSS And if they bring up Oppenheimer? SENATE AIDE When they bring up Oppenheimer, answer honestly and no senator can deny that you did your duty. It’ll be uncomfortable... (smiles) Who’d want to justify their whole life? The door to the VAST committee room opens- they enter, FLASHBULBS POPPING as PRESS and PUBLIC see Strauss. ROBB (V.O.) Why did you leave the United States? CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROOM 2022, ATOMIC ENERGY COMMISSION -- DAY (COLOUR) The room is SMALL, SHABBY. Surprised, I look up from my statement at the prosecutor, Roger ROBB. Then turn to the THREE BOARD MEMBERS (GRAY, EVANS, MORGAN). OPPENHEIMER I wanted to learn the new physics. GRAY Was there nowhere here? I thought Berkeley had the leading theoretical physics department- OPPENHEIMER Sure. Once I built it. First I had to go to Europe. I went to Cambridge to work under Patrick Blackett. ROBB Were you happier there than in America?SENATE AIDE (CONT ’D) (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 3. Gadget 2023-04-21 FINAL Shooting Script 4. INSERT CUT: A YOUNG ME (TWENTY-ONE) LIES IN BED STARING UP, CRYING... PARTICLES WITH THE VASTNESS OF THE STARS MOVE LIKE FIREFLIES... OPPENHEIMER No. I was homesick. Emotionally immature... troubled by visions of a hidden universe...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LABORATORY, CAMBRIDGE -- DAY The young ME, frazzled demeanor, STRUGGLES with equipment. OPPENHEIMER (V.O.) ...useless in the lab. I drop a beaker, it SHATTERS. PATRICK BLACKETT looks over, FROWNING. He picks up an APPLE and takes a LARGE BITE. BLACKETT (through apple) Christ, Oppenheimer, have you had any sleep? Start again. YOUNG OPPENHEIMER I need to go to the lecture. BLACKETT Why? YOUNG OPPENHEIMER (pleading) It’s Niels Bohr. Blackett checks his watch- starts packing up- BLACKETT Damn, completely forgot. Let’s go. I start to pack up with the other students. BLACKETT (CONT’D) Not you. Finish coating those plates. I clean up as Blackett and the other students leave- one leaves an APPLE for Blackett- GREEN WITH STEM AND TINY LEAF. I pause at a bottle: "" Potassium Cyanide ""... CLUMSY HANDS SHAKING, I draw CYANIDE into a syringe. I INJECT the apple...Gadget 2023-04-21 FINAL Shooting Script 4. Gadget 2023-04-21 FINAL Shooting Script 5.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. QUADRANGLE, CAMBRIDGE -- EVENING I HURRY across the quad. A lonely figure. BOHR (V.O.) Quantum physics isn’t a step forward...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LECTURE HALL, CAMBRIDGE -- CONTINUOUS I sneak into the back of the auditorium. Standing, SPELLBOUND, as NIELS BOHR, a charismatic Dane, lectures. BOHR ...It’s a new way to understand reality. Einstein’s opened a door, now we’re peering through, seeing a world inside our world... a world of energy and paradox that not everyone can accept. I RAISE my hand to ask a question... CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SENATE COMMITTEE HEARING ROOM -- DAY (B&W) Strauss sits facing the Committee, COUNSEL beside him, PRESS, CAMERAS and PUBLIC behind... SENATOR MCGEE Admiral Strauss, I’m interested in your relationship with Dr J. Robert Oppenheimer. You met in 1947? STRAUSS Correct. SENATOR MCGEE You were a commissioner of the Atomic Energy Commission? STRAUSS I was, but I met Robert in my capacity as board member of the Institute for Advanced Study at Princeton. After the war he was world-renowned- the great man of physics...Gadget 2023-04-21 FINAL Shooting Script 5. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 6.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. INSTITUTE FOR ADVANCED STUDY, PRINCETON -- DAY (B&W) Strauss, younger, fifty-one, bustles out of the Institute- STRAUSS (V.O.) ...I was determined to get him to run the Institute. -to welcome the rail-thin figure of Oppenheimer (forty- three), emerging from a TAXI in HAT and coat, PIPE in mouth. ICONIC. STRAUSS Dr Oppenheimer, an honour. OPPENHEIMER Mr Strauss. STRAUSS It’s pronounced 'straws'. OPPENHEIMER 'Oh-ppenheimer', 'aw-ppenheimer'- any way you say it they know I’m Jewish. STRAUSS I’m a proud member of Temple Emmanuel- 'straws' is the Southern pronunciation. Welcome to the Institute. I think you could be very happy here. OPPENHEIMER Oh? STRAUSS Well, you’ll love the commute- the position comes with that house for you and your wife. Strauss points along an avenue of trees to Olden Manor... STRAUSS (CONT’D) And your two children... Oppenheimer nods as he follows Strauss into the Institute.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. INSTITUTE FOR ADVANCED STUDY, PRINCETON -- CONTINUOUS (B&W) Strauss leads Oppenheimer through the Institute. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 6. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 7. STRAUSS I’m a great admirer of your work. OPPENHEIMER You’re a physicist by training, Mr Strauss? STRAUSS No, I’m not trained in physics, or anything else. I’m a self-made man. OPPENHEIMER I can relate to that... STRAUSS Really? OPPENHEIMER (dry) My father was one.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PRESIDENT’S OFFICE, INSTITUTE FOR ADVANCED STUDY -- MOMENTS LATER (B&W) Strauss shows Oppenheimer into the well-appointed office. STRAUSS This would be your office. Oppenheimer drifts to the windows- a LAWN rolls down to a POND. He spots a FIGURE- long grey hair poking from under his hat- STRAUSS (CONT’D) I’m told he’s there most afternoons. The figure gently tosses a stone into the water. STRAUSS (CONT’D) I’ve always wondered why you didn’t involved him in the Manhattan Project. Oppenheimer turns to Strauss, interested. STRAUSS (CONT’D) The greatest scientific mind of our time? (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 7. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 8. OPPENHEIMER Of his time. Einstein published his Theory of Relativity more than forty years ago, but never embraced the quantum world it revealed. STRAUSS 'God doesn’t play dice.' OPPENHEIMER Precisely. You never thought of studying physics formally? STRAUSS I had offers. But I chose to sell shoes. OPPENHEIMER Lewis Strauss was once a lowly shoe salesman? STRAUSS No. Just a shoe salesman. (opens the door) I’ll introduce you- OPPENHEIMER No need. I’ve known him for years. Strauss, awkward, stays in the doorway and WATCHES... FROM AFAR: as Oppenheimer approaches, Einstein’s HAT BLOWS off his head, unleashing a MESS OF GREY HAIR, hat rolling across the grass to where Oppenheimer SCOOPS it up, and we... CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROOM 2022, ATOMIC ENERGY COMMISSION -- DAY (COLOUR) I flip a page. Continue reading my statement. OPPENHEIMER I struggled badly trying to visualize this new world...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROOMS AT CAMBRIDGE -- DAY The Young Me lies on the floor, STARING UP. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 8. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 9. OPPENHEIMER (V.O.) ...you had to retool your mind to see things hovering just out of site... INSERT CUT: POINTS OF LIGHT MOVE LIKE SPARKS, BUT IN A WAVE. OPPENHEIMER (V.O.) ...then you could unlock forces never before imagined... I wipe TEARS from my eyes. INSERT CUT: STARS. SPARKS FROM A CAMPFIRE. I PAT THE NOSE OF A HORSE IN THE DARKNESS AS I FEED IT AN APPLE. I grow calm, my eyelids lowering... INSERT CUT: AN APPLE- GREEN WITH STEM AND A TINY LEAF... I open MY EYES- JUMP out of bed- SCRAMBLE to dress-",FLASHBACK +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. QUADRANGLE, CAMBRIDGE -- MOMENTS LATER I RUN, DESPERATE, AGAINST the crowd-",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LABORATORY, CAMBRIDGE -- DAY I BURST in- Blackett LOOKS UP. ANOTHER MAN has his back to me. Between them on the workbench- the POISONED APPLE... BLACKETT You alright? I nod awkward, trying to control my BREATHING... BLACKETT (CONT’D) Niels, meet J. Robert Oppenheimer. The other man TURNS, offers his hand- Niels Bohr. BOHR What does the 'J' stand for? BLACKETT Nothing, apparently. Bohr takes me in- this strange, BREATHLESS young man... (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 9. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 10. BOHR You were at my lecture. You asked the only good question. BLACKETT Nobody’s denying his insight. It’s his labouratory skills that leave a little to be desired. YOUNG OPPENHEIMER I heard you give the same lecture-BOHR At Harvard. And you asked the same question. Why ask again? YOUNG OPPENHEIMER (CONT’D) I hadn’t liked your answer. BOHR Did you like it better yesterday? YOUNG OPPENHEIMER A lot. BOHR You can lift the rock without being ready for the snake that’s revealed. Now, it seems, you’re ready. Bohr picks up the POISONED APPLE from Blackett’s desk... BOHR(CONT’D) You don’t enjoy the lab? I shake my head. Bohr GESTICULATES with the apple as he talks- I watch it bob around- a kitten following a ball of string... BOHR(CONT’D) Get out of Cambridge, with its beakers and potions. Go somewhere they’ll let you think... (assesses me) Gottingen. BLACKETT Born? BOHR Born. Get to Germany. Study under Max Born. Learn the ways of theory. I’ll send word. Bohr raises the apple to take a bite- I GRAB it. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 10. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 11. YOUNG OPPENHEIMER Wormhole. -DROP it into the wastebasket. Blackett peers at it, curious. BOHR How’s your mathematics? BLACKETT Not good enough for the physicist he wants to be. BOHR Algebra’s like sheet music. The important thing isn’t can you read music, it’s can you hear it. Can you hear the music, Robert? YOUNG OPPENHEIMER I can. SPARKS explode in WAVES, WAVES of FIRE CRASHING on a SHORE of GLASS, FLYING OVER the MEDIEVAL SPIRES of Gottingen, I watch BORN and BOHR and DIRAC, GALAXIES of PARTICLES DISPERSE and REFORM, a CUBIST PAINTING transfixes the Young Me, an ORCHESTRA plays STRAVINSKY, I read THE WASTE LAND, I WRITE FURIOUSLY at a desk, I WRITE FURIOUSLY on a chalkboard, I SMASH a glass, and ANOTHER, and ANOTHER, WATCHING the SHARDS skid across the floor, CATCHING and REFRACTING LIGHT, I watch RAINDROPS scintillate a PUDDLE, STREAM down a windowpane, I disturb the surface of a sink full of WATER, watching RIPPLES propagate and INTERFERE, I BOUNCE a ball against a corner of my room, studying its trajectory... CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. INSTITUTE FOR ADVANCED STUDY, PRINCETON -- DAY (B&W) Strauss watches Oppenheimer hand the HAT to Einstein. Strauss checks his watch, then starts down the hill towards them. As he approaches, Einstein TURNS, walking towards Strauss with a GRIM EXPRESSION. STRAUSS (friendly) Albert... Einstein PASSES without acknowledging Strauss. Strauss reaches Oppenheimer- STRAUSS (CONT’D) What did you say to him? (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 11. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 12. OPPENHEIMER He’s fine. Mr Strauss, there are things in my past you need to be aware of. STRAUSS As Chairman of the AEC I have access to your security file. I’ve read it. The job is yours. OPPENHEIMER You’re not worried? STRAUSS After all you’ve done for your country? OPPENHEIMER Times change, Mr Strauss. STRAUSS The purpose of this Institute is to provide a haven for independent minds. You’re the man for the job. OPPENHEIMER Then I’ll consider it. And I’ll see you at the AEC meeting tomorrow. Oppenheimer turns, heads back up the hill. STRAUSS (taken aback) This is one of the most prestigious appointments in the country... Oppenheimer looks back at Strauss, GRINS- OPPENHEIMER With a great commute. That’s why I’m considering it. Strauss watches him go, shaking his head. SENATOR MCGEE (V.O.) So, Dr Oppenheimer brought your attention to his past associations before you appointed him?",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SENATE COMMITTEE HEARING ROOM -- DAY (B&W) STRAUSS Yes. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 12. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 13. SENATOR MCGEE And they didn’t concern you? STRAUSS Just then I was more concerned about what he’d said to Einstein to sour him on me. A few CHUCKLES from the room. SENATOR MCGEE But later? STRAUSS Well, we all know what happened later. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROOM 2022, ATOMIC ENERGY COMMISSION -- DAY (COLOUR) The board members listen as I continue reading... OPPENHEIMER After Gottingen I moved on to Leiden in Holland...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LECTURE HALL, LEIDEN -- DAY A packed hall. The Young Me nervously checks my notes. OPPENHEIMER (V.O.) ...where I first met Isidor Rabi... A stocky young man, ISIDOR RABI (thirty), plonks down next to a DUTCH STUDENT who reluctantly shifts, giving him room. RABI A Yank lecturing on new physics? This I have to hear- I’m an American myself. DUTCH STUDENT How surprising. RABI Let me know if you need help with the English. I start lecturing... IN DUTCH. Ravi, confused, leans in. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 13. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 14. RABI(CONT’D) Wait, what’s he saying?",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TRAIN, LEIDEN TO ZURICH -- NIGHT I stare out the window at dark trees, steam and shadows, Rabi dumps his bags down, slumps opposite, sizes me up. Offers me an orange- YOUNG OPPENHEIMER No, thank you. RABI It’s a long way to Zurich. You get any skinnier we might lose you between the seat cushions. I’m Rabi. YOUNG OPPENHEIMER Oppenheimer. Rabi starts peeling his orange. RABI I caught your lecture on molecules. Caught some if it- we’re a couple of New York Jews- how do you know Dutch? YOUNG OPPENHEIMER I thought I’d better learn it when I got here this semester. Rabi STOPS peeling his orange to STARE at me- RABI You learned Dutch in six weeks to give a lecture on quantum mechanics? YOUNG OPPENHEIMER I wanted to challenge myself. RABI Quantum physics isn’t challenging enough? Schvitzer. YOUNG OPPENHEIMER Schvitzer? RABI 'Show-off.' Dutch in six weeks but you never learned Yiddish? (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 14. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 15. YOUNG OPPENHEIMER (smile) They don’t speak it so much my side of the park. RABI Screw you. Homesick? YOUNG OPPENHEIMER You know it. Rabi peels his orange. He turns serious... RABI Ever get the feeling our kind isn’t entirely welcome here? YOUNG OPPENHEIMER Physicists? RABI Funny. YOUNG OPPENHEIMER Sometimes. Not in the department. RABI They’re all Jewish, too. Rabi tosses me a slice of orange. RABI(CONT’D) Eat. I take the orange, 'sipping' at it. RABI(CONT’D) In Zurich there’s a German you have to seek out- YOUNG OPPENHEIMER Heisenberg.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LECTURE HALL, ZURICH -- DAY A tall man of twenty-six turns from the blackboard- HEISENBERG. I study his every move. Rabi NUDGES me 'See?'...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SAME -- LATER Rabi introduces me to Heisenberg. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 15. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 16. HEISENBERG Oppenheimer, yes. I liked your paper on molecules. OPPENHEIMER Probably because you inspired it. HEISENBERG If I inspire anything else, let me know. We could publish together. OPPENHEIMER I have to get back to America. HEISENBERG Why? There’s no one there taking quantum mechanics seriously. OPPENHEIMER That’s exactly why. RABI He’s pining for the canyons of Manhattan. OPPENHEIMER The canyons of New Mexico. HEISENBERG You’re from New Mexico? OPPENHEIMER New York, but my brother and I have a ranch outside of Santa Fe. That’s the America I miss right now. HEISENBERG Then you best go home, cowboys. RABI That’s his thing- me and horses? I don’t think so. GRAY (V.O.) Did you ever encounter Heisenberg again?",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROOM 2022, ATOMIC ENERGY COMMISSION -- DAY I smile to myself. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 16. Gadget 2023-04-21 FINAL Shooting Script 17. OPPENHEIMER Not in person. But you might say our paths crossed. ROBB Doctor, during your time in Europe, you seem to have met a wide range of other countries’ physicists... (consulting notes) Born, Bohr, Pauli, Dirac, Einstein, Heisenberg...? OPPENHEIMER That’s right. Robb looks up at me... ROBB Any Russians? OPPENHEIMER Not that spring to mind. (from notes) Returning to America I accepted appointments at both Caltech...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. BERKELEY -- DAY I walk across campus to the physics department... OPPENHEIMER (V.O.) ...and up at Berkeley.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CORRIDOR, BERKELEY -- CONTINUOUS I struggle to unlock a door... it opens-",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CLASSROOM, BERKELEY -- CONTINUOUS A DUSTY storage space. Scattered tables and chairs. A piano.",DRAMAS +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CORRIDOR, BERKELEY -- MOMENTS LATER I step out of the classroom. Look NEXT DOOR...Gadget 2023-04-21 FINAL Shooting Script 17. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 18.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RAD LAB, BERKELEY -- DAY I enter. A handsome young scientist, ERNEST LAWRENCE, works on an assemblage of curved pipes and wiring with students, including Luis ALVAREZ. OPPENHEIMER Dr. Lawrence, I presume. LAWRENCE You must be Oppenheimer. I hear you want to start a school of quantum theory. OPPENHEIMER I am starting it. Next door. LAWRENCE They put you in there? OPPENHEIMER I asked for it. I wanted to be close to you experimentalists. LAWRENCE Theory will get you only so far. (gestures) We’re building a machine to accelerate electrons. OPPENHEIMER Magnificent. LAWRENCE Would you like to help? OPPENHEIMER Build it? No. But I’m working on theories I’d like to test with it. LAWRENCE When do you start teaching? OPPENHEIMER I’ve got my first in an hour. LAWRENCE Seminar? OPPENHEIMER Pupil. LAWRENCE One student? That’s it? (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 18. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 19. OPPENHEIMER I’m teaching something no one here’s dreamt of. But once people start hearing what you can do with it...LAWRENCE (CONT’D) (grins) There’s no going back.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CLASSROOM, BERKELEY -- LATER I stand there, expectant. A student opens the door, looks around, embarrassed- STUDENT I’m sorry, I must have missed- OPPENHEIMER No, this is it. Mr Lomanitz, right? LOMANITZ (twenty-one) nods, takes a seat. OPPENHEIMER (CONT’D) What do you know about quantum mechanics? LOMANITZ I have a grasp on the basics- OPPENHEIMER Then you’re doing it wrong. (rapid-fire) Is light made up of particles or waves? Lomanitz opens his mouth to speak- too slow- OPPENHEIMER (CONT’D) Quantum mechanics says it’s both- how can it be both? LOMANITZ It can’t. OPPENHEIMER (CONT’D) It can’t. But it is. It’s paradoxical and yet... it works. Lomanitz is hooked. I turn to the board, chalk out an equation... when I turn back- There are now FIVE students (including SERBER and SNYDER) listening intently... I move to Lomanitz to hand him his paper. I pat his shoulder. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 19. Gadget 2023-04-21 FINAL Shooting Script 20. OPPENHEIMER (CONT’D) You’re gonna be okay. DISSOLVE TO: A PACKED CLASSROOM, hanging on my every word as I- now thirty- two, slim, well-dressed, confident- teach in the round. Lawrence listens at the edge, fascinated. OPPENHEIMER (CONT’D) Consider a star... a vast furnace burning in outer space... INSERT CUT: A STAR. A SUN. BURNING, ROILING. OPPENHEIMER (CONT’D) Fire pushing outwards against its own gravity- balanced. But if its furnace cools, gravity starts winning. It contracts... I look around. Make eye contact with Hartland SNYDER. SNYDER Density increases... OPPENHEIMER Increasing gravity... INSERT CUT: THE SUN IS SHRINKING, MORE AND MORE RAPIDLY... SNYDER Increasing density. A vicious cycle. Until... What’s the limit here? OPPENHEIMER I don’t know. See where the math takes us. I guarantee it’s somewhere no one’s been before. SNYDER Me? OPPENHEIMER Your math’s better than mine.Gadget 2023-04-21 FINAL Shooting Script 20. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 21.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BERKELEY -- DAY Energetic, dashing, I STRIDE across campus, a group of students, including Snyder and Lomanitz, following me, hanging on my every word... OPPENHEIMER Einstein can’t accept the Copenhagen interpretation- LOMANITZ 'God doesn’t play dice.' OPPENHEIMER Except he does. Bohr showed us how...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CLASSROOM, BERKELEY -- DAY I mark up a paper. Lawrence comes in, frowns at the board. LAWRENCE You shouldn’t let them bring their politics into the classroom... I follow his look: "" SATURDAY 2:00pm, RALLY FOR LOYALIST SPAIN"". OPPENHEIMER I wrote that. Lawrence, you embrace the revolution in physics, can’t you see it everywhere else? Picasso, Stravinsky, Freud, Marx... LAWRENCE This is America, Oppie. We had our revolution. Seriously, keep it out of the lab. OPPENHEIMER Well, out of the lab , my landlady’s having a discussion group tonight. LAWRENCE I’ve sampled the Berkeley political scene- it’s all philosophy postgrads and Communists talking integration. OPPENHEIMER You don’t care about integration? (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 21. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 22. LAWRENCE I want to vote for it, not talk about it. Let’s get dinner. OPPENHEIMER I’m meeting my brother there. SENATOR BARTLETT (V.O.) Dr Oppenheimer’s file contained details of FBI surveillance on his activities at Berkeley...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SENATE COMMITTEE HEARING ROOM -- DAY (B&W) Strauss looks at the senator, cautious... STRAUSS Yes, as I recall. SENATOR BARTLETT Why would they have started a file on Dr Oppenheimer before the war? STRAUSS You’d have to ask Mr Hoover. SENATOR BARTLETT I’m asking you , Admiral Strauss. STRAUSS My assumption is that it was connected to his left-wing political activities. SENATOR BARTLETT How would these activities have come to the attention of the FBI? STRAUSS Well, if I remember correctly... CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HOUSE PARTY, SHASTA ROAD, BERKELEY -- NIGHT (COLOUR) STRAUSS (V.O.) The FBI was taking license plates outside suspected Communist gatherings and his name popped up. As I get out of my car, I spot TWO MEN checking the license plates of cars on the street... I am GRABBED- (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 22. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 23. FRANK (O.S.) Gotcha! My younger brother FRANK (twenty-five) and his date, JACKIE.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LIVING ROOM, HOUSE PARTY, SHASTA ROAD, BERKELEY -- NIGHT We ENTER the bustling room- I spot a beguiling young woman- VOICE (O.S.) Robert! Come meet Chevalier. Mary WASHBURN grabs my tie and leads us to Haakon CHEVALIER. WASHBURN Dr Haakon Chevalier, Dr Robert Oppenheimer, and vice versa. OPPENHEIMER This is my little brother, Frank. Oh, and... uh... JACKIE Still Jackie. CHEVALIER Hello, Still Jackie. OPPENHEIMER Chevalier. You’re in languages? CHEVALIER And your reputation precedes you. OPPENHEIMER I’m blushing- what’ve you heard? CHEVALIER You’re teaching a radical new approach to physics that I have no chance of understanding. But I hadn’t heard you were a party member- OPPENHEIMER I’m not. FRANK Not yet. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 23. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 24. JACKIE Frank and I are thinking of joining-OPPENHEIMER (ignoring Jackie) I support of range of causes. Jackie, put out, leads Frank away. CHEVALIER The Spanish Civil War? OPPENHEIMER A democratic republic being overthrown by fascist thugs? Who wouldn’t be? CHEVALIER Our government- they think socialism’s a bigger threat than fascism. OPPENHEIMER Not for long- look at what the Nazis are doing to the Jews. I send funds to colleagues in Germany to emigrate. I have to do something. My own work is so... abstract. CHEVALIER What’re you working on? OPPENHEIMER What happens to stars when they die. CHEVALIER Do stars die? OPPENHEIMER If they do they’d cool, then collapse. And the bigger the star, the more violent its demise. Their gravity gets so concentrated... INSERT CUT: THE SUN SHRINKS. THE LIGHT OF THE DISTANT STARS BEHIND IS TUGGED TOWARDS THE DYING STAR, BENDING, STRETCHING. OPPENHEIMER (CONT’D) ...it swallows everything. Even light. CHEVALIER Good God. Can that really happen? (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 24. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 25. OPPENHEIMER The math says it can. If we can get published, maybe one day an astronomer finds one. But all I have is theory. Which can’t impact people’s lives. CHEVALIER If you’re sending money to Spain, do it through the Communist Party- they can get it to the front lines. The beguiling young woman is there with a tray of martinis. This is Jean TATLOCK... TATLOCK Mary sent me with these. I’m Jean. OPPENHEIMER Robert. CHEVALIER Haakon Chevalier. The union meeting at Serber’s last month? Tatlock nods. I take a glass. CHEVALIER (CONT’D) Robert here says he’s not a Communist. TATLOCK Then he doesn’t know enough about it. OPPENHEIMER I’ve read Das Kapital . All three volumes. Does that count? CHEVALIER That would make you better read than most Party members. OPPENHEIMER It’s turgid stuff, but there’s some thinking... 'Ownership is theft.' TATLOCK 'Property', not 'Ownership'. OPPENHEIMER Sorry, I read it in the original German. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 25. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 26. Chevalier laughs, delighted, as he leaves us alone. TATLOCK It’s not about the book, it’s about the ideas. You sound uncommitted. OPPENHEIMER I’m committed to thinking freely about how to improve our world. Why limit yourself to one dogma? TATLOCK You’re a physicist- do you pick and choose rules? Or do you use the discipline to channel your energies into progress? OPPENHEIMER I like a little wiggle room. Do you always toe the party line? Tatlock considers this. Sizes me up. TATLOCK I like my wiggle room, too.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BEDROOM -- LATER We are FUCKING. Hot, sweaty, a little brutal. Tatlock GIVES UP, climbs off me- OPPENHEIMER Wait, wait- I catch my breath, watching her STUDY my shelves. TATLOCK Unexpected. OPPENHEIMER What? TATLOCK For a physicist. OPPENHEIMER You’ve only got a shelf full of Freud? TATLOCK Actually my background’s more- OPPENHEIMER (CONT’D) Jungian. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 26. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 27. TATLOCK (CONT’D) You know analysis. OPPENHEIMER When I was a postgrad at Cambridge I had some trouble. She turns to me. TATLOCK I’ll bite. OPPENHEIMER I tried to poison my tutor. TATLOCK Did you hate him? OPPENHEIMER I liked him very much. Tatlock turns back to the books. TATLOCK You just needed to get laid. OPPENHEIMER Wow. Took my analysts two years, and I’m not sure they ever put it that succinctly. TATLOCK You had them convinced you’re more complicated than you really are. OPPENHEIMER We’re all simple souls, I guess. TATLOCK Not me. She pulls a book from the shelf: THE BHAGAVAD GITA. She opens the book to find INCOMPREHENSIBLE CHARACTERS. TATLOCK (CONT’D) What’s this? OPPENHEIMER Sanskrit. TATLOCK You can read this? (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 27. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 28. OPPENHEIMER I’m learning- She climbs on top of me, opens the book in my face. TATLOCK Go on then. I study the page as Tatlock starts to move. OPPENHEIMER In this part, Vishnu reveals his multi-armed self-TATLOCK (CONT’D) Read the words. She points to each word as I translate... OPPENHEIMER (CONT’D) 'And now I am become Death... She nods, impressed, starts moving again... OPPENHEIMER (CONT’D) ...destroyer of worlds.'",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. NEW MEXICO -- DAY Moving over the VAST landscape to find three tiny figures. I lead Lawrence and Frank on horseback up a mountain trail.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CAMPSITE -- EVENING THUNDER. Lawrence climbs off his horse. The wind WHIPS as we set up our tent... OPPENHEIMER It’ll break before dawn. The air cools overnight. Just before dawn, the storm dies.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT./,NOTHING +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. TENT -- NIGHT Lawrence, Frank and I huddle in the BUFFETING TENT, trying to keep a fire going in the WIND and RAIN outside the tent. FRANK I’m getting married. LAWRENCE Congratulations, Frank. I look at Frank, sardonic with drink. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 28. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 29. OPPENHEIMER To Jackie? Frank stares at me... the tent stops buffeting... FRANK Yeah, to Jackie. The waitress. LAWRENCE (sensing tension) Oppie, you’re right- it’s letting up. I’ll see if there’s any stars. Frank watches Lawrence go, then pounces- FRANK All your talk about the common man but Jackie’s not good enough? We join the Party- you can’t hide your disapproval- why? Because that’s supposed to be your thing? OPPENHEIMER I haven’t joined the Party, Frank. And I don’t think she should’ve convinced you to, either- FRANK Half the faculty’s Communist- OPPENHEIMER Not that half. I point in the direction Lawrence wondered off. OPPENHEIMER (CONT’D) I’m your brother and I want you to be cautious. FRANK And I want to wring your neck. I giggle at this. Frank shakes his head, then starts laughing, too. I grab Frank’s shoulder. Frank looks up... FRANK(CONT’D) Robert, I won’t live my life afraid to make a mistake. I hold up my hands in defeat- OPPENHEIMER You’re happy, I’m happy. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 29. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 30. FRANK Then I’m happy you’re happy.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PERRO CALIENTE -- MOMENTS LATER I approach Lawrence, who stares up at the stars. LAWRENCE It’s so clear I feel like I could see one of those dark stars you’re working on... OPPENHEIMER You can’t, that’s the whole po",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int. INSERT CUT: AN EXPANDING DARKNESS EATS THE STARS... OPPENHEIMER (CONT’D) Their gravity swallows light. It’s like a kind of... hole in space. LAWRENCE Is Frank okay? OPPENHEIMER Yeah. He just has a shitty brother. Lawrence smiles at this. Looks around, then- LAWRENCE It’s special here. OPPENHEIMER As a kid I thought if I could find a way to combine physics and New Mexico, my life would be perfect. LAWRENCE It’s a little remote for that. Let’s get some sleep. I turn, heading to the tent. Lawrence follows. OPPENHEIMER That mesa we saw today? One of my favorite places in the world. Tomorrow we’ll climb it. LAWRENCE What’s it called? My response is so soft it is almost swallowed by the dark... (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 30. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 31. OPPENHEIMER Los Alamos.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. STREET, BERKELEY -- DAY Tatlock and I walk down the sidewalk. I try to take her hand- she folds her arms. TATLOCK I wasn’t expecting to see you. OPPENHEIMER I have to make an appointment? Across the street a young man BURSTS out of the BARBER SHOP, towel across chest, NEWSPAPER in hand... the barber runs out- the young man rips off the towel, TOSSES it to him and RUNS- OPPENHEIMER (CONT’D) Alvarez! I leave Tatlock on the sidewalk, take off after Alvarez-",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BERKELEY CAMPUS -- DAY Alvarez SPRINTS, newspaper in hand- I follow-",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CLASSROOM, BERKELEY -- CONTINUOUS I BURST in- Lawrence is trying to calm Alvarez- ALVAREZ (breathless) They’ve done it! Hahn and Strassman in Germany... Alvarez tosses the paper at me- ALVAREZ (CONT’D) They split the uranium nucleus. LAWRENCE How? OPPENHEIMER (reading) Bombarded it with neutrons. ALVAREZ Lawrence, it’s fission. Nuclear fission. They’ve split the atom... (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 31. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 32. OPPENHEIMER It’s not possible. I put down the paper, take up my chalk like it’s a weapon, move to the board. Alvarez grabs the paper- ALVAREZ I’m going to try to reproduce it. Alvarez and Lawrence leave. I write and write...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CLASSROOM, BERKELEY -- LATER Lawrence enters. I turn. Point at the board. OPPENHEIMER See. It can’t be done. LAWRENCE Very elegant. Quite clear. Just one problem... OPPENHEIMER Where? LAWRENCE Next door. Alvarez did it.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RAD LAB, BERKELEY -- MOMENTS LATER I peer at Alvarez’s oscilloscope... LAWRENCE Theory will take you only so far. I stand, moving away... thinking... OPPENHEIMER During the process extra neutrons boil off. Which could be used to split other uranium atoms... LAWRENCE A chain reaction. You’re thinking what I’m thinking. OPPENHEIMER You, me and every physicist around the world who’s seen the news. ALVAREZ What? What’re we all thinking? (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 32. Gadget 2023-04-21 FINAL Shooting Script 33. OPPENHEIMER A bomb, Alvarez. A bomb.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. TATLOCK HOUSE, BERKELEY -- NIGHT Tatlock GRABS a bouquet out of my hands- TATLOCK I told you, Robert, no more fucking flowers. She dumps them in the trash. I just stare. OPPENHEIMER I don’t understand what you want from me-TATLOCK (CONT’D) I don’t want anything from you. I pause. Then, gently... OPPENHEIMER (CONT’D) You say that. Then you call. Tatlock kicks at the dirt. TATLOCK Don’t answer. OPPENHEIMER I’ll always answer. She looks up at me. TATLOCK Fine. But no more flowers. She goes inside- OPPENHEIMER Aren’t you coming? Slams the door shut behind her. I stand there. CHEVALIER (O.S.) You have to know when you’re beaten, Robert. I turn. Chevalier and his wife, BARBARA, wait in the car. OPPENHEIMER It’s not that simple, Haakon.Gadget 2023-04-21 FINAL Shooting Script 33. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 34.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MEETING HALL, BERKELEY -- NIGHT Chevalier and Barbara lead me into the crowded hall. A BANNER: "" FEDERATION OF ARCHITECTS, ENGINEERS, CHEMISTS AND TECHNICIANS "". A man with a British accent greets us. This is ELTENTON. ELTENTON Chevalier, good to see you. And the illustrious Dr Oppenheimer. I’m Eltenton. Might you say a word about organized labour on campuses? OPPENHEIMER I’ll try to think of something. Eltenton guides me towards the stage... ELTENTON I work at Shell, we’ve signed up chemists and engineers... OPPENHEIMER That’s excellent. I spot Lomanitz, who grins and waves... ELTENTON So why not scientists in academia? OPPENHEIMER Sure. When do we- Eltenton pushes me onto the stage. People start APPLAUDING at the very sight of me. I can’t quite not smile about this.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RAD LAB, BERKELEY -- DAY I watch Lawrence examine his cyclotron. OPPENHEIMER Teachers are unionized, Lawrence. Why not professors? LAWRENCE Don’t you have somewhere to be? OPPENHEIMER Academics have rights, too- (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 34. Gadget 2023-04-21 FINAL Shooting Script 35. LAWRENCE It’s not that. I have a group coming. OPPENHEIMER I’ll sit in. LAWRENCE Not this one. The door opens. Richard TOLMAN and Vannevar BUSH enter- OPPENHEIMER Richard. Dr Bush. What brings you two up north? They exchange glances with Lawrence. Awkward SILENCE. I rise, letting them off the hook- OPPENHEIMER (CONT’D) Richard, tell Ruth I’ll be down to Pasadena Thursday.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CLASSROOM, BERKELEY -- CONTINUOUS As I enter, a magazine FLAPS into my hands from across the room. Students are all reading copies... SERBER Your paper on black holes- it’s in! I open the magazine as I turn to a STUDENT- OPPENHEIMER Get Hartland. LOMANITZ September 1st, 1939- the world’s gonna remember this day... Snyder comes in with a newspaper. Glum. OPPENHEIMER Hartland, our paper, it’s in print! SNYDER We’ve been upstaged. He holds up the paper: "" HITLER INVADES POLAND "". OPPENHEIMER (V.O.) During the Battle of France and the Battle of Britain...Gadget 2023-04-21 FINAL Shooting Script 35. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 36.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROOM 2022, ATOMIC ENERGY COMMISSION -- DAY Robb looks on intently as I turn the page on my statement... OPPENHEIMER ...I found myself increasingly out of sympathy with the policy of neutrality that Communists advocated. ROBB And after Hitler invaded Russia, did these Communist sympathies return? OPPENHEIMER No. If you’ll just allow me to-GRAY Mr Robb, you’ll have ample opportunity to cross-examine. OPPENHEIMER (CONT’D) I need to make clear that my changing opinion of Russia did not mean a sharp break with those who held different views. For a year or two during a previous marriage my wife, Kitty, had been a Communist Party member. Behind me, on a couch, is KITTY (forty-six), listening intently... OPPENHEIMER (CONT’D) But when I first met her, in Pasadena in 1939, she had already disengaged from politics...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOUSE PARTY, TOLMAN HOUSE, PASADENA -- NIGHT Kitty (thirty-one) watches as I EXPERTLY open the liquor cabinet- OPPENHEIMER This is where I keep the good stuff. KITTY I thought this was the Tolmans’ house. OPPENHEIMER I live with them when I’m at Caltech. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 36. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 37. RUTH (O.S.) You two need anything? I turn to see RUTH TOLMAN (forty-five) looking at me, mischievous. OPPENHEIMER We’re fine, Ruthie. (to Kitty) You’re a biologist? KITTY Somehow I graduated to housewife. Can you explain quantum mechanics to me? It seems baffling. OPPENHEIMER It is. This glass- I thump a glass onto the cabinet- pour a drink- OPPENHEIMER (CONT’D) This drink- I hand her the glass- fingers touching... OPPENHEIMER (CONT’D) Our bodies... are mostly empty space- groupings of tiny energy waves bound together. KITTY By what? OPPENHEIMER Forces of attraction strong enough to convince us that matter is solid... I push the palm of my hand up against hers. OPPENHEIMER (CONT’D) And stop my body passing through yours. Kitty pushes her fingers through mine, interlacing our hands. I look at a GREY-HAIRED MAN in conversation with Tolman... OPPENHEIMER (CONT’D) You’re married to Dr Harrison. KITTY Not very. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 37. (MORE) (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 38. OPPENHEIMER Well, there’s someone that I... KITTY Does she feel the same way? OPPENHEIMER Sometimes. Not often enough. As Ruth looks our way I let Kitty’s hand go. OPPENHEIMER (CONT’D) I’m going to New Mexico, to my ranch. With friends. You should come. Kitty looks meaningfully over her glass at me. OPPENHEIMER (CONT’D) I meant with your husband. KITTY Yes, you did. Because you know it won’t make a bit of difference.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PERRO CALIENTE -- DAY Kitty and I THUNDER along on horseback, climbing a ridge. I shout ahead to Kitty- OPPENHEIMER Why did you marry him?! Kitty pulls up. I come alongside. KITTY I was lost. He was kind. OPPENHEIMER Lost? KITTY My previous husband died. At twenty- eight I wasn’t ready to be a widow. Kitty DISMOUNTS. I follow. OPPENHEIMER Who was your first husband? KITTY Nobody. But my second husband was Joe Dallet. (MORE) (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 38. KITTY (CONT ’D) (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 39. From money, like me, but he was a union organizer in Youngstown, Ohio. I fell hard. OPPENHEIMER How hard? KITTY Hard enough to spend four years living off beans and pancakes, handing out the Daily Worker at factory gates. Kitty takes out a hip flask. SWIGS. KITTY(CONT’D) By ’36 I told Joe I couldn’t take it anymore, quit the Party and joined my parents swanning around Europe. A year later I said I wanted him back. Him, not the Daily Worker. He said 'Swell, I’ll meet you on my way to Spain.' She hands me the flask. I take a drink. OPPENHEIMER He went to fight for the loyalists? KITTY On his way we reconciled. One beautiful week in Paris. Then he went to the brigades and I waited. One day Steve Nelson turns up in the lobby of the hotel to tell me Joe got himself killed first time he popped out of his trench. OPPENHEIMER Who’s Steve Nelson? KITTY Head of the Communist Party in San Francisco. You don’t know him? OPPENHEIMER I’m not a Communist. KITTY You seem to know a lot of ’em. OPPENHEIMER Including you.KITTY (CONT ’D) (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 39. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 40. KITTY (shakes head) Ideology got Joe killed. For nothing. OPPENHEIMER The Spanish Republic isn’t nothing. KITTY My husband offered both our futures to stop one fascist bullet embedding itself in a mudbank. That’s the definition of nothing. OPPENHEIMER That seems a little reductive- KITTY Pragmatic . Steve and his wife brought me home with them to Chicago, then set me up with husband number three. Now here I am... She looks around at the wilderness... KITTY(CONT’D) Wherever the hell this is- I grab her. Kiss her, hard.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TATLOCK’S BEDROOM -- DAY Tatlock and I sit on the floor, backs to the bed like kids. Tatlock has been crying. OPPENHEIMER I didn’t want you to hear it from someone else. TATLOCK You didn’t bring flowers. That’s something. I reach into my pocket- she GRABS the small posy from me, TOSSING it aside. OPPENHEIMER Jean, we both know I’m not what you want. TATLOCK Yeah. But it’s a door closing. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 40. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 41. OPPENHEIMER Not as far as I’m concerned. Tatlock looks at me. Appreciating the sentiment. TATLOCK You knocked her up. Fast work. OPPENHEIMER Can’t keep a good man down. TATLOCK I meant her. She knew what she wanted. What about the husband? OPPENHEIMER We spoke. He’s divorcing her so we can get married before she’s showing. TATLOCK How civilized, you idiot. This is your community- you think rules don’t apply to the golden boy? OPPENHEIMER Brilliance makes up for a lot. TATLOCK Don’t alienate the only people in the world who understand what you do. One day you might need them.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RAD LAB, BERKELEY -- DAY I write "" F.A.E.C.T. "" on the board, Lomanitz hands out FLIERS. Lawrence enters, GRABBING a flyer from the nearest student: ""UNIONIZE THE RADIATION LAB "". LAWRENCE Lomanitz? What do you make a month? LOMANITZ (sheepish) A hundred and fifty dollars. Lawrence turns to another student- LAWRENCE How are the working conditions? OPPENHEIMER That’s not the point, Lawrence. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 41. (MORE) (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 42. LAWRENCE What do you have in common with dock workers and farm labourers? LOMANITZ Plenty- LAWRENCE Right. Everybody out. Now! (to me) Not you. The students file out. Lawrence SLAMS the door- turns on me- LAWRENCE (CONT’D) What’re you doing?! OPPENHEIMER It’s a trade union- LAWRENCE Full of Communists! OPPENHEIMER So? I haven’t joined the Party- LAWRENCE They won’t let me bring you onto the project because of this shit! They won’t even let me tell you what the project is- OPPENHEIMER I know what the fucking project is, Lawrence! We all heard about Einstein and Szilard’s letter to Roosevelt. Warning him the Germans could make a bomb. And I know what it means for the Nazis to have a bomb. LAWRENCE I don’t? OPPENHEIMER It’s not your people they’re herding into camps! It’s mine! LAWRENCE You think I tell them about your politics? Next time you’re coming home from a meeting, take a look in the rear-view mirror. (MORE) (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 42. LAWRENCE (CONT ’D)Gadget 2023-04-21 FINAL Shooting Script 43. Listen for sounds on your phone line. And stop being so goddamn naïve. I’m taken aback by this... OPPENHEIMER Why would they care what I do? LAWRENCE Because you’re not just self- important, you’re actually important. I see the reality. Shift gears- OPPENHEIMER I get it. You don’t have to worry. I get it. LAWRENCE You just need to be more- OPPENHEIMER (CONT’D) Pragmatic. It’s done, Lawrence. I’ll talk to Lomanitz and the others. You don’t have to worry. Lawrence looks at me. Sees this is real. LAWRENCE (CONT’D) Then welcome to the war. OPPENHEIMER (V.O.) I filled out my first security questionnaire...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROOM 2022, ATOMIC ENERGY COMMISSION -- DAY I glance up from my notes. OPPENHEIMER ...and was informed that my involvement in left-wing groups would not prove a bar to my work on the atomic programme. SENATOR PASTORE (V.O.) Why were his Communist associations not seen as a security risk during the war? CUT TO:LAWRENCE (CONT ’D)Gadget 2023-04-21 FINAL Shooting Script 43. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 44.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SENATE COMMITTEE HEARING ROOM -- DAY (B&W) Strauss suppresses his irritation at the line of questioning. STRAUSS Senator, I can’t possibly answer for a security clearance granted years before I even met the man. SENATOR PASTORE Fine. What about after? STRAUSS After the war, Dr Oppenheimer was the most respected scientific voice in the world. That’s why I asked him to run the Institute, that’s why he advised the Atomic Energy Commission. Simple as that.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SENATE OFFICE -- DAY (B&W) Strauss paces- STRAUSS What are they accusing me of? SENATE AIDE I think they just want to know what happened between 1947 and 1954 to change your mind on Oppenheimer’s security clearance. STRAUSS I didn’t. I was the AEC Chairman, but it wasn’t me who brought the charges against Robert. SENATE AIDE Who did? STRAUSS Some former staff member of the Joint Congressional Committee- INSERT CUT: A YOUNG MAN LEAFS THROUGH A FILE, COLLECTING HIS THOUGHTS... THIS IS WILLIAM BORDEN... HE STARTS TYPING... STRAUSS (CONT’D) A rabid anti-Communist named Borden. He wrote to the FBI demanding they take action. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 44. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 45. SENATE AIDE The FBI? Why not come to the AEC direct? STRAUSS Why get caught holding the knife yourself? SENATE AIDE What did Borden have against Oppenheimer? STRAUSS This was the McCarthy era- people hounded out of jobs for any hint of red... reading Oppenheimer’s security file- his Communist brother, sister-in-law, fiancée, best friend, wife... that’s before you even get to the Chevalier incident. SENATE AIDE But how would Borden have access to Oppenheimer’s security file? STRAUSS Someone gave it to him. Someone who wanted Oppenheimer silenced. SENATE AIDE Who? STRAUSS Who knows? Robert didn’t take care not to upset the power brokers in Washington. His opinions on the atom became definitive and he wasn’t always patient with us mere mortals. I came in for plenty of harsh treatment. There was an AEC vote on the export of isotopes to Norway...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CONGRESSIONAL HEARING ROOM -- DAY (B&W) Oppenheimer sits at the witness table with Joe VOLPE, the AEC lawyer. Strauss is in the audience. STRAUSS (V.O.) They drafted in Robert to make me look like a fool... (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 45. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 46. CONGRESSMAN But, Dr Oppenheimer, one member of the AEC board thinks these isotopes could be useful to our enemies in the production of atomic weapons. OPPENHEIMER Congressman, you could use a shovel in making atomic weapons, in fact, you do. You could use a bottle of beer in making atomic weapons. In fact, you do. LAUGHTER. Strauss squirms, embarrassed. OPPENHEIMER (CONT’D) Isotopes aren’t as useful as electronic components, but more useful than a sandwich. I’d put them somewhere in between. Volpe looks at Strauss, who SMILES, GOOD-HUMOURED... STRAUSS (V.O.) Genius is no guarantee of wisdom. How could this man who saw so much be so blind? CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. OPPENHEIMER HOUSE, BERKELEY -- NIGHT (COLOUR) I come in. The lights are off. A BABY’S CRIES echo... OPPENHEIMER Kitty? She is in the dining room, in the dark, drink in hand. OPPENHEIMER (CONT’D) Kitty, the project- I’m in. She sips. SLIDES her drink down the table at me- KITTY Let’s celebrate. As the baby CRIES, Kitty comes to me, pulling at my clothes- OPPENHEIMER Don’t you need to go to him? (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 46. Gadget 2023-04-21 FINAL Shooting Script 47. KITTY I’ve been going to him all fucking day... She moves to kiss my neck- I look upstairs- she PUSHES me away- GRABS her drink...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT./,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CHEVALIER HOUSE -- NIGHT I carry the crying infant, PETER, to the front door. Knock. Barbara opens it- sees my distraught face and takes Peter.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LIVING ROOM, CHEVALIER HOUSE -- MOMENTS LATER Chevalier hands me a drink. I stare into the liquid. OPPENHEIMER I’m ashamed to ask. CHEVALIER Anything. OPPENHEIMER Take Peter. CHEVALIER Sure. OPPENHEIMER No, for a while, Hoke. A while. CHEVALIER Does Kitty know you’re here? OPPENHEIMER (I laugh) Of course she fucking knows! We’re awful. Selfish, awful people... (I down drink) Forget I asked- Chevalier puts out a hand to stop me rising... CHEVALIER Robert, you see beyond the world we live in. There’s a price to be paid for that. Of course we’ll help.Gadget 2023-04-21 FINAL Shooting Script 47. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 48.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. NEW MEXICO -- EVENING Kitty and I GALLOP through the trees, EMERGING into the twilight overlooking a valley. Kitty turns to the wind. KITTY Everything’s changing, Robert. OPPENHEIMER Having a child was always- KITTY(CONT’D) (impatient) The world is pivoting in some new direction... reforming... this is your moment. OPPENHEIMER (CONT’D) We’re putting together a group to study feasibility-KITTY(CONT’D) 'We' shouldn’t be doing anything. You should. Lawrence won’t get this done. Or Tolman, or Rabi. You will.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PRESIDENT’S DINING HALL, BERKELEY -- DAY A crowded and lavish lunch. I notice a large man in ARMY UNIFORM, Colonel GROVES, sitting next to another soldier (NICHOLS) with Bush and Tolman. I sidle up to Lawrence at the buffet. OPPENHEIMER Who’s the uniform? The husky GROVES spills sauce on his tunic, wipes at it. LAWRENCE I thought you might know.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CLASSROOM, BERKELEY -- AFTERNOON I am working. Groves and Lieutenant Colonel NICHOLS enter. GROVES Dr Oppenheimer. I’m Colonel Groves, this is Lieutenant Colonel Nichols. Groves pulls off his uniform jacket, TOSSES it to Nichols. GROVES (CONT’D) Get that dry-cleaned. I watch Nichols leave. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 48. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 49. OPPENHEIMER If that’s how you treat a lieutenant colonel, I’d hate to see how you treat a humble physicist. GROVES If I ever meet one I’ll let you know. OPPENHEIMER Ouch. GROVES Theatres of combat all over the world- but I have to stay in Washington. OPPENHEIMER Why? GROVES I built the Pentagon. The brass likes it so much they made me take over the Manhattan Engineer District. OPPENHEIMER Which is? GROVES Don’t be a smart-ass. You know damn well what it is- you and half of every physics department across America. That’s problem number one. OPPENHEIMER I thought problem number one would be securing enough uranium ore. GROVES Twelve hundred tons. Bought the day I took charge. OPPENHEIMER Processing? GROVES Just broke ground at Oak Ridge, Tennessee. Now I’m looking for a project director. OPPENHEIMER And my name came up. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 49. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 50. GROVES Nope. Even though you brought quantum physics to America. That made me curious. OPPENHEIMER What have you found out? GROVES You’re a dilettante, womanizer, suspected Communist- OPPENHEIMER I’m a New Deal Democrat- GROVES I said 'suspected'. Unstable, theatrical, egotistical, neurotic. OPPENHEIMER Nothing good? Not even 'he’s brilliant, but'...? GROVES Brilliance is taken for granted in your circles. So, no. Only one person said anything good- Richard Tolman. He thinks you’ve got integrity. But Tolman strikes me as someone who knows science better than people. OPPENHEIMER Yet here you are. You don’t take much on trust. GROVES I don’t take anything on trust. Why don’t you have a Nobel Prize? OPPENHEIMER Why aren’t you a general? GROVES They’re making me one for this. OPPENHEIMER Maybe I’ll have the same luck. GROVES A Nobel Prize for making a bomb? OPPENHEIMER Alfred Nobel invented dynamite. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 50. (MORE) (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 51. GROVES So how would you proceed? OPPENHEIMER You’re talking about turning theory into a practical weapons system faster than the Nazis. GROVES Who have a twelve-month head start. OPPENHEIMER Eighteen. GROVES How could you possibly know that? OPPENHEIMER Our fast neutron research took six months- the man they’ve undoubtedly put in charge will have made that leap instantly. GROVES Who do you think they put in charge? OPPENHEIMER Werner Heisenberg. He has the most intuitive understanding of atomic structure I’ve ever seen. GROVES You know his work? OPPENHEIMER I know him. Just like I know Walther Bothe. Von Weizsäcker. Diebner. In a straight race, the Germans win. We’ve got one hope. GROVES Which is? OPPENHEIMER Anti-Semitism. GROVES What? OPPENHEIMER Hitler called quantum physics 'Jewish science'. Said it right to Einstein’s face. (MORE) (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 51. OPPENHEIMER (CONT ’D) (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 52. Our one hope is that Hitler’s so blinded by hate he’s denied Heisenberg proper resources. Because it’ll take vast resources. Our nation’s best scientists, working together- right now they’re scattered. GROVES Which gives us compartmentalization. OPPENHEIMER All minds have to see the whole task to contribute efficiently. Poor security may cost us the race, inefficiency will. The Germans know more than us, anyway. GROVES The Russians don��€™t. OPPENHEIMER Remind me- who are we at war with? GROVES Someone with your past doesn’t want to be seen downplaying the importance of security from our Communist allies. OPPENHEIMER Point taken. But no. GROVES You don’t get to say 'no' to me- OPPENHEIMER It’s my job to say 'no' to you when you’re wrong- GROVES So you’ve got the job, now? OPPENHEIMER I’m considering it. GROVES I’m starting to see how you got your reputation. My favorite response? 'Oppenheimer couldn’t run a hamburger stand.'OPPENHEIMER (CONT ’D) (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 52. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 53. OPPENHEIMER I couldn’t. But I can run the Manhattan Project. I turn to the blackboard. Take up my chalk. OPPENHEIMER (CONT’D) There’s a way to balance these things... (I draw) Leave the Rad Lab here at Berkeley under Lawrence, Met Lab in Chicago under Szilard, large-scale refining- where’d you say? Tennessee... all America’s industrial might and scientific innovation, connected by rail... focused on one goal, one point in space and time, coming together... here. I have drawn a cross at the centre of the diagram. GROVES And where’s that? INSERT CUT: A BARBED-WIRE FENCE IS STRUNG OUT... OPPENHEIMER A secret labouratory. In the middle of nowhere. Self-sufficient. Secure. Equipment, housing, the works. We keep everyone there till it’s done. INSERT CUT: A SCHOOLHOUSE IS ERECTED. A CHURCH. A STORE... OPPENHEIMER (V.O.) It’ll need a school, stores, a church...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TRAIN, BERKELEY TO WASHINGTON, DC -- DAY I talk to Groves as Nichols looks on... GROVES Why? (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 53. Gadget 2023-04-21 FINAL Shooting Script 54. OPPENHEIMER If we don’t let scientists bring their families, we’ll never get the best. You want security? Build a town, and build it fast. GROVES Where?",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CAR, LOS ALAMOS -- CONTINUOUS Groves emerges, squinting into the brightness, taking in the stark beauty. I greet him, arms spread wide. OPPENHEIMER Welcome to Los Alamos. There’s a boys’ school we’ll have to commandeer, and the local Indians come up here for burial rites. Other than that, nothing for forty miles any direction. And south- east, hundreds of miles of desert. Enough to find the perfect spot. GROVES For? OPPENHEIMER Success. Groves scans the horizon. Sniffs the air... turns to Nichols. GROVES Build him a town. Fast. (to Oppenheimer) Let’s go recruit some scientists.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TRAIN, SANTA FE TO BOSTON -- NIGHT I watch Groves go over a file. OPPENHEIMER How much can I tell them? GROVES (without looking up) As much as you like, till you feel my boot on your balls.Gadget 2023-04-21 FINAL Shooting Script 54. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 55.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LECTURE HALL, HARVARD -- DAY Groves and I sit talking to BAINBRIDGE and DONALD. BAINBRIDGE I’m not a soldier, Oppie. OPPENHEIMER Soldier? He’s a general- (jab my thumb at Groves) I got all the soldier I need. Maybe too much. I’m here because you know isotopes, and you- (to Donald) know explosives better than anyone. DONALD But you can’t tell us what you’re doing? I glance at Groves. Then CROSS my legs. OPPENHEIMER It’s about unleashing the strong force before the Nazis do. BAINBRIDGE Oh my God.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CORRIDOR, MIT -- DAY Groves and I walk with CONDON. CONDON Why? Why would I leave my family? OPPENHEIMER I told you, bring your family. CONDON Why would we go to the middle of nowhere for who knows how long? OPPENHEIMER A year or two. Or three. CONDON Why would you think I’d do that? Groves SNAPS like a bulldog- (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 55. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 56. GROVES Why? Why? How about because this is the most important fucking thing that’s ever happened in the history of the world? How about that? I look at Groves, then SHRUG at Condon.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. OFFICE, UNIVERSITY OF MICHIGAN -- NIGHT Groves and I sit across the desk from a CONCERNED SCIENTIST. CONCERNED SCIENTIST Robert, I hear you. I hear you. Concerned Scientist GLANCES at Groves then DROPS his gaze. OPPENHEIMER General, could you give us a minute? Groves looks at me. Gets up and goes. CONCERNED SCIENTIST They’re not gonna let someone like me onto this project. And failing a security check isn’t gonna be good for a career even after the war. OPPENHEIMER So you’re a fellow traveler, so what? This is a national emergency. I’ve got some skeletons, and they’ve put me in charge. They need us. CONCERNED SCIENTIST Until they don’t.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. QUADRANGLE, PRINCETON -- DAY Groves and I flank FEYNMAN as he hurries across the quad- OPPENHEIMER Heisenberg, Diebner, Bothe, Bohr... what do these men have in common? FEYNMAN The greatest minds on atomic theory. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 56. Gadget 2023-04-21 FINAL Shooting Script 57. OPPENHEIMER And? FEYNMAN I don’t know... OPPENHEIMER The Nazis have them. FEYNMAN Niels Bohr is in Copenhagen. OPPENHEIMER Under Nazi occupation. Did they stop printing newspapers in Princeton? FEYNMAN Niels won’t work for the Nazis. OPPENHEIMER No. Never. But while they have him, we don’t. So I need you.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TRAIN, PRINCETON TO SANTA FE -- NIGHT Groves is napping. I just start talking. OPPENHEIMER Is there any chance of getting Bohr out of Denmark? GROVES No dice. I checked with the British. Until we get Allied boots back onto the continent there’s no way. Is he that important? INSERT CUT: BOHR GESTICULATES WITH THE POISONED APPLE. OPPENHEIMER How many people do you know who’ve proven Einstein wrong? The train BUMPS. I look out the window, impatient. OPPENHEIMER (CONT’D) It’d be quicker to take a plane. GROVES We can’t risk a plane. America needs us.Gadget 2023-04-21 FINAL Shooting Script 57. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 58.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LOS ALAMOS UNDER CONSTRUCTION -- DAY Dressed in ARMY UNIFORM, I show Rabi and Condon the CHAOTIC SNOWY and MUDDY mesa. CONSTRUCTION CREWS at work. Feynman approaches- FEYNMAN The Harvard guys say the building’s too small for their cyclotron. OPPENHEIMER (to Condon) Get ’em together with the architects. Condon hurries off with Feynman. Rabi turns to me. RABI When’s this place supposed to open? OPPENHEIMER Two months. RABI (shakes head) Robert, you’re the great improviser, but this you can’t do in your head...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CONSTRUCTION CABIN, LOS ALAMOS -- MOMENTS LATER I draw on the board. OPPENHEIMER Four divisions- Experimental, Theoretical, Metallurgical, Ordnance. RABI Who’s running Theoretical? OPPENHEIMER I am. RABI That’s what I was afraid of. You’re spread too thin. OPPENHEIMER So you take Theoretical. RABI I’m not coming here, Robert. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 58. Gadget 2023-04-21 FINAL Shooting Script 59. OPPENHEIMER Why not? Rabi, seldom at a loss for words, is lost for words... RABI You drop a bomb and it falls on the just and the unjust. I don’t wish the culmination of three centuries of physics to be a weapon of mass destruction. OPPENHEIMER Izzy, I don’t know if we can be trusted with such a weapon, but I know the Nazis can’t. We have no choice. RABI Well, the second thing you have to do is appoint Hans Bethe to head the Theoretical division. OPPENHEIMER Wait, what was the first? RABI Take off that ridiculous uniform- you’re a scientist. OPPENHEIMER General Groves is insisting we join. RABI Tell Groves to shit in his hat. They need us for who we are. So be yourself, only... better.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. OPPENHEIMER’S OFFICE, LOS ALAMOS -- DAY I pull on a jacket. Run a hand through newly shorn close- cropped dark hair. Put on a PORK PIE HAT. Pick up my pipe...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LOS ALAMOS UNDER CONSTRUCTION -- MOMENTS LATER I walk the main drag like a SHERIFF, nodding at construction workers as I pass... THE ICONIC J. ROBERT OPPENHEIMER.Gadget 2023-04-21 FINAL Shooting Script 59. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 60.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RAD LAB, BERKELEY -- DAY I look down onto the bustle of students. Lomanitz looks up and waves- then is ERASED by WHITEWASH as workers COVER the windows... Serber hands me a key. SERBER This is the only key. Teller’s here already. Shall I show him in? OPPENHEIMER No, wait for the others- The door BURSTS OPEN and a stooped, slightly heavy young man shuffles in. This is EDWARD TELLER. TELLER Let’s get started. OPPENHEIMER Hello, Edward.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SAME -- DAY I sit at the front, one long leg tucked under my ass. The scientists include Lawrence, Serber, Teller, BETHE, Condon, Tolman, Feynman, Donald, Bainbridge, NEDDERMEYER and Alvarez. OPPENHEIMER We’ll work here until the T-section at Los Alamos is finished- I see Teller waving a piece of paper- OPPENHEIMER (CONT’D) Edward, can I get through my summary? TELLER This is more important. Teller’s paper is passed around the room, scientists PALING... TELLER (CONT’D) Calculating chain reactions... I found a rather troubling possibility. Hans Bethe hands me the paper, turns to Teller. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 60. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 61. BETHE That can’t be right. Show me how you did your calculations. TELLER Of course. I look up from the paper, grave. Teller watches the ruckus he’s caused with evident satisfaction. Bethe approaches. BETHE Oppie, this is fantasy. Teller’s calculations cannot be right. OPPENHEIMER Do them yourself while I go to Princeton. BETHE What for? OPPENHEIMER To talk to Einstein. BETHE There’s not much common ground between you two. OPPENHEIMER That’s why I should get his view.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. WOODS, PRINCETON, NEW JERSEY -- DAY I walk through the trees, gaining on two figures. The two men turn. One of them is Einstein. EINSTEIN Dr Oppenheimer. Have you met Kurt Gödel? We walk here most days. GÖDEL Trees are the most inspiring structures. OPPENHEIMER Albert, might I have a word? Einstein senses the gravity. Nods. We leave Gödel staring up at the bare trees. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 61. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 62. EINSTEIN Some days Kurt refuses to eat. Even in Princeton, he’s convinced the Nazis can poison his food.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LAKE, INSTITUTE FOR ADVANCED STUDY -- MOMENTS LATER Einstein and I emerge from the trees. I pull a piece of paper from my breast pocket. Einstein takes it. EINSTEIN Whose work is this? OPPENHEIMER Teller’s. EINSTEIN And what do you take it to mean? OPPENHEIMER Neutron smashes into nucleus releasing neutrons to smash into other nuclei... INSERT CUT: DARKNESS SPLIT BY GLOWING PARTICLES FIRING INTO EACH OTHER IN AN INCREASINGLY VIOLENT DISPLAY... OPPENHEIMER Criticality- the point of no return- massive explosive force... but the chain reaction doesn’t stop ... Einstein studies the paper... he nods. EINSTEIN It would ignite the atmosphere. The air around us CATCHES FIRE... THE PLANET EARTH, LONELY IN VAST DARKNESS, IS SUDDENLY ENGULFED IN FIRE. OPPENHEIMER When we detonate an atomic device, we might start a chain reaction that destroys the world. EINSTEIN And here we are, lost in your quantum world of probabilities, but needing certainty. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 62. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 63. OPPENHEIMER Can you run the calculations yourself? EINSTEIN About the only thing you and I share is a disdain for mathematics. Who’s working on it at Berkeley? OPPENHEIMER Hans Bethe. EINSTEIN He’ll get to the truth. OPPENHEIMER And if the truth is catastrophic? EINSTEIN Then you stop. And share your findings with the Nazis, so neither side destroys the world. I turn to leave. EINSTEIN (CONT’D) Robert? (holding out paper) This is yours. Not mine.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CORRIDOR, BERKELEY -- DAY I come past the secretaries. Bethe is there, excited. BETHE Teller’s wrong- I gesture SILENCE as I unlock the Rad Lab-",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RAD LAB, BERKELEY -- CONTINUOUS Bethe runs to the cabinet- takes out some papers- hands them to me, excited. I start to scan them, GRINNING- BETHE When you narrow Teller’s critical assumptions the real picture emerges- OPPENHEIMER Bottom line? (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 63. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 64. BETHE The chances of an uncontrolled nuclear reaction are near zero. OPPENHEIMER Near zero? BETHE Oppie, this is good news- OPPENHEIMER Can you run more calculations? BETHE You’ll get the same answer. Until we actually detonate one of these things, the best assurance you’re going to get is this- (jabs paper) Near zero. OPPENHEIMER Theory will take you only so far.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. OPPENHEIMER HOUSE, BERKELEY -- NIGHT Kitty opens the door to the Chevaliers, finger to her lips - I am holding the sleeping Peter. BARBARA (whispering) So beautiful. We miss him. KITTY Want to adopt? OPPENHEIMER She’s kidding. Kitty shakes her head, 'not kidding'. Barbara takes Peter. I lead Chevalier to the kitchen... OPPENHEIMER (CONT’D) We wanted to see you before we left. CHEVALIER For parts unknown...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. KITCHEN, OPPENHEIMER HOUSE, BERKELEY -- CONTINUOUS I mix a tray of martinis. Chevalier watches, distracted. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 64. Gadget 2023-04-21 FINAL Shooting Script 65. CHEVALIER You know who I ran into the other day? Eltenton. OPPENHEIMER The chemist from Shell? Union guy? CHEVALIER Yeah. He was moaning about the way we’re handling the war. OPPENHEIMER How so? CHEVALIER Lack of cooperation with our allies. Apparently, our government isn’t sharing any research with the Russians. He said a lot of scientists think the policy’s stupid. My hands SLOW... OPPENHEIMER Oh, yeah? CHEVALIER Yeah. He mentioned that if anyone had information they wanted to pass on, going around official channels, he could help... I look up at Chevalier. Grave. OPPENHEIMER That would be treason. CHEVALIER Yes, of course. I just thought you should know. We STARE at each other... BANG- Kitty barges in. KITTY Brat’s down- where are the martinis? She sees us having a moment... OPPENHEIMER (V.O.) The discussion ended there. I pick up the tray.Gadget 2023-04-21 FINAL Shooting Script 65. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 66.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROOM 2022, ATOMIC ENERGY COMMISSION -- DAY OPPENHEIMER Nothing in our long-standing friendship would have led me to believe that Chevalier was actually seeking information; and I was certain he had no idea of the work on which I was engaged. I steal a glance at Robb, then look directly at the board- OPPENHEIMER (CONT’D) It has long been clear to me that I should have reported this incident at once. SENATOR MCGEE (V.O.) The Oppenheimer situation highlights the tension between scientists and the security apparatus... CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SENATE COMMITTEE HEARING ROOM -- DAY (B&W) Strauss is at the witness table facing the Senate Committee. SENATOR MCGEE In hopes of learning how the nominee handled such issues during his time at the AEC, we’ll have a scientist appearing before the Committee. STRAUSS (private) Who’re they bringing in? COUNSEL (private) They haven’t said. STRAUSS Mr Chairman, if I may? I’m nominated for Commerce Secretary. Why seek the opinion of scientists- CHAIRMAN This is a Cabinet post, Admiral. We seek a wide range of opinion. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 66. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 67. STRAUSS I’d like to know the name of the scientist testifying. And I’d like the chance to cross-examine. CHAIRMAN (irritated) This is not a court.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SENATE OFFICE -- MOMENTS LATER (B&W) The Senate Aide shows Strauss and Counsel in. COUNSEL Lewis, you’re not on trial- STRAUSS So everyone keeps saying. COUNSEL You act like a defence attorney, the Committee’s gonna act like a prosecutor. STRAUSS (to Senate Aide) A formality, huh? SENATE AIDE No Presidential Cabinet nominee has failed to be confirmed since 1925. This is just how the game is played. COUNSEL It’s in the bag, Lewis, so play nice. They bring in a scientist, so what? Strauss gives a wry smile. Remembers- INSERT CUT: STRAUSS APPROACHES EINSTEIN AND OPPENHEIMER- EINSTEIN BLOWS PAST WITHOUT ACKNOWLEDGING STRAUSS... STRAUSS You don’t know scientists like I do, counselor. They resent anyone who questions their judgement- especially if you’re not one of them... (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 67. (MORE) (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 68. INSERT CUT: STRAUSS STARES- THE CROWD AT THE ISOTOPES HEARING LAUGHS... STRAUSS (CONT’D) I was chair of the AEC- I’m easy to blame for what happened to Robert. SENATE AIDE We can’t let the Senate think that the scientific community doesn’t support you. STRAUSS Should we pivot? SENATE AIDE To what? STRAUSS Embrace it. 'I fought Oppenheimer and the US won'? SENATE AIDE I don’t think we need to go there. Isn’t there anyone we can call who knows what really happened? STRAUSS Teller. SENATE AIDE He’ll make an impression. STRAUSS Can you find out the name of the scientist they’ve called? SENATE AIDE Probably. STRAUSS (to Counsel) We get that name- you call the AEC, find out if he was based in Chicago or Los Alamos during the war. SENATE AIDE Why’s that matter? STRAUSS If he was in Chicago he worked under Szilard and Fermi, not the cult of Oppie at Los Alamos. (MORE) (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 68. STRAUSS (CONT ’D) (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 69. Robert built that damn place- he was founder, mayor, sheriff all rolled into one... CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT./,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. CAR DRIVING THROUGH LOS ALAMOS -- DAY (COLOUR) I DRIVE Kitty and Peter through the 'town'... Kitty STARES at the newly built BASIC WOODEN STRUCTURES... KITTY All it needs is a saloon.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. OPPENHEIMER HOUSE, LOS ALAMOS -- DAY I stand in the hall, holding Peter, NERVOUS, as Kitty inspects the house... she pokes her head back in- KITTY Robert. There’s no kitchen. OPPENHEIMER Really? We’ll fix that. Don’t worry.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. T-SECTION, LOS ALAMOS -- DAY I walk Bethe through the security gate. BETHE Barbed wire. Guns, Oppie. OPPENHEIMER We’re at war, Hans.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LECTURE HALL, T-SECTION, LOS ALAMOS -- DAY I step up to join Serber- throw up a slide. Condon, Neddermeyer, Kistiakowsky, Donald, Tolman, Bainbridge and Feynman, amongst other SCIENTISTS, are in attendance. OPPENHEIMER Halifax, 1917. A cargo ship carrying munitions exploded in the harbor...STRAUSS (CONT ’D) (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 69. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 70. INSERT CUT: WOOD AND CONCRETE FRAGMENTS FLY... OPPENHEIMER (CONT’D) A vast and sudden chemical reaction... INSERT CUT: A SHOCKWAVE DRIFTS ACROSS THE TOPS OF THE CHOPPY WATER... OPPENHEIMER (CONT’D) The biggest man-made explosion in history. Let’s calculate how much more destructive it would have been with a nuclear, not chemical, reaction. Expressing power in terms of tons of TNT- BETHE But it’ll be thousands. OPPENHEIMER Then, kilotons. I switch the lights on, step down to let Serber- SERBER Using U-235, the bomb- He sees me wave. SERBER (CONT’D) Sorry- the gadget will need a thirty-three-pound sphere, about this size... Serber reaches below the table, brings up a GOLDFISH BOWL- SERBER (CONT’D) Or using plutonium, a ten-pound sphere... He puts a large BRANDY GLASS next to the aquarium. SERBER (CONT’D) Here’s the amount of uranium Oak Ridge refined all of last month. Serber drops THREE MARBLES into the bowl. The scientists stare at the almost-empty goldfish bowl. SERBER (CONT’D) The Hanford plant made this much plutonium... (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 70. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 71. He drops TWO MARBLES into the brandy glass. SERBER (CONT’D) If we can enrich these amounts... we need a way to detonate them. Teller is at the back folding a paper plane. OPPENHEIMER Are we boring you, Edward? TELLER (without looking up) Yes. OPPENHEIMER May I ask why? TELLER We came into this room knowing a fission bomb was possible. Let’s leave it with something new. OPPENHEIMER Such as? TELLER A 'super' atomic bomb. Instead of uranium, or plutonium, we use hydrogen. MURMURS of dissent- TELLER (CONT’D) (shutting them down) Heavy hydrogen- deuterium. We compact the atoms together under great force and induce a fusion reaction. Not kilotons... megatons. A HUBBUB develops- I process quickly, then- OPPENHEIMER Hang on. How do you generate enough force to fuse hydrogen atoms? Teller smiles a self-satisfied smile. TELLER A small fission bomb. GROANS all around... (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 71. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 72. OPPENHEIMER Well, since you’re going to need one, anyway... can we get back to the business at hand? Teller SHRUGS.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SENATE COMMITTEE HEARING ROOM -- DAY (B&W) SENATOR BARTLETT Mr Strauss, the isotopes issue wasn’t your most important policy disagreement with Dr Oppenheimer. It was the Hydrogen bomb, wasn’t it? STRAUSS We did disagree about the need for an H-bomb programme. SENATOR BARTLETT Tell us how that came to pass. As Strauss REMEMBERS we hear a SIREN and we- CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. NEW YORK STREET -- NIGHT (B&W) Strauss is in a car, barreling along behind a POLICE ESCORT-",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOTEL, NEW YORK -- NIGHT (B&W) Strauss and his ASSISTANT rush down the corridor to a door-",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOTEL CONFERENCE ROOM -- NIGHT (B&W) Strauss enters- a table surrounded by AEC members- Oppenheimer is slouched at the table, pipe blazing, Bush presides... Strauss removes his overcoat, revealing a tuxedo... STRAUSS What do we know? BUSH One of our B-29s over the north Pacific picked up radiation. Rabi uses a compass to indicate an area on the map... (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 72. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 73. STRAUSS Do you have the filter papers? OPPENHEIMER There’s no doubt what this is. STRAUSS The White House says there’s doubt. Oppenheimer begrudgingly slides them over to Strauss. BUSH Wishful thinking, I’m afraid. OPPENHEIMER It’s an atomic test. STRAUSS The Soviets have a bomb? We’re supposed to be years ahead of them. What were you guys doing at Los Alamos? Wasn’t the security tight? OPPENHEIMER Of course it was- you weren’t there, Lewis.NICHOLS (O.S.) Forgive me, doctor... Strauss leans around the FLOWERS in the centre of the table to see who is speaking- Nichols, now a civilian. NICHOLS (CONT’D) But I was there. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. T-SECTION, LOS ALAMOS -- DAY (COLOUR) Condon, Nichols and I watch cars pull up. Groves emerges. OPPENHEIMER Welcome back. GROVES Progress? INSERT CUT: MARBLES DROP INTO THE GOLDFISH BOWL. OPPENHEIMER It’s nice to see you, too. GROVES Meet the British contingent. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 73. Gadget 2023-04-21 FINAL Shooting Script 74. SCIENTISTS emerge. A THIN YOUNG MAN offers his hand- FUCHS (German accent) Dr Oppenheimer, Klaus Fuchs. OPPENHEIMER How long have you been British? FUCHS Since Hitler told me I wasn’t German.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LECTURE HALL, T-SECTION, LOS ALAMOS -- DAY Bethe, Teller, Condon, Kistiakowsky, Donald, Bainbridge, Fuchs and Feynman and other scientists listen to- SERBER I call it 'shooting'- we fire a chunk of fissionable material into the larger sphere with enough force to achieve criticality. INSERT CUT: A URANIUM ""BULLET"" IS FIRED INTO A SPHERE- TOLMAN I’ve been thinking about implosion. Explosives around the sphere blast inwards, crushing the material. INSERT CUT: A SPHERICAL ARRAY OF EXPLOSIVES BLASTS INWARD- NEDDERMEYER I’d like to investigate that idea. OPPENHEIMER I’ll talk to the Ordinance division- we’ll get you blowing things up...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ""MAIN STREET"", LOS ALAMOS -- DAY Condon, Nichols and I show Groves the GROWING TOWN... OPPENHEIMER School’s up and running. I thought of a way to reduce support staff... I open the door to the cabin containing my office-Gadget 2023-04-21 FINAL Shooting Script 74. 8FLiX.com FYC SCREENPLAY DATABASE 20230904 (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 75.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. OUTER OFFICE -- CONTINUOUS Groves notices the YOUNG WOMAN working behind the desk-,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. OPPENHEIMER’S OFFICE, LOS ALAMOS -- CONTINUOUS I slump into my chair. Groves is perplexed- GROVES Is that...? OPPENHEIMER Mrs Serber. I’ve offered jobs to all the wives. Admin, librarians, computation. We cut down on staff and keep families together. GROVES Are these women qualified? OPPENHEIMER Don’t be absurd. These are some of the brightest minds in our community. CONDON And they’re already security cleared. NICHOLS I’ve informed General Groves you’ve been holding cross-divisional open discussions- GROVES Shut ’em down. Compartmentalization is the key to maintaining security-CONDON It’s only the top men. NICHOLS Who, presumably, communicate with subordinates. OPPENHEIMER These men aren’t stupid, they can be discreet. GROVES I don’t like it. OPPENHEIMER You don’t like anything enough for there to be a fair test. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 75. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 76. Groves shrugs. Gets up to leave. Nichols rolls his eyes. GROVES Once a week. Top men only. OPPENHEIMER I’d like to bring my brother here. GROVES No. Groves and Condon leave- I corner Nichols- OPPENHEIMER I still haven’t heard that my security clearance has been approved. NICHOLS It hasn’t. OPPENHEIMER We’re going to Chicago tomorrow- NICHOLS You should wait. OPPENHEIMER You’re aware that the Nazis have a two-year head start? NICHOLS Dr Oppenheimer, the fact that your security clearance is proving difficult to obtain is not my fault. It’s yours. OPPENHEIMER It may not be your fault, but it’s your problem. Because I’m going. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOTEL CONFERENCE ROOM -- NIGHT (B&W) Strauss reaches to the centre of the table to move the flowers from between him and Nichols- STRAUSS How many people were in the open discussions? (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 76. 8FLiX.com FYC SCREENPLAY DATABASE 20230904 (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 77. NICHOLS Too many. Compartmentalization was supposed to be the protocol. OPPENHEIMER We were in a race against the Nazis- STRAUSS Well, now the race is against the Soviets. OPPENHEIMER Only if we start it. Strauss holds up the filter papers. STRAUSS Robert, they just fired the starting gun. What’s the nature of the device they detonated? OPPENHEIMER The data indicates it may have been a plutonium implosion device. STRAUSS Like the one you built at Los Alamos? Oppenheimer nods reluctantly... STRAUSS (CONT’D) If the Soviets have a bomb, Truman needs to know what’s n",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","ext. Bush nods. Oppenheimer looks incredulous- OPPENHEIMER What’s next? Arms talks. Obviously. STRAUSS (to Bush) What about the Super? Does Truman even know about it? BUSH Not specifically. OPPENHEIMER We still don’t know if a Hydrogen bomb is technically feasible. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 77. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 78. STRAUSS My understanding is that Teller first proposed it at Los Alamos. OPPENHEIMER His designs have always been wildly impractical. You’d have to deliver by ox-cart not airplane. STRAUSS If it could put us ahead again, Truman needs to know about it. And if there’s a possibility that the Russians know about it from a spy at Los Alamos... we’ve gotta get going. OPPENHEIMER There’s no proof there was a spy at Los Alamos. Strauss holds up the filter papers, raises his eyebrows... CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FOOTBALL STADIUM, CHICAGO -- DAY (COLOUR) Condon and I are led across the field by J. Ernest WILKINS... CONDON They put it under the football stadium? WILKINS The field’s not in use, anymore. OPPENHEIMER Just as well.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ATOMIC PILE, UNDERNEATH THE STADIUM, CHICAGO -- DAY Wilkins shows us to SZILARD and FERMI. A scientist with GLASSES takes notes. The group approaches the atomic pile... FERMI I hear you’ve got a little town. OPPENHEIMER Come and see. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 78. 8FLiX.com FYC SCREENPLAY DATABASE 20230904 (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 79. SZILARD Who could think straight in a place like that? Everybody will go crazy. OPPENHEIMER Thanks for the vote of confidence, Szilard. I spot Glasses SCRIBBLING - I GRAB his pen- he FLINCHES- OPPENHEIMER (CONT’D) We really need that in the notes? (to Fermi) When are you going to try it out? FERMI We already did. The first self- sustaining nuclear chain reaction. Didn’t Groves tell you?",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. T-SECTION, LOS ALAMOS -- DAY Condon and I have just passed through- HORNIG Dr Oppenheimer! I tried personnel. We turn to see a twenty-three-year-old young woman on the other side of the barrier. This is Lilli HORNIG. HORNIG (CONT’D) They asked if I could type. OPPENHEIMER Can you? HORNIG Harvard forgot to teach that on the graduate chemistry course. I smile at this. Turn to Condon. OPPENHEIMER Put Mrs Hornig on the plutonium team.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CYCLOTRON BUILDING, LOS ALAMOS -- CONTINUOUS Condon and I peer up at the equipment. Groves STORMS in- (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 79. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 80. GROVES What the hell were you doing in Chicago?! CONDON Visiting the Met Lab- GROVES (CONT’D) Why?! Condon looks at me. I say nothing. He turns to Groves- CONDON (CONT’D) You can’t talk to us like this. We have every right-GROVES (CONT’D) You have just the rights I give you! No more, no less. CONDON (CONT’D) This is ridiculous- we’re adults, trying to run a project here. (to me) Tell him, Robert. I look steadily at Groves. OPPENHEIMER Compartmentalization is the protocol we agreed to. CONDON You’ve got to be kidding me. Enough of this madhouse- nobody can work under these conditions. (to Groves) You know what, Generalissimo? I quit. (to Oppenheimer) Thanks for nothing. Condon storms out. Groves turns to me. GROVES Better off without him. OPPENHEIMER Aren’t you more worried about his discretion out there? GROVES We'll have him killed. (off Oppenheimer’s look) Kidding. He hates me, not America. OPPENHEIMER Not everyone has levers like mine to pull. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 80. 8FLiX.com FYC SCREENPLAY DATABASE 20230904 (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 81. GROVES I don’t know what you mean. OPPENHEIMER You didn’t hire me despite my left- wing past, you hired me because of it. So you could control me. GROVES I’m not that subtle. I’m just a humble soldier. OPPENHEIMER You’re neither humble, nor 'just' a soldier. You studied engineering at MIT. GROVES Guilty as charged. OPPENHEIMER Now that we understand each other, perhaps you’ll get me my security clearance, so I can perform this miracle for you. General Groves looks at me. Nods. GARRISON (V.O.) General Groves, were you aware of Dr Oppenheimer’s left-wing associations when you appointed him?",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROOM 2022, ATOMIC ENERGY COMMISSION -- DAY Groves, in CIVILIAN CLOTHES, testifies. I watch... GROVES I was aware that there were suspicions about him... I was aware that he had a very extreme liberal background. GARRISON In your opinion, would he ever consciously commit a disloyal act? GROVES I would be amazed if he did. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 81. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 82. GARRISON You had complete confidence in his integrity? GROVES At Los Alamos, yes, which is where I really knew him. ROBB General, did your security officers on the project advise against the clearance of Dr Oppenheimer? GROVES Truer to say they could not and would not clear him. Until I insisted... ROBB You became pretty familiar with the security file on Dr Oppenheimer? GROVES I did. ROBB General, there’s really only one question we need answered here today... Groves shifts, knowing what’s about to be asked... ROBB(CONT’D) In the light of your experience of security matters and knowledge of the file...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. T-SECTION, LOS ALAMOS -- DAY I greet Lawrence and Lomanitz as they get out of a car- ROBB (V.O.) ...would you clear Dr Oppenheimer today? LAWRENCE Physics and New Mexico, huh? But my God, what a trek. OPPENHEIMER That’s why you need a liaison. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 82. 8FLiX.com FYC SCREENPLAY DATABASE 20230904 (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 83. LAWRENCE I’m appointing Lomanitz. I pat Lomanitz on the shoulder. OPPENHEIMER You’re gonna be okay.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LECTURE HALL, T-SECTION, LOS ALAMOS -- LATER As the group assembles, General Groves speaks to Lawrence. GROVES I’ll remind you what we talked about in Berkeley, doctor. LAWRENCE Compartmentalization. I understand completely. Oppenheimer theatrically drops three marbles into the quarter- full goldfish bowl, then ADDS TWO MORE- the room APPLAUDS. Oppenheimer BOWS, steps down. Lawrence BOUNCES up- LAWRENCE (CONT’D) Greetings from Berkeley. I’m here to update you on our progress and solicit your input. To do so I will be sharing many things that General Groves has told me not to (to Groves) Well, General, I said I 'understood', not that I agreed. So, to business... Groves looks at me. I shrug. He leaves. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOTEL CONFERENCE ROOM -- NIGHT (B&W) Strauss places the filter papers back down on the table... STRAUSS There were rumours of espionage at Los Alamos-OPPENHEIMER Unsubstantiated- (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 83. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 84. STRAUSS (CONT’D) I’ve heard there were Communists on the project- were any of them involved with discussions of the Super?OPPENHEIMER (CONT’D) We didn’t knowingly employ any Communists. NICHOLS I seem to remember you demanding that your brother come to Los Alamos. OPPENHEIMER He’d left the Party by then. STRAUSS And Lomanitz? OPPENHEIMER He was never employed at Los Alamos, he was a liaison. Our security was tight, as former Colonel Nichols well knows. NICHOLS Our security was the tightest we could make it given the personalities involved. But attempts were made. Doctor, we’ve all read your file here. Do we need to talk about Jean Tatlock? Or the Chevalier incident? Strauss watches Oppenheimer glare at Nichols. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. OPPENHEIMER’S OFFICE, LOS ALAMOS -- DAY (COLOUR) SECRETARY (over intercom) That’s Lomanitz on one... I pick up the phone- OPPENHEIMER Lomanitz? Okay, hang on, calm down.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COLONEL NICHOLS’ OFFICE -- MOMENTS LATER I stand at Nichols’ desk. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 84. 8FLiX.com FYC SCREENPLAY DATABASE 20230904 (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 85. OPPENHEIMER There’s been another screw-up- Lomanitz just got drafted. NICHOLS We are at war, doctor. OPPENHEIMER Don’t be an asshole, Nichols. We need this kid. Fix it, will you? NICHOLS It wasn’t a mistake. Your friend Lomanitz has been trying to unionize the Radiation Lab. OPPENHEIMER He promised to quit all that. NICHOLS Well, he hasn’t. The security officer at Berkeley is concerned about Communist infiltration through that union- the... F-A... OPPENHEIMER (thinking) F-A-E-C-T. I’m there next week, maybe I’ll drop in to see him. Nichols TOSSES a security pass across the desk. NICHOLS Your Q clearance came through. It’s important you not maintain or renew any questionable associations. ROBB (V.O.) Doctor, did you think social contacts between a person employed on secret war work and Communists was dangerous?",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROOM 2022, ATOMIC ENERGY COMMISSION -- DAY I testify, Kitty behind me... OPPENHEIMER My awareness of the danger would be greater today. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 85. Gadget 2023-04-21 FINAL Shooting Script 86. ROBB But it’s fair to say that during the war years...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HOTEL, SAN FRANCISCO -- DAY A TAXI pulls up. I get out, carrying a bag. ROBB (V.O.) ...you felt that such contacts were potentially dangerous? I enter, without seeing a CAR FOLLOWING. The PASSENGER jumps out, while the DRIVER checks the time, makes a note.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOTEL LOBBY, SAN FRANCISCO -- CONTINUOUS OPPENHEIMER (V.O.) Were conceivably dangerous. I move to the elevators, watched by the passenger.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CORRIDOR, HOTEL, SAN FRANCISCO -- CONTINUOUS At the door to 805 I reach into my bag... ROBB (V.O.) Really? Known Communists? ...and remove a small BUNCH OF FLOWERS. I knock... OPPENHEIMER (V.O.) Look, I’ve had a lot of secrets in my head a long time. It doesn’t matter who I associate with... The door opens to reveal JEAN TATLOCK.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROOM 2022, ATOMIC ENERGY COMMISSION - DAY OPPENHEIMER (CONT'D) I don’t talk about those secrets.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROOM 805, HOTEL, SAN FRANCISCO -- CONTINUOUS Tatlock GRABS the flowers. As I follow her in, she DUMPS them in the wastebasket...Gadget 2023-04-21 FINAL Shooting Script 86. 8FLiX.com FYC SCREENPLAY DATABASE 20230904 (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 87.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROOM 2022, ATOMIC ENERGY COMMISSION -- DAY Robb refers to his papers- Kitty watches... ROBB You said in your statement you 'had' to visit Jean Tatlock in 1943...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROOM 805, HOTEL, SAN FRANCISCO -- NIGHT Tatlock and I sit across the room from each other, naked. TATLOCK You left. Not a word. What did you think that would do to me? OPPENHEIMER I wrote. TATLOCK Pages of nothing. Where’d you go? OPPENHEIMER I can’t tell you. TATLOCK Why not? OPPENHEIMER Because you’re a Communist. ROBB (V.O.) Why did you have to see her?",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROOM 2022, ATOMIC ENERGY COMMISSION -- DAY I sit at the table, self-conscious, testifying... OPPENHEIMER She had indicated a great desire to see me before we left. At that time I couldn’t. But I felt that she had to see me... Kitty watches me testify. I am NAKED... OPPENHEIMER (CONT’D) She was undergoing psychiatric treatment. She was extremely unhappy. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 87. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 88. ROBB Did you find out why she had to see you? OPPENHEIMER Because she was still in love with me. Kitty watches Tatlock, also naked, STRADDLE me, head on my shoulder, facing Kitty... ROBB You spent the night with her didn’t you? As Tatlock GRINDS on me she locks eyes with Kitty... OPPENHEIMER Yes.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROOM 805, HOTEL, SAN FRANCISCO -- NIGHT Tatlock studies me from across the room. TATLOCK You drop in and out of my life and don’t have to tell me why. That’s power. OPPENHEIMER Not that I enjoy. I’d rather be here for you as you need. TATLOCK But now you’ve got other priorities. OPPENHEIMER I have a wife and child. TATLOCK That’s not what either of us is talking about. OPPENHEIMER Jean, you asked me to come. And I’m glad I did. But I can’t come again. TATLOCK What if I need you? I slowly shake my head. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 88. 8FLiX.com FYC SCREENPLAY DATABASE 20230904 (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 89. TATLOCK (CONT’D) Not a word?",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROOM 2022, ATOMIC ENERGY COMMISSION -- DAY All eyes on me, clothed and alone again... ROBB Did you think that consistent with good security? Behind me, Kitty’s face is stone... OPPENHEIMER It was, as a matter of fact. Not a word. ROBB When did you see her after that? INSERT CUT: HOT BATH RUNNING. PILL BOTTLE. DOWNTURNED HEAD IN THE WATER. THE SOUND OF FEET STAMPING, STAMPING... I JAM my eyes closed, shake off the image- OPPENHEIMER I never saw her again.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SAME -- DAY As the room breaks up, Kitty speaks privately to me through CLENCHED TEETH as she gathers her things. No eye contact. KITTY I can make the last train back to Princeton. OPPENHEIMER I said nothing that I hadn’t already said to you, Kitty. KITTY Well, today you said it to history. OPPENHEIMER This is a closed hearing- KITTY If they don’t release a transcript, you will! (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 89. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 90. She DROPS her bag, spilling the contents. Garrison spots a small FLASK as Kitty sweeps it into her purse. I CROUCH- OPPENHEIMER I was under oath. KITTY You were under an oath to me when you went to see Jean. She STANDS- I follow- she TURNS back- in my face- KITTY(CONT’D) You sit there, day after day, letting them pick our lives to pieces. Why won’t you fight? I don’t answer. She leaves. Garrison steps up. GARRISON Robert, I’m not putting her up there.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BERKELEY CAMPUS -- DAY I stroll across the campus, enter an administrative building.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LT. JOHNSON’S OFFICE -- MOMENTS LATER I knock. Johnson opens the door, SURPRISED. JOHNSON Dr Oppenheimer, it’s an honour. Please, take a seat- OPPENHEIMER No need. I just wanted to check whether I should talk to Lomanitz while I’m here- given your concerns. JOHNSON That’s up to you, really, professor. But I’d be cautious. OPPENHEIMER Understood. Oh, and as far as the union goes, I wanted to give you a heads up on a man named Eltenton. JOHNSON A heads up? (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 90. 8FLiX.com FYC SCREENPLAY DATABASE 20230904 (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 91. OPPENHEIMER He might merit watching, is all. JOHNSON I’d love to get more details- OPPENHEIMER I’ve got an appointment now, and I leave early tomorrow- JOHNSON Come as early as you like. Since you haven’t time now. GROVES (V.O.) You went back the next morning?",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TRAIN, SANTA FE TO CHICAGO -- DAY Groves sits opposite. I stare out the window. OPPENHEIMER I did. I had to, really.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LT. JOHNSON’S OFFICE -- MORNING Johnson smiles, beckons me in. Indicates a SECOND MAN- OPPENHEIMER (V.O.) This time there was another man.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TRAIN, SANTA FE TO CHICAGO -- DAY I stare out the window. Groves sits opposite. OPPENHEIMER Said his name was Pash. GROVES Pash? You met Colonel Pash?",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROOM 2022, ATOMIC ENERGY COMMISSION -- DAY Alone on the couch, I glance up, NERVOUS, as a man in uniform walks past. As he sits, I study the back of his head. ROBB Colonel Pash, can you read from your memo of June 29th, 1943? (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 91. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 92. PASH 'Results of surveillance conducted on subject indicate further possible Communist Party connections. Subject met with and spent considerable time with one Jean Tatlock, Communist, the record of whom is attached.' ROBB The subject being Dr Oppenheimer? PASH Yes. ROBB Whom you had not met? PASH Not then, but soon after...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TRAIN, SANTA FE TO CHICAGO -- DAY OPPENHEIMER He’s head of security for the project, shouldn’t I know him? GROVES No, he should know you. I’d never put you in a room with Pash. OPPENHEIMER Why not? GROVES When Pash first learned about Lomanitz- he told the FBI he was going to kidnap him, take him out on a boat, interrogate him 'in the Russian manner'...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LT. JOHNSON’S OFFICE -- DAY Pash sits down next to me, opposite Johnson. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 92. 8FLiX.com FYC SCREENPLAY DATABASE 20230904 (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 93. PASH Dr Oppenheimer, this is a pleasure. General Groves has placed a certain responsibility in me, and it’s like having a child, that you can’t see, by remote control, so to actually meet you... I don’t mean to take much of your time... The disarming friendliness of the truly dangerous. OPPENHEIMER Not at all. Whatever time you choose. PASH Mr Johnson told me of your conversation yesterday, in which I’m very interested. It had me worried all day... OPPENHEIMER I didn’t want to talk to Lomanitz without authorization- PASH That’s not the particular interest I have. It’s something a little more, in my opinion, more serious...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TRAIN, SANTA FE TO CHICAGO -- DAY GROVES When the FBI pointed out that such information couldn’t be used in court Pash made it clear that he didn’t intend to have anyone left to prosecute. The FBI talked him down, but that’s the man you’re dancing with.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LT. JOHNSON’S OFFICE -- DAY PASH I gather you’ve heard there are other parties interested in the work of the Radiation Lab... (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 93. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 94. OPPENHEIMER Well, a man attached to the Soviet Consul indicated, through intermediate people, to people on this project that he was in a position to transmit information they might supply. PASH Why would anyone on the project want that? OPPENHEIMER Frankly, I can see there might be arguments for the commander-in- chief informing the Russians- they’re our allies. But I don’t like the idea of it going out the back door- it might not hurt to be on the lookout for it.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TRAIN, SANTA FE TO CHICAGO -- DAY GROVES You said that to Pash? OPPENHEIMER I was trying to put it in the context of... Russia’s not Germany. GROVES Boris Pash is the son of a Russian Orthodox bishop. Born here but in 1918 he went back to Russia to fight the Bolsheviks. This is a man who’s killed Communists with his own hands.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. LT. JOHNSON’S OFFICE -- DAY Pash spreads his palms... PASH I’m not the judge of who should or should not get information. My business is to stop it going through illegally. Could you be a little more specific? (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 94. 8FLiX.com FYC SCREENPLAY DATABASE 20230904 (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 95. OPPENHEIMER There’s a man whose name was mentioned to me a couple of times- Eltenton. I think he’s a chemist employed by Shell. He talked to a friend of his who’s an acquaintance of someone on the project. To go beyond that would be to put names down of people who are not only innocent but were one hundred percent cooperative.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TRAIN, SANTA FE TO CHICAGO -- DAY Groves is staring at me like I just crapped my pants. GROVES You thought Pash would be satisfied with that? OPPENHEIMER I was trying to give them Eltenton without opening a can of worms. I told him a cock-and-bull story.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROOM 2022, ATOMIC ENERGY COMMISSION -- DAY I am up front. Robb questioning- ROBB Did you lie to General Groves, too? OPPENHEIMER No, I told him I’d lied to Pash.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SAME -- DAY Groves is on the stand, in civilian clothes- GARRISON Do you recall your conversation with him about the Chevalier incident? GROVES I’ve seen so many versions of it, I wasn’t confused before, but I’m certainly getting there now. GARRISON What was your conclusion? (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 95. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 96. GROVES That he was under the influence of the typical American schoolboy attitude that there’s something wicked about telling on a friend. He did what he thought was essential- disclosing Eltenton.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SAME -- DAY Pash is testifying. PASH The memo I wrote at the time states 'Dr Oppenheimer sought to provide information to burnish his image as loyal, clearly having heard of our investigation at Berkeley. He is not to be trusted on matters of security.'",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LT. JOHNSON’S OFFICE -- DAY Pash gazes, unblinking, into my eyes... PASH These other people you mentioned, were they contacted by Eltenton direct? OPPENHEIMER No. PASH Well now, could we know through whom that contact was made? OPPENHEIMER It would involve people who ought not be involved in this. PASH Is this person a member of the project? OPPENHEIMER A member of the faculty, but not on the project. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 96. 8FLiX.com FYC SCREENPLAY DATABASE 20230904 (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 97. PASH Eltenton made the approach through a member of the faculty here at Berkeley? OPPENHEIMER As far as I know- there may have been more than one person involved. If I seem uncooperative I think you can understand that it’s because of my insistence in not getting innocent people into trouble. Pash stares at me. I finally keep my mouth shut. PASH You see me as persistent- OPPENHEIMER You are persistent, and that is your job. But my job is protecting the people who work for me. PASH Instead of us going on certain steps which may come to your attention and be a little bit... disturbing to you... I’d rather discuss those with you first. I’m not formulating any plans, I’m just going to have to digest the whole thing. I nod at Pash. Get to my feet.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TRAIN, SANTA FE TO CHICAGO -- DAY Groves takes in the story. GROVES You’re protecting a friend. But who’s protecting you? OPPENHEIMER You could. GROVES If you gave me the name. OPPENHEIMER If you order me to, I’ll do it. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 97. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 98. GROVES You’re making a mistake, Robert. A mistake that may haunt you. You need to volunteer this name. I turn to watch the scenery trundle past. ROBB (V.O.) And did he give you the name?",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROOM 2022, ATOMIC ENERGY COMMISSION -- DAY GROVES He did. ROBB But not at that time. GROVES No. ROBB In fact, it was some months later, wasn’t it? Groves nods.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SAME -- DAY I study the back of Boris Pash’s head... ROBB And in the months between your interview with Dr Oppenheimer and his eventual naming of Chevalier, did you expend resources trying to find the identity of the intermediary? PASH Considerable resources. Without the name our job was extremely difficult. ROBB When did you receive the name? PASH I was gone by the time Oppenheimer offered it up. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 98. 8FLiX.com FYC SCREENPLAY DATABASE 20230904 (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 99. ROBB Gone? PASH They felt my time would be better spent in Europe determining the status of the Nazi bomb project. ROBB Who did? PASH General Groves. He transferred me to London. I lift my head at this. INSERT CUT: MARBLES DROP INTO THE BOWL... THREE-QUARTERS FULL...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. LOS ALAMOS -- NIGHT Serber and I walk down the street. Snow falling. SERBER Little early for a Christmas party. OPPENHEIMER Something’s up. Tolman’s been away. SERBER Where? OPPENHEIMER Ruth won’t tell. We head towards Fuller Lodge...,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FULLER LODGE, LOS ALAMOS -- LATER A CHRISTMAS PARTY. DEBAUCHED. Kitty, in SANTA HAT, serves/spikes the EGGNOG. Bethe, Teller, Charlotte Serber, Neddermeyer, Kistiakowsky, Donald, Hornig, Bainbridge, Fuchs, Feynman amongst the revelers. I have Ruth cornered, glancing over at Kitty, who pretends she wasn’t looking at me and GRABS at the nearest male arm- pushing eggnog... RUTH Compartmentalization, Oppie. What makes you think I know, anyway? (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 99. (MORE) (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 100. I take her glass. Sip from it... OPPENHEIMER You do a good job of knowing where Mr Tolman is... when it counts. RUTH Like now. I turn- Tolman and Groves enter, brushing off snow... GROVES Atten-shun! We have an early Christmas present for you... They step aside to reveal... NIELS BOHR. I grin. BOHR (V.O.) The British pilots put me in the bomb bay...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SAME -- LATER Bohr holds court. I listen at the back. BOHR ...showed me the oxygen- of course I messed it up. When they opened me up in Scotland I was unconscious. I pretended I’d been napping. The crowd LAUGHS, loving it. Bohr peels off to talk to me. BOHR(CONT’D) Is it big enough? OPPENHEIMER To end the war? BOHR To end all war.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LECTURE HALL, T-SECTION -- LATER I sip my drink, watching Bohr read the boards. Tolman, Teller, Bethe and Serber sprawl, party hats, TINSEL scarves... BOHR Heisenberg sought me out in Copenhagen. It was chilling- my old student, working for the Nazis. (MORE) (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 100. 8FLiX.com FYC SCREENPLAY DATABASE 20230904 BOHR (CONT ’D) (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 101. He told me things to draw me out... sustained fission reactions in uranium... TOLMAN That sounds more like a reactor than a bomb. TELLER Did he mention gaseous diffusion? BOHR He seemed more focused on heavy water. TELLER As a moderator? BOHR Yes. Instead of graphite. Serber and Tolman GRIN. I nod. Bohr notices us relax... BOHR(CONT’D) What? OPPENHEIMER He took a wrong turn. We’re ahead. And with you here to help us... Bohr turns to Teller and the others- BOHR Gentlemen, could you give us a moment? They shuffle out. Bohr looks at the MARBLES. Turns to me... BOHR(CONT’D) I’m not here to help, Robert. I knew you could do this without me. OPPENHEIMER Then why did you come? BOHR To talk about after. The power you’re revealing will forever outlive the Nazis. And the world is not prepared.BOHR (CONT ’D) (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 101. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 102. OPPENHEIMER You can lift the rock without being ready for the snake that’s revealed. BOHR We have to make the politicians understand- this isn’t a new weapon- it’s a new world. I’ll be out there, doing what I can- but you... (points at me) You’re an American Prometheus- Father of the Atomic Bomb. The man who gave them the power to destroy themselves. They’ll respect that. And your work really begins. I take this in. Charlotte Serber enters- CHARLOTTE I’m sorry, Oppie, but there’s a call. From San Francisco. I look at my watch, surprised... look at Bohr, who nods 'Go.'",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SNOWY WOODS, LOS ALAMOS -- DAWN Kitty, on horseback, finds my horse, tied up. She dismounts, moving into the trees... She finds me curled up at the base of a tree in the SNOW, distraught. KITTY Robert? She crouches, touches my shoulder- I look up, ASHAMED. OPPENHEIMER Her father called... they found her yesterday... in the bath... INSERT CUT: A WOMAN, FACE-DOWN IN THE BATH, A CUSHION BELOW... KITTY Who? OPPENHEIMER She’d taken pills, left a note... not signed... she took barbiturates... (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 102. 8FLiX.com FYC SCREENPLAY DATABASE 20230904 (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 103. INSERT CUT: TATLOCK KNEELS IN THE BATH, POPPING PILLS. SINKS SERENELY ONTO CUSHIONS UNDER THE WATER... OPPENHEIMER (CONT’D) But there was chloral hydrate in her blood... INSERT CUT: GLOVED HANDS HOLD TATLOCK’S STRUGGLING HEAD UNDERWATER... I SHAKE OFF the image... OPPENHEIMER (CONT’D) There was a note. KITTY Jean Tatlock? INSERT CUT: OPPENHEIMER, NAKED, SHAKES HIS HEAD AT TATLOCK. OPPENHEIMER We were together- she said she needed me... but I told her I wouldn’t see her again. It was me. Kitty SLAPS me in the face. I look up at her, bleary-eyed... KITTY You don’t get to commit the sin, then have us all feel sorry for you that it had consequences. (rises) Pull yourself together. People here depend on you.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LECTURE HALL, T-SECTION, LOS ALAMOS -- DAY I vacantly preside over a shambles- the goldfish bowl is FILLED with marbles. As is the glass tumbler... Donald, Bainbridge, Feynman watch the others squabble- HORNIG Serber, I’m not quitting my job because plutonium’s radioactive! SERBER We can’t know what it might do to your reproductive system- Donald, help me out, here- (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 103. (MORE) (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 104. DONALD You’re on your own, pal. HORNIG (to Serber) Your reproductive system’s more exposed than mine. Presumably. KISTIAKOWSKY The implosion device is nowhere.NEDDERMEYER You can’t rush everything, Oppie. KISTIAKOWSKY (CONT’D) There’s rushing and there’s getting on with it- pick one, will ya?BETHE Teller’s not helping- I’ve been asking for calculations on the implosion lenses for weeks- TELLER The British can do it- Fuchs- FUCHS Absolutely. BETHE It’s your job, Teller! TELLER (CONT’D) I’m engaged in research- BETHE(CONT’D) On a Hydrogen bomb we’re not even building! Teller simply walks away. As he passes me- TELLER I won’t work for that man. BETHE Let him go. He’s a prima donna- SERBER I agree. He should leave Los Alamos. I sigh. RISE, clear and direct- OPPENHEIMER Kisty, you replace Neddermeyer. Seth, I’m putting you on plutonium. Lilli, go work for Kisty. (off her look) Because he needs you. (to Fuchs)(MORE) (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 104. 8FLiX.com FYC SCREENPLAY DATABASE 20230904 OPPENHEIMER (CONT ’D) (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 105. Fuchs, take Teller’s role- you’re exclusively on the implosion device. I head for the door- OPPENHEIMER (CONT’D) And nobody is leaving Los Alamos.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. T-SECTION, LOS ALAMOS -- DAY Teller is held at the gate. I approach. We face off in the 'street' like gunslingers. TELLER They won’t let me leave. OPPENHEIMER I won’t let you leave. Forget Hans, forget fission. Stay here and research what you want. Fusion. The Hydrogen bomb- whatever. We’ll meet to discuss- TELLER You don’t have time to meet. You’re a politician now, Robert. You left physics behind long ago. OPPENHEIMER Once a week. One hour, you and me. Teller considers this. Nods, turns to the GUARD- TELLER Now, raise that fucking barrier. ROBB (O.S.) So the Super was under development on your watch at Los Alamos...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROOM 2022, ATOMIC ENERGY COMMISSION -- DAY ROBB ...yet, after the war, you tried to deny it was viable. OPPENHEIMER No. I pointed out technical difficulties with it.OPPENHEIMER (CONT ’D) (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 105. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 106. ROBB Didn’t you try to kill it at the AEC meeting after the Russian bomb test? OPPENHEIMER No. ROBB But that was the recommendation the AEC offered, was it not? OPPENHEIMER After hours of discussion...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOTEL CONFERENCE ROOM -- NIGHT (COLOUR) Me, Bush, Nichols (CIVILIAN), Rabi, Fermi, Strauss and others. OPPENHEIMER (V.O.) ...about the best response. BUSH Truman has to do something... Rabi opens his compasses wider... RABI An H-bomb would be one thousand times the power of an A-bomb. He draws a circle around Moscow... RABI(CONT’D) The only intended target would be the largest cities. And a circle around St Petersburg... RABI(CONT’D) It’s a weapon of mass genocide. STRAUSS Why don’t you draw some of those circles on this side of the map? He points at the USA... STRAUSS (CONT’D) Start here... (gestures around them) New York. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 106. 8FLiX.com FYC SCREENPLAY DATABASE 20230904 (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 107. As I listen to them I hear the sound of FEET STAMPING... FERMI It’s a weapon of attack, with no defensive value. STRAUSS Deterrence. BUSH Do we need more deterrence than our current arsenal of atomic bombs? I tense up as the STAMPING SOUND gets LOUDER and LOUDER... RABI Drown in ten feet of water or ten thousand, what’s the difference? We can already drown Russia, and they know it. INSERT CUT: DOZENS OF FEET STAMPING, FASTER AND FASTER... STRAUSS Now they can drown us. INSERT CUT:... SO FAST THE FEET BREAK RHYTHM, CAUSING CACOPHONY... STRAUSS (CONT’D) Gentlemen, I have to ask whether your discussion should be more of a technical one. Robert? I JAM my eyes CLOSED, SHAKE OFF the image- the sound STOPS- OPPENHEIMER Teller’s designs are as impractical as they were during the war. LAWRENCE The Hydrogen bomb can be made to work, Oppie. You know that. OPPENHEIMER We can’t commit all our resources to that chance. STRAUSS Then how would you have Truman reassure the American people? (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 107. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 108. OPPENHEIMER By limiting the spread of atomic weapons through international control of nuclear energy. STRAUSS World government? OPPENHEIMER The United Nations. As Roosevelt intended. STRAUSS I asked what Truman should do. The world’s changed. Communism threatens our survival. OPPENHEIMER Lewis, if we build a Hydrogen bomb, the Soviets would have no choice but to build their own. STRAUSS Could they be working on it already? Based on information from a spy at Los Alamos? OPPENHEIMER There was no spy at Los Alamos!BUSH Gentlemen, let’s not get sidetracked. OPPENHEIMER (CONT’D) I say we use this moment to gain concessions from the Russians by committing that we will not build the Hydrogen bomb. STRAUSS Thereby revealing its existence. OPPENHEIMER Which you seem convinced they already know. BUSH At this point I’d like the Advisory Committee members to meet in privacy to finalize our recommendations. Strauss nods. Rises. Much of the room follows suit, leaving. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 108. 8FLiX.com FYC SCREENPLAY DATABASE 20230904 (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 109. STRAUSS I’m not sure you want to go down this road, Robert. OPPENHEIMER Lewis, we’re the Advisory Committee. We’ll give them our advice. Strauss shrugs. As he, Lawrence and Nichols leave together, Borden approaches. BORDEN Dr Oppenheimer? William Borden- Joint Committee on Atomic Energy. OPPENHEIMER Oh, yes. BORDEN During the war, I was a pilot. One night, flying back from a raid, I saw an amazing sight- like a meteor- INSERT CUT: BORDEN SPEEDS THROUGH THE NIGHT... BORDEN (V.O.) A V-2 rocket heading for England- INSERT CUT: A ROCKET STREAKS PAST, RIPPING APART THE DARK... BORDEN (V.O.) I can’t help but imagine what it will be for such an enemy rocket to carry an atomic warhead... INSERT CUT: A MISSILE RISES THROUGH THE CLOUDS... I hear the sound of FEET STAMPING... INSERT CUT: DOZENS OF FEET STAMPING FASTER AND FASTER... I peer into the future... INSERT CUT: HUNDREDS OF MISSILES RISE THROUGH THE CLOUDS... I look at the map... Rabi’s circles EXPAND like raindrops in a puddle... (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 109. (MORE) (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 110. OPPENHEIMER Then let’s make sure we’re not the ones to make that possible. But that’s not the answer Borden wanted. He leaves. Fermi and Bush remain. Rabi leans over to me. RABI Oppie, you don’t want to go up against Strauss. OPPENHEIMER If we both speak, they listen to me. RABI When you speak, they hear a prophet. When Strauss speaks, they hear themselves. OPPENHEIMER They’ll listen to a prophet. RABI A prophet can’t be wrong. Not once. SENATOR MCGEE (V.O.) Didn’t you accuse Oppenheimer of sabotaging the development of the Super? CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SENATE COMMITTEE HEARING ROOM -- DAY (B&W) Strauss shifts uneasily in his chair. STRAUSS I was never one of those who bandied around terms like 'sabotage'. SENATOR MCGEE But Mr Borden was? STRAUSS As I understand it. SENATOR MCGEE How was Mr Borden able to put together such a detailed indictment? (MORE) (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 110. 8FLiX.com FYC SCREENPLAY DATABASE 20230904 SENATOR MCGEE (CONT ’D) (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 111. He was no longer a government employee, and yet he appears to have had unlimited access to Dr Oppenheimer’s file. Might Mr Nichols have given him access to the file? Or someone else at the AEC? STRAUSS Feelings ran high on these issues, but that’s a very serious accusation, Senator. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LOS ALAMOS -- DAY (COLOUR) RAIN. I ride my horse through the outskirts. Spot a FLIER stapled to a telegraph pole, ink running: "" THE IMPACT OF THE GADGET ON CIVILIZATION - DISCUSSION, BLDG T31 SUNDAY, 11AM "".",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CYCLOTRON BUILDING, LOS ALAMOS -- DAY I enter to find forty scientists meeting. Hornig is speaking. HORNIG Germany’s about to surrender, the Japanese are losing. It’s no longer the enemy who are the greatest threat to mankind- it’s us. Our work. Heads turn as they notice me. OPPENHEIMER Hitler’s dead. But the Japanese fight on. The audience is now turned my way... HORNIG Their defeat seems assured. OPPENHEIMER Not if you’re a GI preparing to invade Japan. We can end this war. MORRISON How can we justify using this weapon on human beings?SENATOR MCGEE (CONT ’D) (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 111. Gadget 2023-04-21 FINAL Shooting Script 112. OPPENHEIMER We’re theorists- we can imagine a future, and our imaginings horrify us. But they won’t fear it until they understand it, and they won’t understand it until they’ve used it. When the world learns the terrible secret of Los Alamos, our work will ensure a peace mankind has never seen. A peace based on the kind of international cooperation that Roosevelt always envisaged. Some of the scientists nod. Scattered applause... INSERT CUT: THE GOLDFISH BOWL IS FULL OF MARBLES...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LOS ALAMOS -- DAY I walk down the main drag with Groves. OPPENHEIMER Progress. GROVES Two years and a billion dollars’ worth? OPPENHEIMER Hard to put a price on it. GROVES Not really. Just add up the bills. (points) 'Rural free delivery'... Eighty babies delivered the first year. This year they’ve had ten a month. OPPENHEIMER Birth control’s a little out of my jurisdiction, General. Groves watches Kitty approach- she’s HEAVILY PREGNANT. GROVES Clearly.Gadget 2023-04-21 FINAL Shooting Script 112. 8FLiX.com FYC SCREENPLAY DATABASE 20230904 (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 113.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CANYON, LOS ALAMOS -- DAY An IMPLOSION DEVICE ROCKS the canyon. Groves, Fuchs and I raise our heads- Kistiakowsky and Hornig rush to the device- KISTIAKOWSKY That’s the one! I put my PIPE on the wall as we CLIMB out of the bunker... GROVES Two viable bombs. I need a date. OPPENHEIMER September- GROVES July- Kistiakowsky waves a trail of ticker tape- KISTIAKOWSKY That’s the sweet spot, gentlemen! OPPENHEIMER August. GROVES July- OPPENHEIMER A test in July. Fuchs hands me my pipe. I dust it off... OPPENHEIMER (CONT’D) But I need my brother. (off his look) Frank knows the desert. He left politics behind- he’s been working for Lawrence for two years. INSERT CUT: FLYING OVER DESERT TO FIND FRANK STANDING BY A JEEP WITH AN ARMY OFFICER. GROVES What do we call the test? OPPENHEIMER (thinking) 'Batter my heart, three-person’d god.' (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 113. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 114. GROVES What? OPPENHEIMER Trinity. INSERT CUT: A STEEL TOWER IS RAISED IN THE DESERT...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROOM 2022, ATOMIC ENERGY COMMISSION -- DAY ROBB So you insisted on bringing on your brother, Frank, a known Communist- OPPENHEIMER Former Communist- ROBB You brought a known former Communist onto America’s most secret and important defence project? OPPENHEIMER I knew my brother could be trusted absolutely. ROBB And you feel your judgement was sound on who on the team could be trusted? KISTIAKOWSKY (O.S.) Fuchs! Head down!",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BERM -- DAY Behind a berm, Groves, Fuchs, Frank and I watch Kistiakowsky and Hornig arm a detonator. Fuchs shuffles lower. KISTIAKOWSKY Everybody ready...? Kistiakowsky triggers A VAST EXPLOSION, SPLINTERING THE TOWER, SENDING A MASSIVE PLUME OF FIRE INTO THE AIR... the SHOCKWAVE throws DEBRIS onto me and Groves... GROVES I hope you learned something. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 114. 8FLiX.com FYC SCREENPLAY DATABASE 20230904 (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 115. FRANK We learned we’re gonna need to be a lot further away... GROVES Well, figure it out. Fast. (to me) We leave for Washington tomorrow, and we’re going to give them a date.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOTEL LOBBY, WASHINGTON, DC -- DAY I walk across the lobby- someone GRABS my arm- Szilard, with the Scientist with Glasses in tow. I glance out the window, where Groves is getting into a car, waiting for me... OPPENHEIMER You’re a long way from Chicago, Leo. SZILARD If we don’t act now, they’re going to use this thing against Japan. We booked a meeting with Truman, but somebody killed it. You’re meeting the Secretary of War- OPPENHEIMER Just because we’re building it- doesn’t mean we get to decide how it’s used. SZILARD History will judge us, Robert. In Chicago we put together a petition- Glasses holds out a paper- I PUSH it back- Glasses FLINCHES- OPPENHEIMER I’m not getting into that. Tell me your concerns and I’ll relay them- SZILARD My concerns?! Germany’s defeated, Japan’s not going to hold out alone- OPPENHEIMER How would you know? You got us into this, you and Einstein, with your letter to Roosevelt saying we could build a bomb- (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 115. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 116. SZILARD Against Germany . OPPENHEIMER That’s not how weapons manufacture works, Szilard. SZILARD Oppie, you have to help. OPPENHEIMER Fermi’s in the meeting. And Lawrence-SZILARD (CONT’D) They’re not you. You’re the great salesman of science- you can convince anyone of anything. Even yourself.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SECRETARY OF WAR’S OFFICE -- DAY I sit on a couch next to Fermi- Lawrence, Groves and Bush in chairs. Secretary of War STIMSON presides. Military, scientists and officials are scattered through the room. STIMSON The firestorm in Tokyo killed one hundred thousand people. Mostly civilians. I worry about an America where we do these things and no one protests. MARSHALL Pearl Harbor and three years of brutal conflict in the Pacific buys a lot of latitude with the American public. STIMSON Enough to unleash the atomic bomb? FERMI In truth, the A-bomb might not cause as much damage as the Tokyo bombings. STIMSON What are we estimating? BUSH In a medium-sized city, twenty or thirty thousand dead. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 116. 8FLiX.com FYC SCREENPLAY DATABASE 20230904 (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 117. OPPENHEIMER Don’t underestimate the psychological impact of an atomic explosion... a pillar of fire ten thousand feet tall, deadly neutron effects for a mile in all directions... from one. Single. Device. Dropped from a barely noticed B-29... the atomic bomb will be a terrible revelation of divine power. Groves carefully monitors my effect on the room... MARSHALL If that’s true it would be definitive. World War II would be over. Our boys would come home. STIMSON This could end the war. OPPENHEIMER This could end all war. If we retain moral advantage. Groves registers the pivot... STIMSON How so? OPPENHEIMER If we use this weapon without informing our allies, they’ll see It as a threat and we’ll be in an arms race. MARSHALL How open can we be with the Soviets? BUSH Secrecy won’t stop the Soviets becoming part of the atomic world. A politician, BYRNES, clears his throat politely- BYRNES We’ve been told they have no uranium. BUSH You’ve been misinformed. A Russian bomb is a matter of time. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 117. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 118. LAWRENCE To stay ahead, our programme has to continue at full pace after the war. OPPENHEIMER Secretary Stimson, if I may. Not all the scientists on the project agree. In fact, this might be a moment to consider other opinions- GROVES The Manhattan Project’s been plagued from the start by certain scientists of doubtful discretion and uncertain loyalty. One of them just tried to get a meeting with the President. I say nothing. Groves looks directly at me. GROVES (CONT’D) We need them for now, but as soon as is practical, we should sever any such scientists from the programme. Wouldn’t you agree, doctor? I meet Groves’ gaze. Stay silent... Nod. MARSHALL If a Russian bomb is inevitable, perhaps we should invite their top scientists to Trinity. BYRNES President Truman has no intention of raising expectations that Stalin be included in the atomic project. STIMSON Informing him of our breakthrough, and presenting it as the means to win the war need not make unkeepable promises. But the Potsdam peace conference in July is the last chance for Truman to have that conversation. Can you give us a working bomb by then? GROVES Absolutely. We’ll test-fire before the conference. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 118. 8FLiX.com FYC SCREENPLAY DATABASE 20230904 (MORE) (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 119. STIMSON And Japan? OPPENHEIMER If the test works you’ll have two bombs for August. STIMSON Military targets? OPPENHEIMER There aren’t any big enough. CONANT Perhaps a vital war plant, with workers housed nearby. FERMI Could we issue a warning? To reduce civilian casualties. AIR FORCE OFFICER They’d send up everything they have against us, and I’d be in that plane. BUSH If we announce it and it fails to go off we’d scupper any chance of Japanese surrender. LAWRENCE Is there no way to demonstrate the bomb to Japan to provoke surrender? GROVES We intend to demonstrate it in the most unambiguous terms. Twice. Once to show the weapon’s power. A second to show that we can keep going until they surrender. STIMSON We have a list of twelve cities to choose from. Sorry, eleven, I’ve taken Kyoto off the list because of its cultural significance to the Japanese people. Stimson senses the unease in the room... STIMSON (CONT’D) Let me make this simple for you, gentlemen. (MORE) (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 119. STIMSON (CONT ’D) (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 120. The Japanese will not surrender short of a successful invasion of the home islands. Many lives, American and Japanese, will be lost in that invasion. The use of the atomic bomb against Japanese cities will save lives.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BASE OF STEEL TOWER, TRINITY TEST SITE -- DAY Frank shows Groves and me the site plan... FRANK Ground Zero. Observation posts at ten thousand yards north, south and west. OPPENHEIMER Where do we trigger from? FRANK South ten thousand. Base camp is ten miles south, here. And a further observation point on this hill twenty miles away. I point to a crew digging a trench from the base of the tower. OPPENHEIMER What’s that? The trigger lines went in already. FRANK The air force requested a line of lights for their B-29. GROVES What B-29? Our bomb’s on the tower. FRANK They want to use the test to confirm the safe operating distance. OPPENHEIMER Risky. FRANK Not as risky as dropping one over Japan and hoping we were right about the blast radius.STIMSON (CONT ’D) (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 120. 8FLiX.com FYC SCREENPLAY DATABASE 20230904 (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 121. OPPENHEIMER Don’t let them slow us down- we’re firing on the 15th. FRANK The 15th?! That’s not- GROVES The 15th! Frank sees my expression- FRANK(CONT’D) The 15th.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LECTURE HALL, T-SECTION, LOS ALAMOS -- DAY I show the plan to the division heads. OPPENHEIMER I’ll be at the south observation point with Frank and Kistiakowsky. You’ll all be assigned to base camp, far observation, or west observation. INSERT CUT: I ENTER A TENT AT THE BASE OF THE TOWER- THE SILVER SPHERE OF THE BOMB IS SURROUNDED BY THE TEAM... BETHE Are those safe distances? OPPENHEIMER They’re based on your calculations. RABI Time to stand behind your science, Hans. Literally. INSERT CUT: THE BOMB IS HOISTED UP IN TO THE TOWER... TELLER What about the radiation cloud? OPPENHEIMER Without high winds it should settle within two to three miles. Evacuation measures will be in place, but we need good weather for visibility so it should be fine. We go on the night of the 15th. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 121. Gadget 2023-04-21 FINAL Shooting Script 122. The team exchange looks- OPPENHEIMER (CONT’D) That’s a hard deadline, so if anyone has anything... speak now. BETHE We need a final implosion test. KISTIAKOWSKY Couldn’t hurt. OPPENHEIMER Do it. Is there anything else that might stop us? A THUNDERCLAP takes us into-",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. OPPENHEIMER HOUSE, LOS ALAMOS -- DAY White sheets FLAP CRAZILY in the wind... through the window we see Kitty put her drink down reluctantly. She comes out to grab a sheet that has come loose from the line... notices a JEEP idling at the gate, ARMED GUARDS patiently waiting. I emerge from the house carrying an overnight bag. Kitty, one hand on the washing line, turns to look at me, curious. KITTY It’s happening, isn’t it? I watch the sheets flapping. Glance at the guards... OPPENHEIMER I’ll send a message. If it’s gone our way... 'Take in the sheets.' She nods. I head towards the waiting jeep. KITTY Robert? I turn, looking at Kitty amongst the FLAPPING SHEETS... KITTY(CONT’D) Break a leg.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CANYON, LOS ALAMOS -- DAY A BANG as the final implosion test goes off... Kistiakowsky and Fuchs raise their heads... Kistiakowsky shows Fuchs the tape, grave.Gadget 2023-04-21 FINAL Shooting Script 122. 8FLiX.com FYC SCREENPLAY DATABASE 20230904 (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 123.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. STEEL TOWER, TRINITY TEST SITE -- EVENING I watch the last TECHNICIAN come down. I nod at the man, then start my lonely climb... I stare at the silver sphere of the first atomic bomb, its surface STUDDED with detonators, WIRES DRAPED across it like spaghetti. Thunder RUMBLES. I watch the approaching storm...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BASE CAMP, TRINITY TEST SITE -- EVENING Army tents. A WINDMILL SPINS FURIOUSLY...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BASE CAMP, TRINITY TEST SITE -- EVENING Fermi moves through the team, taking bets... FERMI Oppie’s taken a very modest three kilotons... Teller’s in for forty- five... Rabi pulls out some bills- RABI Twenty. FERMI Twenty thousand tons of TNT... and does anyone want the side action on total atmospheric ignition? The scientists groan and laugh. Soldiers look at each other: 'What the hell?' Groves corners the army WEATHERMAN. GROVES Are you saying we’ll have to delay? WEATHERMAN I’m saying it would be prudent. OPPENHEIMER Has this weather reached the site? The weatherman gets on his radio. Kistiakowsky BURSTS in- KISTIAKOWSKY Oppie- The phone rings - (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 123. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 124. KISTIAKOWSKY (CONT’D) Bethe’s calling you to tell you the implosion test failed, but- I have the phone to my ear - OPPENHEIMER Hans. Yes, he’s here. Yes. (I hang up) Is he wrong? KISTIAKOWSKY No. OPPENHEIMER So we’re about to fire a dud? KISTIAKOWSKY No. GROVES Explain. KISTIAKOWSKY I can’t. I just know the implosion lenses will work. OPPENHEIMER If we fire those detonators and they don’t trigger the reaction, two years’ worth of plutonium will be scattered across white sands. KISTIAKOWSKY (holds out his hand) A month of my salary against ten bucks says it lights. I study Kistiakowsky. Take the bet. WEATHERMAN The wind’s picking up at Zero, not the rain. Lightning circling. THUNDER. Rabi calls over- RABI Hey, weatherman, you think it might be time to get your men away from the steel tower with the atomic bomb primed to detonate via electrical charge? The weatherman laughs. Then GRABS the radio - (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 124. 8FLiX.com FYC SCREENPLAY DATABASE 20230904 (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 125. WEATHERMAN Pull ’em out. OPPENHEIMER (to Groves) Let’s get to south observation. Make our determination there.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. STEEL TOWER, TRINITY TEST SITE -- NIGHT The last trucks drive away, lightning on the horizon. The bomb sits there, impervious to peals of DRY THUNDER...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SOUTH OBSERVATION POST, TRINITY TEST SITE -- NIGHT Groves, the weatherman and I watch rain LASH the desert... OPPENHEIMER The team hasn’t slept for two nights. We stand down, make the bomb safe, it’s weeks before we get back here. GROVES Then we miss Potsdam. (checks watch) I need to get word to Truman by seven. (to the weatherman) Our window’s closing. What’s it doing? WEATHERMAN Raining. Blowing. Lightning. GROVES For how long, dammit?! WEATHERMAN It’s holding strong. OPPENHEIMER It’ll break before dawn. GROVES How could you know that? OPPENHEIMER I know this desert. The air cools overnight. Just before dawn, the storm breaks. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 125. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 126. WEATHERMAN He could be right. But schedule it as late as possible. OPPENHEIMER Five thirty? Groves considers this. Turns to the weatherman. GROVES Sign your forecast. If you’re wrong, I’ll hang you.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BUNKER, SOUTH OBSERVATION POST -- NIGHT Groves and me, alone. Rain pelting down outside. GROVES Three years. Four thousand people. Two billion dollars. If it doesn’t go off we’re both finished. OPPENHEIMER I put my money on three kilotons. Any less, they won’t get what it is. GROVES What did Fermi mean by 'atmospheric ignition'? OPPENHEIMER We had a moment where it looked like the chain reaction from an atomic device might never stop. Setting fire to the atmosphere. GROVES Why’s Fermi still taking side bets on it? OPPENHEIMER Call it gallows humour. Groves takes this in. Picks the scab- GROVES Are we saying there’s a chance that when we push that button... we destroy the world? (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 126. 8FLiX.com FYC SCREENPLAY DATABASE 20230904 Gadget 2023-04-21 FINAL Shooting Script 127. OPPENHEIMER Nothing in our research over the last three years supports that conclusion except as the most remote possibility. GROVES How remote? OPPENHEIMER The chances are near zero. GROVES Near zero? OPPENHEIMER (smiling) What do you want from theory alone? GROVES Zero would be nice. I check my watch. OPPENHEIMER Well, in an hour and fifty-eight minutes, we’ll know. I listen- OPPENHEIMER (CONT’D) It’s letting up...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. TRINITY TEST SITE -- NIGHT Searchlights settle on the gleaming steel tower. A line of lights leading from the blackness of the night-time desert to the tower comes on...,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SOUTH OBSERVATION POST, TRINITY TEST SITE -- CONTINUOUS Groves and I come out into gentle rain. The wind has fallen off. Frank comes up to meet us. FRANK The arming party’s left Zero, heading this way, throwing the switches... (to the soldiers) Turn the cars, ready for emergency evacuation...Gadget 2023-04-21 FINAL Shooting Script 127. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 128.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SOUTH 1500 POST -- NIGHT Kistiakowsky and military personal, including BAINBRIDGE, get out of a truck. Kistiakowsky THROWS a SWITCH on the ground...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BASE CAMP, TRINITY TEST SITE -- CONTINUOUS Rabi, Fermi and Bethe come outside. A SOLDIER hands them WELDER’S GLASS...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SOUTH OBSERVATION POST, TRINITY TEST SITE -- NIGHT Kistiakowsky and Bainbridge get out of the truck and enter the bunker.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SOUTH OBSERVATION POST, TRINITY TEST SITE -- CONTINUOUS Bainbridge pulls out a key. UNLOCKS the arming switches. Kistiakowsky nods, Bainbridge THROWS THE SWITCHES. BAINBRIDGE Twenty minutes.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. TRINITY TEST SITE -- CONTINUOUS A SIGNAL ROCKET flares up into the air...,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BASE CAMP, TRINITY TEST SITE -- CONTINUOUS Rabi, Fermi and the others watch the rocket go up- FERMI Twenty minutes!",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HILLTOP DISTANT OBSERVATION POINT -- CONTINUOUS A group of scientists, including Teller, Feynman and Lawrence, watch the distant rocket sputter... FEYNMAN That’s twenty! DARK GLASSES are handed out. Feynman refuses, jumping up into the cab of a truck- SOLDIER Hey, Feynman- (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 128. 8FLiX.com FYC SCREENPLAY DATABASE 20230904 (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 129. Feynman TAPS the windshield- FEYNMAN The glass stops the UV. Teller, in dark glasses, is APPLYING SUNSCREEN at night- TELLER But what stops the glass? Feynman looks at Teller. Looks at the glass, shakes his head, grinning...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SOUTH OBSERVATION POST, TRINITY TEST SITE -- CONTINUOUS Groves moves to me- GROVES I’m heading to base camp. Best of luck. Groves shakes my hand. GROVES (CONT'D) (CONT’D) Try not to blow up the world.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SAME -- MOMENTS LATER I watch Bainbridge take his place at the KILL SWITCH. OPPENHEIMER Watch that needle. If the detonators don’t charge, or if the voltage dips below one volt, you abort. Bainbridge nods, watching the meter of the X-unit like a hawk. A nervous hawk.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BASE CAMP, TRINITY TEST SITE -- CONTINUOUS A loudspeaker broadcasts the countdown- LOUDSPEAKER Two minutes to detonation... The two-minute rocket goes up- ARMY CAPTAIN Everybody down! (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 129. Gadget 2023-04-21 FINAL Shooting Script 130. The observers lie on the ground, facing away from the site. ARMY CAPTAIN (CONT’D) Do not turn around until you see light reflected on the hills. Then look at the explosion only through the welder’s glass... LOUDSPEAKER Ninety seconds...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DISTANT OBSERVATION POINT -- CONTINUOUS Feynman TUNES the radio into the countdown relay- RADIO Sixty seconds... Lawrence jumps in next to Feynman. The scientists peer into the distance through the windshield... Teller, pale with sunscreen, adjusts his dark glasses...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SOUTH OBSERVATION POST, TRINITY TEST SITE -- CONTINUOUS Bainbridge PEERS at the X-unit... Frank and I peer at the tower... The electronic counter STARTS: 45, 44, 43, 42... OPPENHEIMER These things are hard on your heart. LOUDSPEAKER Thirty seconds... FOUR RED LIGHTS flicker on-",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. STEEL TOWER, TRINITY TEST SITE -- CONTINUOUS The bomb WAKES, detonators on its surface HUMMING...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SOUTH OBSERVATION POST, TRINITY TEST SITE -- CONTINUOUS The NEEDLE on the X-unit SHOOTS to the right- BAINBRIDGE Detonators charged! I pull on a pair of WELDER’S GOGGLES...Gadget 2023-04-21 FINAL Shooting Script 130. 8FLiX.com FYC SCREENPLAY DATABASE 20230904 (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 131.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BASE CAMP, TRINITY TEST SITE -- CONTINUOUS Rabi lifts his head to peek around, welder’s glass over his eyes... Groves shakes hands with Bush... LOUDSPEAKER ...eighteen, seventeen...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DISTANT OBSERVATION POINT -- CONTINUOUS Feynman peers through the windshield. Teller studies the horizon... RADIO ...twelve, eleven...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SOUTH OBSERVATION POST, TRINITY TEST SITE -- CONTINUOUS A GONG sounds at T-minus 10- Bainbridge peers at the needle, which BOBBLES- his hand FLINCHES- the needle settles... LOUDSPEAKER Ten, nine, eight... Frank and I peer through the holes in the concrete. LOUDSPEAKER (CONT’D) ...seven, six, five... Kistiakowsky SCRAMBLES out of the bunker-",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SOUTH OBSERVATION POST, TRINITY TEST SITE -- CONTINUOUS -and up onto the embankment, eyes locked on the tiny glow of the distant tower... LOUDSPEAKER ...four, three...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SOUTH OBSERVATION POST, TRINITY TEST SITE -- CONTINUOUS I stare straight ahead... LOUDSPEAKER ...two, one... Bainbridge watches the needle as the counter goes down to- ... zero. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 131. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 132. My breath stops- an agonizing instant before- SILENT LIGHT. FULL BRIGHT NOON SUNNY DAYLIGHT.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BASE CAMP, TRINITY TEST SITE -- CONTINUOUS Rabi sees SUDDEN DAYTIME- turns to the LIGHT, peers through the welder’s glass at BLINDING SILENT WHITE ...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. DISTANT OBSERVATION POINT -- CONTINUOUS Lawrence is stepping out of the car as Feynman SHUTS his eyes against INSTANT DAYLIGHT ... a HUSHED INTAKE OF BREATH from the crowd of sunglasses-clad distant observers...,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SOUTH OBSERVATION POST, TRINITY TEST SITE -- CONTINUOUS All we can hear is my TREMULOUS BREATHING as the LIGHT becomes less BLINDING, resolving into a FIREBALL, BRIGHT AS THE SUN, BUT GIANT ... I YANK off my goggles... watch the ROILING PLASMA become more visible in its HELLISH CONTORTIONS... CLIMBING into the sky like the DEVIL’S CLAW... My PUPILS are PINPRICKS- OPPENHEIMER (V.O.) Now I am become Death, destroyer of worlds... And then- CRACK!! ... !!!... !!!!... !!!!!... I am hit by the WIND and DUST of the SHOCKWAVE - THE THUNDER OF A THOUSAND STORMS ROLLS OVER, DEAFENING -",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SOUTH OBSERVATION POST, TRINITY TEST SITE -- CONTINUOUS Kistiakowsky is BLOWN OFF HIS FEET...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SOUTH OBSERVATION POST, TRINITY TEST SITE -- CONTINUOUS With the wave of DARK THUNDER , TERRIBLE BEAUTY GIVES WAY TO FEAR... I TREMBLE as I watch the glowing cloud climb to its full height, its inner fire dimming to a HELLISH SCARLET... DUST CLOUD RISING, CRACKLING WITH PURPLISH ENERGY... As the sound diminishes to a RUMBLE and night REGAINS the desert floor, Frank turns to me- (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 132. 8FLiX.com FYC SCREENPLAY DATABASE 20230904 (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 133. FRANK (quiet) It worked. I nod, awestruck...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BASE CAMP, TRINITY TEST SITE -- CONTINUOUS Startled murmurs, then a few claps... then CRAZY, CHEERING, CLAPPING, DANCING... in the middle of it all Rabi tries to understand what just happened...",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. SAME -- CONTINUOUS ECSTATIC CHEERING... even Teller SMILES... Feynman pulls out some BONGOS and hops onto the hood of the truck... people DANCE to his PAGAN RHYTHM as the dawn CREEPS IN...,SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SOUTH OBSERVATION POST, TRINITY TEST SITE -- CONTINUOUS Kistiakowsky GRABS me in a big HUG- steps back- holding out his hand for payment. I pull out my wallet, frown- there’s nothing in it- OPPENHEIMER I’m good for it. Kistiakowsky GRINS- KISTIAKOWSKY Yes, you are! Yes, you are!",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BASE CAMP, TRINITY TEST SITE -- MOMENTS LATER Rabi, still amidst the celebration, watches a car pull up. I get out, walking like GARY FUCKING COOPER- the crowd spots me... goes NUTS. Groves turns to an AIDE - GROVES Get me Potsdam. Right away. I nod at Groves, move through the sea of congratulations to find Serber... OPPENHEIMER Get a message to Kitty... (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 133. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 134. Serber’s face falls, perturbed- SERBER We can’t say anything- OPPENHEIMER Just tell her to bring in the sheets. Serber grins. I spot Groves on a FIELD TELEPHONE- then am HOISTED ONTO JOYFUL SHOULDERS...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. OPPENHEIMER HOUSE, LOS ALAMOS -- DAY Kitty wrangles the kitchen phone while she feeds our baby daughter and young son- KITTY Sorry. Yes, Charlotte, go ahead. CHARLOTTE (over phone) Well, I don’t know, he just said to tell you to bring in the sheets. Kitty freezes, letting the phone come off her ear... CHARLOTTE (CONT’D) (over phone) Kitty? Kitty? Kitty smiles, tears forming. It is done. FADE OUT. FADE IN:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. T-SECTION, LOS ALAMOS -- DAY I watch CRATES hoisted on trucks by the army... OPPENHEIMER (V.O.) They musn’t drop it through cloud cover-",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. T-SECTION, LOS ALAMOS -- DAY I am talking to the AIR FORCE OFFICER who is supervising the crating of equipment- (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 134. 8FLiX.com FYC SCREENPLAY DATABASE 20230904 (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 135. OPPENHEIMER If they detonate it too high in the air, the blast won’t be as powerful- AIR FORCE OFFICER With respect, Dr Oppenheimer. We’ll take it from here. I lose sight of the bomb as THE CRATE IS CLOSED.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. T-SECTION, LOS ALAMOS -- DAY Groves appears at my side, watching the loading... OPPENHEIMER Did Truman brief Stalin at Potsdam? GROVES 'Brief' would be an overstatement. He referred to a powerful new weapon, Stalin said he hoped we’d make good use of it against Japan. OPPENHEIMER That’s it? GROVES Robert, we’ve given them an ace. It’s for them to play the hand. Frustrated, I drop my cigarette and GRIND it out- OPPENHEIMER You’re aiming for the 6th? GROVES That’s up to the CO in the Pacific. OPPENHEIMER Should I come with you to Washington? GROVES What for? OPPENHEIMER Well... you’ll keep me informed? Groves turns to leave - (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 135. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 136. GROVES Of course. (looks back) As best I can. I watch Groves leave, uneasy. A truck pulls out, REVEALING TELLER. He crosses, watching the loaded truck move away... TELLER Would the Japanese surrender if they knew what was coming? OPPENHEIMER I don’t know. TELLER Have you seen Szilard’s petition? OPPENHEIMER Yeah. What the hell does Szilard know about the Japanese? I look at Teller. OPPENHEIMER (CONT’D) You’re not signing it? TELLER A lot of people have. OPPENHEIMER Edward, the fact that we built this bomb doesn’t give us any more right or responsibility to decide how it’s used than anyone else. TELLER But we’re the only people who know about it. OPPENHEIMER I’ve told Stimson the various opinions of the community. TELLER But what’s your opinion? I watch another truck pull out... OPPENHEIMER Once it’s used, nuclear war, maybe all war, becomes unthinkable. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 136. 8FLiX.com FYC SCREENPLAY DATABASE 20230904 Gadget 2023-04-21 FINAL Shooting Script 137. TELLER Until somebody builds a bigger bomb.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. OPPENHEIMER HOUSE, LOS ALAMOS -- NIGHT Kitty comes downstairs to find me sitting at the kitchen table. The phone in front of me. OPPENHEIMER I thought they would call. KITTY It’s only the 5th. OPPENHEIMER In Japan it’s the 6th.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. OPPENHEIMER’S OFFICE, LOS ALAMOS -- DAY I pace my office, agitated. OPPENHEIMER Charlotte? Try Groves again. CHARLOTTE (O.S.) Truman’s on the Radio- ! I BOLT into-",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FOYER, OPPENHEIMER’S OFFICE -- CONTINUOUS Charlotte is patching the PA to the radio- TRUMAN (over radio) ...Sixteen hours ago an American airplane dropped one bomb on Hiroshima and destroyed its usefulness to the enemy...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. OFFICE, T-SECTION, LOS ALAMOS -- DAY Frank is doing paperwork when the PA WHISTLES- TRUMAN (over PA) That bomb had more power than twenty thousand tons of TNT...Gadget 2023-04-21 FINAL Shooting Script 137. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 138.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CORRIDOR, T-SECTION, LOS ALAMOS -- CONTINUOUS As Frank emerges, others DRIFT into the corridor, shocked... TRUMAN (over PA) It is an atomic bomb. It is a harnessing of the basic power of the universe... He hears BANGING and CHEERING- through the window SOLDIERS BEAT on trash-can lids. Frank and the scientists try uncertain smiles and handshakes...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. OPPENHEIMER’S OFFICE, LOS ALAMOS -- DAY I listen to the radio- TRUMAN (over radio) The force from which the sun draws its power has been loosed against those who brought war to the Far East... CHARLOTTE (O.S.) Groves on one! I white-knuckle the phone... GROVES (over phone) I’m very proud of you and all of your people. OPPENHEIMER It went alright? GROVES (over phone) Apparently it went with a tremendous bang. OPPENHEIMER Everybody here is feeling Reasonably good about it. It’s been a long road. GROVES (over phone) I think one of the wisest things I ever did was when I selected the director of Los Alamos. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 138. 8FLiX.com FYC SCREENPLAY DATABASE 20230904 (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 139. I gently put down the phone... TRUMAN (over radio) We have spent two billion dollars...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LOS ALAMOS -- CONTINUOUS I walk in a relieved daze... TRUMAN (CONT'D) (over radio) ...on the greatest scientific gamble in history and won. Horns HONK, soldiers CHEER... people WAVE... I nod back...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FULLER LODGE, LOS ALAMOS -- NIGHT A restless, excitable CROWD is packed into the bleachers, like a HIGH-SCHOOL PEP RALLY...",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LOBBY, FULLER LODGE, LOS ALAMOS -- CONTINUOUS Kitty reaches forward and adjusts my tie. We hear the sound of DOZENS OF FEET STAMPING RHYTHMICALLY...",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FULLER LODGE, LOS ALAMOS -- CONTINUOUS The impatient crowd is STAMPING IN UNISON...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LOBBY, FULLER LODGE, LOS ALAMOS -- CONTINUOUS Kitty nods at me, I take a breath and PUSH through the door-",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FULLER LODGE, LOS ALAMOS -- CONTINUOUS As I walk past the rear bleachers I get a close view of DOZENS OF FEET STAMPING IN UNISON... the STAMPING FEET GET FASTER as I approach the stage... The STAMPING GROWS OPPRESSIVE- FASTER and FASTER until RHYTHM BREAKS, causing CACOPHONY which PEAKS as I step up... I raise my hands in a theatrically victorious gesture- the crowd CHEERS... (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 139. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 140. OPPENHEIMER The world will remember this day. LOUDER CHEERING... OPPENHEIMER (CONT’D) It’s too early to determine what the results of the bombing are... Though the crowd is still CHEERING, their sound DIMINISHES... OPPENHEIMER (CONT’D) But I’m sure the Japanese didn’t like it- CHEERS. CHEERS. CHEERS. BUT NO SOUND. As I look out at the EXCITED FACES I can hear my own BREATHING... I carry on- OPPENHEIMER (CONT’D) I’m proud of what you accomplished... The crowd seems to go NUTS, but all we hear is the QUIET CREAKING OF SEATS and SHUFFLE OF FEET as they REACT, HANDS SILENTLY CLAPPING, MOUTHS SILENTLY JAWING... I try again- OPPENHEIMER (CONT’D) I just wish we’d had it in time to use against the Germans... The CHEERING AND CLAPPING PEOPLE GET TO THEIR FEET in MORTIFYING SILENCE... I stare at them, straining to hear something, then- PIERCING SCREAMS not cheers, as INSTANT DAYLIGHT POURS IN THE WINDOWS- BRIGHTER AND BRIGHTER - My eyes are pinpricks as I see CHEERING/SCREAMING MOUTHS STRETCHED GROTESQUELY WIDE- CRACK!! ... !!!... !!!! ... THE THUNDER OF A THOUSAND STORMS ROLLS OVER, DEAFENING - I see FLESH RIPPED FROM THE SMILING YOUNG FACES... I see PLASMA ROILING and the DEVIL’S CLAW reach into the night sky... I see piles of ASHES where the young crowd was cheering...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SAME -- LATER I DRIFT through a SILENT, KINETIC WHIRLWIND OF CELEBRATION CLAPPED on the back, KISSED... NODDING and HOLLOW SMILES... (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 140. 8FLiX.com FYC SCREENPLAY DATABASE 20230904 (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 141. I see a YOUNG WOMAN LAUGHING... I STEP on something, look down to see my foot inside a CHARRED CORPSE... I look up, SHAKING OFF THE IMAGE... I see young people MAKING OUT under the bleachers, a hand up a sweater... I see the young woman again but NOW SHE JUST CRIES AND CRIES AND CRIES...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LOBBY, FULLER LODGE, LOS ALAMOS -- CONTINUOUS DRIFTING through... I see a young man sitting, back to the wall, WEEPING, a woman trying to console him...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FULLER LODGE, LOS ALAMOS -- CONTINUOUS As I exit, REVELERS RUN PAST, JOYFUL... turning, I see a young physicist at the wall, bent double... As I pass, he looks up, DISTRAUGHT, VOMIT AROUND HIS MOUTH. FADE OUT.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LOBBY, OVAL OFFICE, THE WHITE HOUSE -- DAY Relief. Gentle formality. I look at the coffee table: Time magazine- me on the cover: "" FATHER OF THE ATOMIC BOMB "". FEMALE VOICE (O.S.) Dr Oppenheimer? An AIDE on softly clicking heels, points at the magazine. AIDE Nice picture. I look up at her. Blank. AIDE(CONT’D) President Truman will see you now.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. OVAL OFFICE -- CONTINUOUS Truman comes from behind his desk to shake my hand- TRUMAN Dr Oppenheimer, it’s an honour. OPPENHEIMER Mr President. Secretary Byrnes. Byrnes nods, sits. I take a seat. Truman leans on the desk. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 141. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 142. TRUMAN How’s it feel to be the most famous man in the world? I can’t think of an answer. TRUMAN (CONT’D) You helped save a lot of American lives. What we did at Hiroshima was-OPPENHEIMER And Nagasaki. TRUMAN (CONT’D) What? OPPENHEIMER Hiroshima and Nagasaki. TRUMAN Obviously. Your invention let us bring our boys home. Your country owes you a great debt. OPPENHEIMER It was hardly my invention. TRUMAN It’s you on the cover of Time. (indicates Byrnes) Jim here tells me you’re concerned about an arms race with the Soviets. OPPENHEIMER Well, it’s that... now is our chance to secure international cooperation on atomic energy, and I’m concerned- TRUMAN You know when the Soviets are gonna have a bomb? OPPENHEIMER I’m not sure I could give a- TRUMAN (CONT’D) Never. I look at the President, incredulous... OPPENHEIMER (CONT’D) Mr President, the Russians have good physicists and abundant resources- (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 142. 8FLiX.com FYC SCREENPLAY DATABASE 20230904 Gadget 2023-04-21 FINAL Shooting Script 143. TRUMAN Abundant? I don’t think so. OPPENHEIMER They’ll put everything they have... I taper off. TRUMAN I hear you’re leaving Los Alamos. What should we do with it? OPPENHEIMER Give it back to the Indians. Truman laughs. But I’m not joking. Truman looks to Byrnes for help. BYRNES Dr Oppenheimer, if what you say about the Soviets is true, we have to build up Los Alamos, not shut it down. I WRING my hands, deeply uncomfortable... OPPENHEIMER Mr President, I feel that I have blood on my hands. Truman looks at me differently. Pulls the crisp white handkerchief from his breast pocket and offers it- TRUMAN You think anyone in Hiroshima or Nagasaki gives a shit who built the bomb? They care who dropped it. I did. Hiroshima isn’t about you. Truman gestures to Byrnes, they both RISE. I get to my feet. Awkward. As I leave I hear - TRUMAN (CONT’D) Don’t let that crybaby back in here. The door of the Oval Office CLOSES on me... STRAUSS (V.O.) Robert saw that hand-wringing got him nowhere...Gadget 2023-04-21 FINAL Shooting Script 143. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 144.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LOBBY, OVAL OFFICE, THE WHITE HOUSE -- CONTINUOUS Walking past I notice my face staring back at me from the cover of the magazine on the table... STRAUSS (V.O.) By the time I met him, he’d fully embraced his 'father of the bomb' reputation... CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SENATE OFFICE -- DAY (B&W) Strauss sits talking with the Senate Aide. STRAUSS He used his profile to influence policy... INSERT CUT: LIFE MAGAZINE- ""OPPENHEIMER, NO. 1 THINKER ON ATOMIC ENERGY ""... OPPENHEIMER RUNS A GAUNTLET OF FLASHBULBS... OPPENHEIMER AND KITTY ARE PHOTOGRAPHED AT OLDEN MANOR... STRAUSS (CONT’D) But all along- with McCarthy on the rise- he knew he was vulnerable. His brother was blacklisted by every university in the country... INSERT CUT: FRANK WORKS A RANCH IN COLORADO... STRAUSS (CONT’D) Lomanitz wound up working the railroad, laying track... INSERT CUT: LOMANITZ SWINGS A HAMMER... STRAUSS (CONT’D) Chevalier went into exile... (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 144. 8FLiX.com FYC SCREENPLAY DATABASE 20230904 (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 145. INSERT CUT: CHEVALIER CARRIES SHOPPING, STEPPING AROUND CHICKENS IN A RURAL FRENCH ALLEY... STRAUSS (CONT’D) But none of that stopped Robert from om pushing the GAC to recommend arms control instead of the H-bomb. INSERT CUT: STRAUSS MOVES THE FLOWERS ON THE TABLE IN THE HOTEL CONFERENCE ROOM, WATCHING OPPENHEIMER... STRAUSS (CONT’D) He was devastated when that didn’t go his way... INSERT CUT: HEADLINE: "" TRUMAN ANNOUNCES H-BOMB PROGRAM ""... CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BALLROOM, PLAZA HOTEL -- NIGHT (COLOUR) Drink in hand, I watch the room sing 'Happy Birthday' to Strauss. Ruth Tolman is next to me, staring at the NEWSPAPER. RUTH I miss Richard more than I can bear... I turn to Ruth, sympathetic. RUTH(CONT’D) But part of me’s glad he didn’t live to see where this is all going. I nod, understanding. She downs her drink and leaves. STRAUSS (O.S.) Robert, my son and his fiancée are desperate to meet the father of the atomic bomb... Strauss is there with his adult children- I glance at them, raise a glass, then turn away. Strauss stands there, humiliated. The couple awkwardly moves off. STRAUSS (CONT’D) Is this a bad time? (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 145. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 146. OPPENHEIMER What do you think, Lewis? STRAUSS I think it must have been a blow for you- OPPENHEIMER For the world. STRAUSS The world? What does Fuchs mean to rest of the world? OPPENHEIMER Fuchs? Klaus Fuchs? Strauss looks at me with concern... STRAUSS You haven’t heard. Klaus Fuchs, the British scientist you put onto the implosion team at Los Alamos? INSERT CUT: FUCHS HANDS OPPENHEIMER HIS PIPE... STRAUSS (CONT’D) Turns out he was spying for the Soviets. The whole time. I’m sorry, Robert, you must feel awful. (gestures to bar) Have another. On me. Strauss moves off. I stand there. Frozen. STRAUSS (V.O.) After the truth about Fuchs came out, they stepped up surveillance on Robert. He knew his phone was tapped- CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SENATE OFFICE -- DAY (B&W) STRAUSS He was followed everywhere... (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 146. 8FLiX.com FYC SCREENPLAY DATABASE 20230904 Gadget 2023-04-21 FINAL Shooting Script 147. INSERT CUT: OPPENHEIMER, DRIVING, CHECKS HIS REAR-VIEW MIRROR, SPOTS A SEDAN FOLLOWING HIM... STRAUSS (CONT’D) His trash picked through... INSERT CUT: KITTY, FROM THE KITCHEN WINDOW, SPOTS A SUITED MAN PICKING THROUGH THEIR TRASH... STRAUSS (CONT’D) But it never stopped him speaking his mind. SENATE AIDE A man of conviction? STRAUSS Sure. Or maybe he thought fame could actually protect him. When Eisenhower took over, Robert saw one more chance. He took it...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CORPORATE AUDITORIUM -- NIGHT (B&W) Oppenheimer is lecturing... Strauss is in the crowd... OPPENHEIMER America and Russia may be likened to two scorpions in a bottle, each capable of killing the other, but only at the risk of his own life. There are various aspects of this policy which I would like to discuss but can’t. Follies that can occur only when even the men who know the facts can find no one to talk about them, when the facts are too secret for discussion, and thus for thought. Candor is the only remedy. Officials in Washington have to start levelling with the American people, and telling them what the enemy already know about the atomic armaments race. Strauss notices two generals exchanging unfavorable looks. STRAUSS (V.O.) A lot of scientists blame me, but how was I supposed to protect him?Gadget 2023-04-21 FINAL Shooting Script 147. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 148.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SENATE OFFICE -- DAY (B&W) STRAUSS That was the last straw for Robert’s enemies. SENATE AIDE So he had to lose his security clearance. STRAUSS And with it, his credibility. SENATE AIDE But how could they do it? He was a war hero- and he’d already told everyone about his past... STRAUSS Borden dredged it all up again. SENATE AIDE But how could Borden get access to Oppenheimer’s FBI file? Could it have been Nichols? STRAUSS I can’t imagine he’d do that. But whoever did unleashed a firestorm that burned a path from the White House right to my desk at the AEC. You see them in there trying to hang Oppenheimer around my neck. I’ve worked my whole life to get here- the Cabinet of the United States of America- and now, in front of the entire country, they want to put me back in my place... a lowly shoe salesman. COUNSEL Lewis, we can win this thing. SENATE AIDE I think we can make the Senate grasp that you did your duty, painful though it was. Will Hill’s testimony back that up? COUNSEL Hill should be fine. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 148. 8FLiX.com FYC SCREENPLAY DATABASE 20230904 Gadget 2023-04-21 FINAL Shooting Script 149. STRAUSS I don’t really know him, but he was one of Szilard’s boys in Chicago. And they never forgave Oppenheimer... CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LECTURE HALL, LOS ALAMOS -- NIGHT (COLOUR) Serber and MORRISON lecture using slides we never see. STRAUSS (V.O.) ...for not supporting their petition against bombing Japan. I watch as part of a large audience. MORRISON This was taken thirty-one days after the bombing. Virtually everyone in the street for nearly a mile around was instantly and seriously burned by the heat of the bomb. Serber changes the slide. I react slightly. MORRISON (CONT’D) The hot flash burned suddenly and strangely. SERBER The Japanese told us of people who wore striped clothing upon whom the skin was burned in stripes. Changes slide. I LOOK AWAY from the screen. I hear the sound of FEET STAMPING as Morrison continues... MORRISON There were many who thought themselves lucky, who crawled out of the ruins of their homes only slightly injured. But they died anyway. They died days or weeks later from the radium-like rays emitted in great numbers at the moment of the explosion.Gadget 2023-04-21 FINAL Shooting Script 149. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 150.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. T-SECTION, LOS ALAMOS -- NIGHT I light my pipe. Teller comes up. TELLER Did you read this crap in the papers? A British physicist saying the atomic bombings weren’t the last act of World War II but the first act of this cold war with Russia. OPPENHEIMER Which physicist? TELLER I think you knew him. Patrick Blackett? I remember- INSERT CUT: BLACKETT TAKES A MOUTHFUL OF APPLE... I smile to myself, rueful... OPPENHEIMER He may not be wrong. We bombed an enemy that was essentially defeated. TELLER Robert, you have all the influence now. I look at Teller. TELLER (CONT’D) Urge them to continue my research on the Super. OPPENHEIMER I neither can nor will, Edward. Teller looks at me. Hurt. TELLER Why? OPPENHEIMER It’s not the right use of our resources. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 150. 8FLiX.com FYC SCREENPLAY DATABASE 20230904 (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 151. TELLER Is that what you really believe? I say nothing. TELLER (CONT’D) J. Robert Oppenheimer. Sphinx-like guru of the atom. Nobody knows what you believe. Do you? OPPENHEIMER (V.O.) I hope that in years to come you will look back on your work here with pride...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FULLER LODGE, LOS ALAMOS -- DAY I give my leaving address, Groves by my side. The THOUSANDS of members of the Los Alamos community listen... OPPENHEIMER But today that pride must be tempered with a profound concern. If atomic weapons are to be added to the arsenals of a warring world... then the day will come when people will curse the name of Los Alamos and Hiroshima. The peoples of this world must unite or they will perish. The atomic bomb has spelled out these words for all men to understand. THUNDEROUS APPLAUSE echoes around the mountains... CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SENATE OFFICE -- MORNING (B&W) Strauss and Counsel drink coffee. The Senate Aide BURSTS in- SENATE AIDE Sorry, Admiral- I stopped off to get this- The Senate Aide holds up TIME MAGAZINE: Strauss is on the cover- ""THE STRAUSS AFFAIR, SENATE V. PRESIDENT "". SENATE AIDE (CONT’D) It seems pretty favorable... The Counsel looks over Senate Aide’s shoulder- (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 151. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 152. COUNSEL There’s Oppenheimer. What’s the caption? SENATE AIDE 'J. Robert Oppenheimer- Strauss fought him... (pauses) ...and the US won.' COUNSEL That’ll work. The Senate Aide is perturbed. Looks up at Strauss. SENATE AIDE Those are your words. From yesterday. STRAUSS We needed to pivot. SENATE AIDE But how could you know what Time magazine would write...? STRAUSS Henry Luce is an old friend. The Senate Aide stares at Strauss, realizing... SENATE AIDE You’ve sat there and let me tell you how this is done. But you’ve been far ahead. All along... STRAUSS Survival in Washington is about knowing how to get things done. SENATE AIDE You get things done. What was it you said about Borden? Why get caught holding the knife yourself? I’m beginning to think that Borden was holding the knife for you. STRAUSS Oh? (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 152. 8FLiX.com FYC SCREENPLAY DATABASE 20230904 Gadget 2023-04-21 FINAL Shooting Script 153. SENATE AIDE As Chairman of the AEC, you had access to Oppenheimer’s file... CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROOM 2022, ATOMIC ENERGY COMMISSION -- DAY (COLOUR) I sit there testifying. Robb checks his notes... ROBB In the years following the war, would you say you exerted a great influence on the atomic policies of the USA? OPPENHEIMER I think 'great' would be an overstatement. ROBB Really? If we look at the issue of isotopes... were you not personally responsible for destroying all opposition to their export? I think back to my congressional testimony...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CONGRESSIONAL HEARING ROOM -- DAY The room is all chuckles and smiles at my performance... OPPENHEIMER You can use a bottle of beer for making atomic weapons, in fact, you do... I’d say isotopes are less useful for atomic energy than electronic components, but more useful than a sandwich. I’d put them somewhere in between. The room LAUGHS appreciatively. I lean over to Volpe - OPPENHEIMER (CONT’D) How’d I do? Volpe glances back at Lewis Strauss, eyes down, ENRAGED... VOLPE Maybe a little too well, Robert.Gadget 2023-04-21 FINAL Shooting Script 153. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 154.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROOM 2022, ATOMIC ENERGY COMMISSION -- DAY OPPENHEIMER I was the spokesman, but the opinion was unanimous amongst scientists. GRAY That will do for today. We’ll reconvene tomorrow when we’ll hear from Dr Isidor Rabi.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOTEL ROOM, WASHINGTON, DC -- NIGHT I sit on the bed, Garrison and his team go over notes. Kitty raids the mini-bar. GARRISON Rabi will help us. But it’s going to come down to how much influence Borden has been able to exert on Teller- Kitty is laughing as she opens a miniature with her teeth. GARRISON (CONT’D) Did I say something funny? KITTY Borden, Borden, Borden. We all know it’s Strauss. OPPENHEIMER Kitty, Lewis brought me to Princeton. KITTY And you humiliated him in front of Congress. OPPENHEIMER That was six years ago. KITTY The truly vindictive are as patient as saints. GARRISON Strauss claims to be neutral. Kitty THROWS the miniature at me- it SMASHES into the wall- (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 154. 8FLiX.com FYC SCREENPLAY DATABASE 20230904 (MORE) (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 155. KITTY Wake up! It’s always been Strauss- and you know it. Why won’t you fight him, for Christ’s sake?! She stalks into the bathroom, SLAMMING the door. Garrison watches me clean up the miniature... GARRISON I’ve said it before, Robert. We should not put her on the stand- CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SENATE OFFICE -- MORNING (B&W) The Senate Aide stares at Strauss in morbid fascination... SENATE AIDE It wasn’t Nichols or Hoover or one of Truman’s guys- it was you. You gave the file to Borden... you set him on Oppenheimer, convinced him to-STRAUSS Borden didn’t take any convincing...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. NICHOLS’ OFFICE, ATOMIC ENERGY COMMISSION -- NIGHT (B&W) Nichols is behind the desk, but Strauss commands the room, instructing Borden... NICHOLS Take your time, use the entire file. Write up your conclusions and send them to the FBI. BORDEN The material’s extensive- but it isn’t new. STRAUSS Your conclusions will be. And they’ll have to be answered. NICHOLS Hoover passes them to McCarthy? STRAUSS (shakes head) Oppenheimer’s too slippery for that self-promoting clown. (MORE) (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 155. STRAUSS (CONT ’D)Gadget 2023-04-21 FINAL Shooting Script 156. I’ve talked it over with Hoover- he’ll hold McCarthy at bay while you do this at the AEC. NICHOLS A trial? STRAUSS No trial. You can’t give Oppenheimer a platform, you can’t martyr him. We need a systematic destruction of Oppenheimer’s credibility so he can never again speak on matters of national security. BORDEN What, then? STRAUSS A shabby little room, far from the limelight... INSERT CUT: ROOM 2022 IS OPENED UP. DUSTED, TABLES ARRANGED... STRAUSS (CONT’D) A simple bureaucratic procedure- his Q clearance is up for renewal. (points at Borden) You send your accusations to the FBI... INSERT CUT: BORDEN PULLS PAPER FROM HIS TYPEWRITER. HE SEALS AN ENVELOPE... STRAUSS (CONT’D) Hoover sends them to the AEC... (points at Nichols) You’re forced to act. You write up an indictment...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FRONT HALL, STRAUSS RESIDENCE -- NIGHT (B&W) Strauss opens the door to Oppenheimer... STRAUSS (V.O.) Tell Oppenheimer his security clearance is not being renewed...STRAUSS (CONT ’D)Gadget 2023-04-21 FINAL Shooting Script 156. 8FLiX.com FYC SCREENPLAY DATABASE 20230904 (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 157.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LIVING ROOM, STRAUSS HOUSE -- NIGHT (B&W) Nichols hands the indictment to Oppenheimer, who sits and reads. Strauss hands Oppenheimer a drink... STRAUSS (V.O.) But offer him the chance to appeal. Oppenheimer looks up from the letter. OPPENHEIMER Can I keep this? NICHOLS No. STRAUSS As you can see, Robert, it’s not yet signed. If you do decide to appeal, they’ll have to send you a copy... Oppenheimer rises. In a daze. Strauss takes his arm...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. NICHOLS’ OFFICE, ATOMIC ENERGY COMMISSION -- NIGHT (B&W) STRAUSS When he appeals, I appoint a board... INSERT CUT: THE GRAY BOARD TAKE THEIR SEATS IN ROOM... STRAUSS (CONT’D) They will, of course, have counsel- INSERT CUT: ROGER ROBB TAKES HIS SEAT... NICHOLS A prosecutor? STRAUSS In all but name. NICHOLS Who? STRAUSS Roger Robb. NICHOLS Ouch. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 157. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 158. STRAUSS Robb will have security clearance to examine Oppenheimer’s file... INSERT CUT: ROBB OPENS A MASSIVE BLACK BINDER... STRAUSS (CONT’D) As will the Gray Board... INSERT CUT: A BLACK BINDER IS PLACED IN FRONT OF EACH BOARD MEMBER... STRAUSS (CONT’D) Defence counsel will not. INSERT CUT: GARRISON, AT HIS TABLE IN ROOM 2022, LOOKS COVETOUSLY AT THE BLACK BINDERS GRACING EACH PLACE BUT HIS... STRAUSS (CONT’D) A closed hearing- no audience, no reporters, no burden of proof. NICHOLS No burden of proof? Strauss sips his drink. Smiles at Nichols... STRAUSS We’re not convicting, just denying.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROOM 2022, ATOMIC ENERGY COMMISSION -- DAY (B&W) Oppenheimer is seated at the witness table... OPPENHEIMER This answer is a summary of relevant aspects of my life in more or less chronological order...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SENATE OFFICE -- DAY (B&W) The Senate Aide looks like he ate a bad nut. STRAUSS What is it you said? 'This is just how it’s done '? SENATE AIDE Forgive my naïveté. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 158. 8FLiX.com FYC SCREENPLAY DATABASE 20230904 (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 159. STRAUSS Amateurs seek the sun and get eaten, power stays in the shadows. SENATE AIDE (points to Time magazine) You’re out of the shadows, now. STRAUSS That’s why this has to work. SENATE AIDE Well, Teller’s testifying this morning - that’ll help, then Hill is in the afternoon. COUNSEL Hill should help us, too. CUT TO: CLOSE ON: A LETTER- AEC LETTERHEAD- "" DEAR DR OPPENHEIMER ..."" STRAUSS (O.S.) As you can see, it’s not yet signed...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LIVING ROOM, STRAUSS HOUSE -- LATER (COLOUR) I look up from Nichols’ letter- SHELL-SHOCKED. STRAUSS If you do decide to appeal, they’ll have to send you a copy... I hand the letter back to Nichols. Strauss takes my arm...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. STRAUSS HOUSE -- CONTINUOUS Strauss gently guides me down the steps... STRAUSS Take my car and driver. I insist. OPPENHEIMER I’ll have to consult my lawyers. STRAUSS Of course. But don’t take too long, I can’t keep Nichols at bay. I’m sorry it’s come to this, Robert. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 159. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 160. Strauss, like a parent, puts me into the back of his car.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. STRAUSS CAR -- NIGHT I sit in the back, shadows flicking across my face... OPPENHEIMER (V.O.) Nichols wants me to fight so that he can get it all in the record...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. VOLPE’S HOUSE -- NIGHT Kitty and I sit with Joe Volpe. OPPENHEIMER Strauss thinks I should walk away... VOLPE You could. Your security clearance expires tomorrow. Just let it go. KITTY You’d be accepting the charges! You’ll lose your job. Your reputation, your place in history! We’ll lose our house. Robert, we have to fight. I look at Kitty. Nod. VOLPE As AEC Counsel, I can’t represent you. I’ll call Lloyd Garrison. OPPENHEIMER He’s good. VOLPE The best. But I have to warn you...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROOM 2022, ATOMIC ENERGY COMMISSION -- DAY I watch Garrison scramble to make notes... VOLPE (V.O.) This won’t be a fair fight. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 160. 8FLiX.com FYC SCREENPLAY DATABASE 20230904 (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 161. ROBB During your interview with Boris Pash in 1943, did you refer to microfilm? OPPENHEIMER No. Robb consults a paper in his black binder. ROBB You never said 'a man at the consulate expert in the use of microfilm'? OPPENHEIMER Not specifically. GARRISON I’d like to know what document Mr Robb is quoting from, and if we might be furnished with a copy. ROBB The document is classified. GARRISON Members of the board, we’re now hearing some new account of the interview... shouldn’t we get back to firsthand information? ROBB This is first-hand. GARRISON How so? Robb looks at Gray. Who nods. ROBB There’s a recording of the interview. Garrison is shocked. I shake my head. GARRISON You’ve let my client sit up here and potentially perjure himself and all this time you had a recording-? ROBB No one told your client to misrepresent his former answers- (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 161. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 162. GARRISON Misrepresent? It was twelve years ago! (to the board) Can we listen to this recording? ROBB Mr Garrison, you don’t have clearance. I SNAP at the absurdity- OPPENHEIMER But you’re reading it into the transcript! Garrison puts a calming hand on my arm- GARRISON Is this proceeding interested in truth or entrapment? Because if it’s truth... Garrison points at the BLACK BINDERS in front of them all- GARRISON (CONT’D) Where’s the disclosure? Where’s the witness list? GRAY Mr Garrison, this is not a trial- as you’re well aware. Evidentiary rules do not apply. We’re dealing with national security. GARRISON How does national security prevent the prosecution from providing us a list of witnesses?! Gray looks at Garrison, stony-faced. GRAY Perhaps a brief recess is in order!OPPENHEIMER If I may? You gentlemen have my words. If you say it’s from a transcript then I’ll accept it. I’ve already explained that I made up a cock-and-bull story. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 162. 8FLiX.com FYC SCREENPLAY DATABASE 20230904 (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 163. ROBB But not the level of detail. Why would anyone present such an elabourate fiction? OPPENHEIMER Because I was an idiot. I found myself trying to give a tip to the intelligence people, without realizing that when you give a tip you have to offer the whole story. Asked for details, I went off on a false pattern. There was no microfilm, no consular attaché. There weren’t three or more people involved on the project. There was one person involved. That was me. ROBB Why lie? OPPENHEIMER Clearly with the intention of not revealing who was the intermediary. ROBB Your friend Haakon Chevalier. The Communist. OPPENHEIMER Yes. ROBB Is he still your friend? I look from smug Robb to the expectant board members... OPPENHEIMER Chevalier is my friend. Robb backs down, SATISFIED.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CORRIDOR OUTSIDE ROOM 2022 -- DAY Oppenheimer and Garrison take a break. Rabi approaches. GARRISON Dr Rabi, thanks for coming. Garrison looks around to see Robb conferring with his team. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 163. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 164. GARRISON (CONT’D) (lowered voice) Do you know anyone the prosecution has called? RABI Teller, obviously. (looks at Oppenheimer) They’ve asked Lawrence. OPPENHEIMER What did he say? RABI He wasn’t going to help them... OPPENHEIMER But? RABI Strauss told him that you and Ruth Tolman had been having an affair for years. The whole time you lived with them in Pasadena... INSERT CUT: I SIP FROM RUTH’S DRINK AT THE CHRISTMAS PARTY. RICHARD ENTERS, BANGING SNOW OFF HIS SHOULDERS... RABI(CONT’D) He convinced Lawrence that Richard died of a broken heart. OPPENHEIMER That’s absurd. RABI Which part? OPPENHEIMER The broken heart. Richard never found out. Rabi tries not to smile. Shakes his head. OPPENHEIMER (CONT’D) Is Lawrence going to testify? RABI I don’t know.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROOM 2022, ATOMIC ENERGY COMMISSION -- DAY Rabi is testifying. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 164. 8FLiX.com FYC SCREENPLAY DATABASE 20230904 Gadget 2023-04-21 FINAL Shooting Script 165. GARRISON Dr Rabi, what governmental positions do you currently hold? RABI I’m Chairman of the General Advisory Committee to the AEC, succeeding Dr Oppenheimer. GARRISON And how long have you known Dr Oppenheimer? RABI Since 1928. I know him quite well. GARRISON Well enough to speak on the bearing of his character, loyalty and associations? RABI Dr Oppenheimer is a man of upstanding character, loyal to the United States, to his friends and to the institutions of which he is a part. I’ve examined his security file, and in spite of the associations in there, I do not believe Dr Oppenheimer is a security risk, and that these associations from the past should bar him from continuing as a consultant to the AEC.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CORRIDOR OUTSIDE ROOM 2022 -- DAY I sit, exhausted. A segment of orange drops into my lap - RABI Eat. I 'sip' at the orange. Rabi spots Lawrence coming down the corridor- Rabi straightens to his full height- STARES DOWN Lawrence, who looks from Rabi to me. Then TURNS and leaves. OPPENHEIMER What was that? RABI Nothing to worry about.Gadget 2023-04-21 FINAL Shooting Script 165. (MORE) (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 166.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROOM 2022, ATOMIC ENERGY COMMISSION -- LATER Robb cross-examines Rabi- ROBB Dr Rabi, after the Russian A-bomb test did Dr Lawrence come to see you prior to the GAC meeting? RABI You’d be better off asking him. ROBB I fully intend to. Did he come to you about the Hydrogen bomb? RABI Yes. We all felt that after the Russian explosion we had to do something to regain our position. ROBB So you agreed with those who felt we should launch a programme for the Super at that time? RABI No. There were all kinds of legitimate concerns about the allocation of our resources. GRAY Would you say Dr Oppenheimer was unalterably opposed to the H-bomb? RABI No. He thought a fusion programme would come at the expense of our awfully good fission programme. ROBB But that proved not to be the case? RABI In the event, both could be done. Los Alamos, which Dr Oppenheimer founded, rose to the occasion and worked miracles, absolute miracles. ROBB May I ask one more question? A purely hypothetical question. (MORE) (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 166. 8FLiX.com FYC SCREENPLAY DATABASE 20230904 ROBB (CONT ’D) (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 167. Suppose this board should not be satisfied that in his testimony here Dr Oppenheimer had told the whole truth... What would you say then about whether or not he ought to be cleared? RABI If you want to set me up on the board then I’ll give you an answer. But I’ve never hidden my opinion that I think this whole proceeding is a most unfortunate one. ROBB Why? RABI He’s a consultant- you don’t want to consult the guy? Don’t. Why go through all this against a man who’s accomplished what Dr Oppenheimer has? Look at his record- we have an A-bomb and a whole series of it, and we have a whole series of Super bombs and what more do you want, mermaids? CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SENATE COMMITTEE HEARING ROOM -- DAY (B&W) Strauss watches with satisfaction as Teller testifies. TELLER ...that’s why I’m here today. To express the warm support for science and scientists Mr Strauss has shown over the years I’ve known him. CHAIRMAN Thank you, Dr Teller. We’ll break now, unless there’s any immediate business. STRAUSS Senator, I’d like to once again request that we’re furnished with a list of witnesses.ROBB (CONT ’D) (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 167. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 168. CHAIRMAN And I’ll remind the nominee that we don’t always have that information in advance. We do know that Dr Hill will be here after lunch. With that, the Chairman BANGS his gavel... CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROOM 2022, ATOMIC ENERGY COMMISSION -- DAY (COLOUR) Robb addresses the board... ROBB Our next scheduled witness, Dr Lawrence, has apparently come down with... colitis... I glance sideways at Garrison, who almost smiles- ROBB(CONT’D) So I’ll proceed instead with William Borden. I watch as Borden is sworn in. ROBB(CONT’D) Mr Borden, as a result of your study of Dr Oppenheimer, did you reach certain conclusions? BORDEN I did. ROBB Did there co me a time when you expressed those conclusions in a letter to Mr J. Edgar Hoover of the Federal Bureau of Investigation? BORDEN That is correct. ROBB Prior to writing that letter, did you discuss the writing of it with anybody connected with the Atomic Energy Commission? BORDEN I did not. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 168. 8FLiX.com FYC SCREENPLAY DATABASE 20230904 (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 169. ROBB Do you have a copy of the letter with you. Robb’s assistant distributes copies of the letter... BORDEN I have one in front of me. ROBB Would you be good enough to read it? GARRISON A moment, please! Garrison holds up a finger, FRANTICALLY reading ahead- GRAY What’s the purpose of the delay? He’s simply going to read this. GARRISON Mr Chairman, this is the first we’ve seen of this letter- and I see statements, at least one, which I don’t think anybody would be happy to have go into the record- accusations that have not before been made and are not part of the indictment from Nichols. Garrison holds up the letter - GARRISON (CONT’D) Is it the opinion of the board that these are matters into which inquiry should now be directed? I scan down the letter for what he’s seen. My face falls... GRAY Testimony of this witness is not in any way going to broaden the inquiry. GARRISON How can it avoid it, sir? Supposing you should believe the witness? Mr Robb is tasked by this board with calling in witnesses, and he brings in one to make accusations of a kind that I don’t think belong here. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 169. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 170. ROBB Mr Chairman, the witness wrote this letter on his own initiative laying out evidence which has already been before the board. His conclusions are valid testimony just like the positive conclusions of friends of Dr Oppenheimer. It cuts both ways. GARRISON How long has counsel been in possession of the letter? ROBB Mr Garrison, I don’t think I should be subject to cross-examination by you. GRAY Mr Garrison, given that we on the board have all read the letter, isn’t it better to have it in the record? Garrison says nothing. He looks at me, frustrated. GRAY(CONT’D) Let’s proceed. BORDEN 'Dear Mr Hoover, the purpose of this letter is to state my opinion, based upon years of study of the available classified evidence, that more probably than not J. Robert Oppenheimer is an agent of the Soviet Union.' I turn the letter face down, staring at its blank whiteness... BORDEN (CONT’D) 'The following conclusions are justified. One: Between 1929 and 1942, more probably than not, J. Robert Oppenheimer was a sufficiently hardened Communist that he volunteered information to the Soviets. Two: More probably than not, he has since been functioning as an espionage agent.' I watch the STENOGRAPHER calmly type this into the record... (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 170. 8FLiX.com FYC SCREENPLAY DATABASE 20230904 (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 171. BORDEN (CONT’D) 'Three: More probably than not, he has since acted under Soviet directive in influencing United States military, atomic energy, intelligence, and diplomatic policy.' Devastated, I cannot meet the eye of anyone in the room. Garrison gets up from his place. Sits down next to me. GARRISON I’m sorry, Robert. OPPENHEIMER Isn’t anyone ever going to tell the truth about what’s happening here? CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SENATE COMMITTEE HEARING ROOM -- DAY (B&W) Strauss and his Counsel take their seats as the Chairman calls to order. Strauss looks around the room, CHEERFULLY. CHAIRMAN We will now hear from Dr David Hill. Strauss peers at a FAMILIAR man in GLASSES, DAVID HILL- Szilard’s note-taking scientist WHOSE PEN OPPENHEIMER GRABBED... CHAIRMAN (CONT’D) Dr Hill, would you care to make a statement? HILL Thank you. I have been asked to testify about Lewis Strauss, a man who has given years of service in high positions of government and who is known to be earnest, hard- working and intelligent. Strauss glances at Counsel, satisfied. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 171. Gadget 2023-04-21 FINAL Shooting Script 172. HILL(CONT’D) The views I have to express are my own, but I believe that much I have to say will help indicate why most of the scientists in this country would prefer to see Mr Strauss completely out of the government. Strauss narrows his eyes... SENATOR PASTORE (friendly lob) You’re referring to the hostility of certain scientists directed at Mr Strauss because of his commitment to security, as demonstrated in the Oppenheimer affair? HILL No. Hill takes a sip of water before continuing... HILL(CONT’D) Because of the personal vindictiveness he demonstrated against Dr Oppenheimer, and against all those who have disagreed with his official positions. Counsel turns to Strauss, who is FIXATED on Hill. The Senate Aide REACTS, surprised. MURMURS echo through the chamber... HILL(CONT’D) In my ten years observation of Mr Strauss I have seen his incapacity to change a position, the subordination of his integrity to the attainment of political goals and an obsessive quest for popular and professional approval... The audience REACTS- Strauss SHAKES his head- the Chairman BANGS the gavel- CHAIRMAN Order! CUT TO:Gadget 2023-04-21 FINAL Shooting Script 172. 8FLiX.com FYC SCREENPLAY DATABASE 20230904 (MORE) (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 173.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROOM 2022, ATOMIC ENERGY COMMISSION -- DAY (COLOUR) Vannevar Bush is sworn in. BUSH It appears to most scientists around the country that Oppenheimer is now being pilloried and put through an ordeal because he expressed his honest opinions. The written charges against him are in a poorly written indictment which the board should have rejected from the outset. EVANS Dr Bush, I thought I was performing a service to my country in hearing this case. BUSH No board in this country should sit in judgement of a man because he expressed strong opinions. If you want to try that case, you can try me- I have expressed strong opinions, often unpopular, many times. I’m doing so right now. When a man is pilloried for doing that, this country is in a severe state... excuse me, gentlemen, if I become stirred, but I am. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SENATE COMMITTEE HEARING ROOM -- DAY (B&W) Strauss fumes as Hill reads his statement. HILL From the standpoint of public welfare, the most injurious exercise of personal vindictiveness in which Lewis Straus has engaged was in the personnel security prosecution of J. Robert Oppenheimer, who had not hesitated to disagree with Mr Strauss on certain questions of fundamental policy. (MORE) (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 173. HILL (CONT ’D) (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 174. Oppenheimer made mincemeat out of Strauss’ position on the shipments of isotopes to Norway, and Strauss never forgave him this public humiliation. Another controversy between them centreed around their differences in judgement on how the H-bomb would contribute to national security. Oppenheimer had considerable influence and prestige, and Strauss was able to find a few ambitious men who also disagreed with Oppenheimer’s position, and envied him his prestige in government circles. Teller, in the audience, stares at Hill... HILL(CONT’D) Strauss turned to the personnel security system in order to destroy Oppenheimer’s effectiveness- SENATOR PASTORE But, Dr Hill, we’ve already heard that Mr Strauss did not bring the charges, or participate in the hearings against Dr Oppenheimer. HILL I realize that Mr Strauss didn’t sign the letter of charges, but I think when all of the evidence is viewed, it becomes highly plausible that the Oppenheimer matter was initiated and carried through largely through the animus of Lewis Strauss. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROOM 2022, ATOMIC ENERGY COMMISSION -- DAY (COLOUR) Groves is testifying. ROBB General, would you clear Dr Oppenheimer today?HILL (CONT ’D) (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 174. 8FLiX.com FYC SCREENPLAY DATABASE 20230904 (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 175. GROVES Under my interpretation of the Atomic Energy Act, which did not exist when I hired Dr Oppenheimer in 1942... I would not clear Dr Oppenheimer today if I were a member of the commission. ROBB Thank you, General. GROVES But I’m not sure I could’ve cleared any of those guys. ROBB That’s all. GARRISON General, Dr Oppenheimer had no responsibility for the selection or clearance of Klaus Fuchs, did he? GROVES No, not at all. GARRISON You wouldn’t want to leave with this board even the remotest suggestion that you’re here questioning Dr Oppenheimer’s basic loyalty to the United States in the operation of Los Alamos? GROVES By no means. I hope I didn’t lead anybody to think otherwise for an instant. GARRISON Would you say that the revocation of Dr Oppenheimer’s position would be in the public interest? GROVES The revocation under such extreme publicity I think would be most unfortunate, not because of the effect on Dr Oppenheimer- that I leave to one side- but because of the disastrous effect upon the attitude of the scientists of this country toward doing government research. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 175. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 176. GRAY Thank you, General. Groves gets up, walks past me with a formal nod.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CORRIDOR OUTSIDE ROOM 2022 -- DAY Garrison checks his watch. OPPENHEIMER She’ll be here. GARRISON Do you even want her here? OPPENHEIMER Only a fool or an adolescent presumes to know someone else’s relationship, and you’re neither, Lloyd. Kitty comes around the corner. Unsteady. I watch her walk towards us, not entirely straight... she catches my eye- OPPENHEIMER (CONT’D) Kitty and I, we’re grown-ups. We’ve walked through fire together. And she’ll do fine.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROOM 2022, ATOMIC ENERGY COMMISSION -- DAY Kitty is at the witness table. From behind I can see her fiddling distractedly with her purse... GARRISON Mrs Oppenheimer, you are no longer a member of the Communist Party? KITTY No. GARRISON When would you say that you ceased to be a member? KITTY When I left Youngstown in 1936. GARRISON Will you describe your views on Communism as pro, anti, neutral. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 176. 8FLiX.com FYC SCREENPLAY DATABASE 20230904 (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 177. KITTY Very strongly against. I’ve had nothing to do with Communism since 1936. Since before I met Robert. GARRISON That’s all. HILL (V.O.) The record demonstrates that Oppenheimer was not interrogated by impartial and disinterested counsel for the Gray Board... Robb gets up to cross-examine... CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SENATE COMMITTEE HEARING ROOM -- DAY (B&W) Strauss watches Hill continue to answer questions... HILL ...he was interrogated by a prosecutor who used all the tricks of a rather ingenious legal background to try to trick Oppenheimer into erroneous statements, and he did succeed in a few instances. SENATOR SCOTT You are charging now that the Gray Board permitted a prosecution of Dr Oppenheimer. Do you think, then, that the members of the Gray Board were unfair? Hill takes a beat to consider this. HILL I can only say if I’d been on the Gray Board, I would’ve protested against the tactics of the man who served in fact as a prosecuting counsel- a man appointed not by the board but by Lewis Strauss. Strauss strokes his chin, feigning indifference. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 177. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 178. SENATOR MCGEE Who was this? CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROOM 2022, ATOMIC ENERGY COMMISSION -- DAY (COLOUR) HILL (V.O.) Roger Robb. Robb tries to put himself in Kitty’s eyeline... ROBB Mrs Oppenheimer. She will not meet his gaze. ROBB(CONT’D) Did you have a Communist Party membership card? KITTY I, I’m not sure... Kitty fiddles with her purse... ROBB Not sure? KITTY Well... She FREEZES. The Board members look at her. Garrison looks at me... ROBB Presumably the act of joining the Party was sending some money and receiving a card? Kitty is focused on her purse... ROBB(CONT’D) No? And then Kitty LOOKS UP at Robb, pure STEEL- KITTY It was so long ago, Mr Robb, wasn’t it? (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 178. 8FLiX.com FYC SCREENPLAY DATABASE 20230904 (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 179. ROBB Not really- KITTY(CONT’D) Long enough to have forgotten. ROBB(CONT’D) Did you turn in the card or rip it up?KITTY(CONT’D) The card whose existence I’ve forgotten? ROBB(CONT’D) Your Communist Party membership card-KITTY(CONT’D) I haven’t the slightest idea. ROBB(CONT’D) Can a distinction be made between Soviet Communism and Communism? KITTY In the days when I was a member I thought they were definitely two things- Garrison and I hang on her every word... KITTY(CONT’D) I thought the Communist Party of the United States was concerned with our domestic problems. I now no longer believe this. I believe the whole thing is linked together and spread all over the world. I’ve believed this since I left the Party sixteen years ago. ROBB But- KITTY(CONT’D) Seventeen years ago. My mistake. ROBB(CONT’D) But you- KITTY(CONT’D) Sorry, eighteen. Yes, eighteen years ago. Robb sighs patiently. ROBB(CONT’D) Were you familiar with the fact that your husband was making contributions to the Spanish Civil War as late as 1942? (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 179. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 180. KITTY I knew that Robert gave money from time to time, yes. ROBB Do you remember whether he gave money on a regular or periodic basis? Kitty smiles sweetly- KITTY Do you mean regular, or do you mean periodic, Mr Robb? ROBB (annoyed) I mean... regular. KITTY He did not. ROBB Were you aware that this money was going into Communist Party channels? KITTY Don’t you mean 'through'? ROBB Pardon? KITTY I think you mean 'through Communist Party channels'. ROBB Yes. KITTY(CONT’D) Yes. ROBB(CONT’D) Would it be fair to say that this meant that by 1942 he had not stopped having anything to do with the Communist Party? I don’t insist that you answer yes or no. You can answer any way you wish. KITTY I know that. Thank you. But the question isn’t properly phrased. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 180. 8FLiX.com FYC SCREENPLAY DATABASE 20230904 (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 181. ROBB Don’t you understand what I am trying to get at?KITTY(CONT’D) Yes, I do. ROBB(CONT’D) Why don’t you answer it that way?KITTY(CONT’D) I don’t like the phrase 'having anything to do with the Communist Party' because Robert never had anything to do with the Communist Party as such. I know he gave money for Spanish refugees. I know he took an intellectual interest in Communist ideas- ROBB(CONT’D) Are there two kinds of Communists? An intellectual Communist and a plain ordinary Commie? Kitty laughs the laugh of the free. KITTY I couldn’t answer that one. EVANS (delighted) I couldn’t either. Gray shoots a look at Evans. CHUCKLES around the room. Garrison looks at me. Nods. She did good.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROOM 2022, ATOMIC ENERGY COMMISSION -- DAY I watch Teller testify. ROBB Is it your intention to suggest that Dr Oppenheimer is disloyal to the United States? TELLER I do not want to suggest anything of the kind. I have always assumed, and now assume, that he is loyal to the United States. I believe this, and I shall believe it until I see very conclusive proof to the opposite. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 181. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 182. ROBB Now, a question which is a corollary of that... do you or do you not believe that Dr Oppenheimer is a security risk? TELLER In a great number of cases I have seen Dr Oppenheimer act in a way which for me was exceedingly hard to understand. I thoroughly disagreed with him in numerous issues, and his actions, frankly, appeared to me confused and complicated. To this extent, I feel that I would like to see the vital interests of this country in hands which I understand better and therefore trust more. GRAY Thank you, doctor. Teller gets up from the table, as he walks past me he holds out his hand... TELLER I’m sorry. I shake his hand. KITTY (V.O.) You shook his fucking hand?!",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DINING ROOM, OLDEN MANOR, PRINCETON -- NIGHT KITTY (CONT'D) I would’ve spat in his face! GARRISON I’m not sure the board would’ve appreciated that. KITTY Not gentlemanly enough? You’re all being too goddamn gentlemanly. VOLPE Gray must see what Robb is doing- why doesn’t he shut him down? Garrison shrugs. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 182. 8FLiX.com FYC SCREENPLAY DATABASE 20230904 (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 183. KITTY (to me) And you? Shaking Teller’s hand- you need to stop playing the martyr.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. OLDEN MANOR, PRINCETON -- NIGHT Garrison drives off. Volpe turns to me... VOLPE Robert, you can’t win this thing. It’s a kangaroo court with a predetermined outcome. Why put yourself through more of it? OPPENHEIMER I have my reasons. Volpe shrugs. Embraces me. Gets in his car. EINSTEIN (O.S.) He has a point, you know. I turn. Einstein steps into the light. EINSTEIN (CONT’D) You’re a man chasing a woman who doesn’t love him any more- the United States Government. OPPENHEIMER I’m not sure you understand, Albert. EINSTEIN No? I left my country, never to return. The German calamity of years ago repeats itself- people acquiesce without resistance and align themselves with the forces of evil. You’ve served America well, and if this is the reward she has to offer perhaps you should turn your back on her. OPPENHEIMER Dammit, I happen to love this country. Einstein considers this. Nods slowly. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 183. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 184. EINSTEIN Then tell them to go to hell. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SENATE OFFICE -- DAY (B&W) Strauss BURSTS in, fuming... STRAUSS This has become a trial about a trial! SENATE AIDE It’s not a good thing that he’s telling them that you initiated the hearings. STRAUSS He can’t prove that I gave the file to Borden. SENATE AIDE He doesn’t have to. We’re not in court, there’s no burden of proof... Strauss realizes. Shakes his head at himself. STRAUSS They’re not convicting. Just denying. The Senate Aide nods. STRAUSS (CONT’D) Why would Hill come here to tear me down? What’s his angle? SENATE AIDE Do people need a reason to do the right thing? Strauss GLARES at the Senate Aide. SENATE AIDE (CONT’D) I mean, as he sees it. STRAUSS I told you Oppenheimer poisoned the scientists against me! Right from that first meeting... (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 184. 8FLiX.com FYC SCREENPLAY DATABASE 20230904 (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 185. INSERT CUT: STRAUSS WATCHES OPPENHEIMER HAND EINSTEIN HIS HAT AS THEY SPEAK DOWN AT THE LAKE... STRAUSS (CONT’D) I don’t know what Oppenheimer said to him that day, but Einstein wouldn’t even meet my eye... INSERT CUT: AS STRAUSS APPROACHES, EINSTEIN WALKS PAST WITHOUT ACKNOWLEDGING HIM, CLEARLY UPSET... STRAUSS (CONT’D) Oppenheimer knows how to manipulate his own. At Los Alamos he preyed on the naïveté of scientists who thought they’d get a say in how we used their work... but don’t ever think he was that naïve himself... CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROOM 2022, ATOMIC ENERGY COMMISSION -- DAY (COLOUR) I am back at the witness table. Robb squares up. ROBB Doctor, in your work on the Hydrogen bomb at Los Alamos and in the years following, were you deterred by any moral qualms about the development of this weapon? OPPENHEIMER Of course. ROBB But you still got on with the work, didn’t you? OPPENHEIMER Yes, because this was work of exploration. It was not the preparation of a weapon. ROBB You mean it was just an academic excursion? (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 185. (MORE) (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 186. OPPENHEIMER No. It’s not an academic thing whether you can make a Hydrogen bomb. It’s a matter of life and death. ROBB Beginning in 1942 you were actively pushing the development of the H- bomb, weren’t you? OPPENHEIMER 'Pushing' is not the right word. Supporting and working on it, yes. ROBB When did these moral qualms become so strong that you opposed the development of the Hydrogen bomb? OPPENHEIMER When it was suggested that it be the policy of the United States to make these things at all costs, without regard to the balance between these weapons and atomic weapons as part of our arsenal. ROBB (theatrical confusion) What did moral qualms have to do with that? OPPENHEIMER (struggling) What did moral qualms have to do with it? ROBB Yes.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SENATE OFFICE -- DAY (B&W) Strauss is pacing now... STRAUSS Oppenheimer wanted to own the atomic bomb. He wanted to be the man who moved the earth. (MORE) (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 186. 8FLiX.com FYC SCREENPLAY DATABASE 20230904 STRAUSS (CONT ’D) (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 187. He talks about putting the nuclear genie back in the bottle- well, I’m here to tell you that I know J Robert Oppenheimer and if he could do it all over he’d do it all the same. He’s never once said he regrets Hiroshima- he’d do it all over because it made him the most important man who ever lived...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROOM 2022, ATOMIC ENERGY COMMISSION -- DAY (COLOUR) I struggle to find an answer for Robb... OPPENHEIMER We freely used the atomic bomb.ROBB In fact, doctor, you assisted in selecting the target for the drop of the atomic bomb on Japan? Now I can hear the sound of FEET STAMPING... OPPENHEIMER (CONT’D) Yes. ROBB(CONT’D) You knew, did you not, that the dropping of that atomic bomb on the target you had selected would kill or injure thousands of civilians, is that correct? OPPENHEIMER (CONT’D) Not as many as turned out... ROBB How many were killed or injured? The feet are stamping FASTER and FASTER... OPPENHEIMER Seventy thousand. ROBB Seventy thousand? At both Hiroshima and-OPPENHEIMER (CONT’D) One hundred and ten thousand at both. ROBB(CONT’D) On the day of each bombing. OPPENHEIMER Yes.STRAUSS (CONT ’D) (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 187. Gadget 2023-04-21 FINAL Shooting Script 188. ROBB And in the weeks and years after? OPPENHEIMER It’s been put at between fifty and one hundred thousand... ROBB Two hundred and twenty thousand dead? At least? I nod. ROBB(CONT’D) Did you have moral scruples about that? OPPENHEIMER Terrible ones. ROBB But you testified the other day that the bombing of Hiroshima was very successful? OPPENHEIMER Well, it was technically successful.ROBB(CONT’D) Oh, technically. OPPENHEIMER (CONT’D) It’s also alleged to have helped end the war. The stamping feet are LOUDER and FASTER... ROBB Would you have supported the dropping of a Hydrogen bomb on Hiroshima?",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SENATE OFFICE -- DAY (B&W) Strauss TURNS on the Senate Aide- STRAUSS But he wanted all the glory and none of the responsibility. So he needed absolution. He needed to be a martyr . To suffer , and take the sins of the world on his shoulders. To say 'no, we cannot continue on this road ' even as he knew we��€™d have to...Gadget 2023-04-21 FINAL Shooting Script 188. 8FLiX.com FYC SCREENPLAY DATABASE 20230904 (MORE) (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 189.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROOM 2022, ATOMIC ENERGY COMMISSION -- DAY (COLOUR) I search for an answer- the FEET STAMPING ever LOUDER- OPPENHEIMER It would make no sense at all. ROBB Why? OPPENHEIMER The target is too small. ROBB Supposing there had been a target in Japan big enough for a thermonuclear weapon, would you have opposed dropping it? OPPENHEIMER This was not a problem with which I was confronted.ROBB(CONT’D) I’m confronting you with it now, sir. Would you have opposed the dropping of a thermonuclear weapon on Japan because of moral scruples? OPPENHEIMER (CONT’D) I believe I would, sir. ROBB Did you oppose the dropping of the atom bomb on Hiroshima because of moral scruples? OPPENHEIMER We set forth our- ROBB(CONT’D) I’m asking you about it, not 'we'. OPPENHEIMER (CONT’D) I set forth arguments against dropping it. But I did not endorse them.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SENATE OFFICE -- DAY (B&W) Strauss PACES the room, FURIOUS- STRAUSS He knew he’d have to be seen to suffer for what he did. It was all part of his plan. (MORE) (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 189. STRAUSS (CONT ’D) (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 190. He wanted the glorious insincere guilt of the self-important to wear like a fucking crown. And I gave it to him...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROOM 2022, ATOMIC ENERGY COMMISSION -- DAY (COLOUR) Robb gets right in my face, incredulous- ROBB You mean having worked night and day for three years to build the bomb, you then argued it shouldn’t be used? OPPENHEIMER No. I was asked by the Secretary of War what the views of scientists were- I gave the views against and the views for. ROBB You supported the dropping of the atom bomb on Japan, didn’t you?OPPENHEIMER (CONT’D) What do you mean 'support'? ROBB(CONT’D) You helped pick the target, didn’t you? OPPENHEIMER I did my job- I was not in a policy- making position at Los Alamos- I would have done anything that I was asked to do- ROBB You would have made the H-bomb too wouldn’t you? OPPENHEIMER I couldn’t. The STAMPING breaks rhythm to become CACOPHONOUS ... ROBB I didn’t ask you that, doctor!OPPENHEIMER (CONT’D) I would have worked on it, yes. But to run a labouratory is one thing, to advise a government is another. THE LIGHT OF A THOUSAND SUNS POURS IN THE WINDOW...STRAUSS (CONT ’D) (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 190. 8FLiX.com FYC SCREENPLAY DATABASE 20230904 (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 191. ROBB(CONT’D) And the GAC report, which you co- authored, following the Russian atomic test said that a Super bomb should never be produced, did it not! OPPENHEIMER What we meant- what I meant- was that it would be a better world if there were no Hydrogen bombs in it. LIGHT STABS THROUGH CRACKS IN THE WALL ... ROBB Wouldn’t the Soviets do anything to increase their military strength? OPPENHEIMER If we did it, they’d have to do it. Our efforts would fuel their efforts- just as it had with the atomic bomb! PLASTER BREAKS AWAY AS LIGHT POURS INTO THE ROOM... I JAM my eyes closed, MORE AND MORE EXPOSED ... ROBB 'Just as with the atomic bomb.' Exactly. No moral scruples in 1945, plenty in 1949... The sound STOPS. The light is gone. GRAY (gentle) Dr Oppenheimer, when did your strong moral convictions develop with respect to the Hydrogen bomb? I open my eyes, exhausted... OPPENHEIMER When it became clear to me that we would tend to use any weapon we had. Silence.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SENATE OFFICE -- DAY (B&W) Strauss has stopped... (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 191. (MORE) (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 192. STRAUSS J. Robert Oppenheimer- the martyr. I gave him exactly what he wanted. To be remembered for Trinity, not Hiroshima, not Nagasaki. He should be thanking me. SENATE AIDE Well, he’s not. Strauss looks at the Senate Aide’s neck, wondering if he could get one hand all the way around it. STRAUSS (speaking softly) Do you still have enough votes, or is the crowning moment of my career about to become the most public humiliation of my life? The Senate Aide looks down at his buck slip, counts his tally. SENATE AIDE You’ll scrape through. Strauss looks at the Senate Aide. He smiles. STRAUSS Then gather the press. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROOM 2022, ATOMIC ENERGY COMMISSION -- DAY (COLOUR) I sit with Garrison and listen to Gray pass judgement... GRAY J. Robert Oppenheimer, this board, having heard testimony from you and many of your current and former colleagues, has come to the unanimous conclusion that you are a loyal citizen... (MORE) (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 192. 8FLiX.com FYC SCREENPLAY DATABASE 20230904 GRAY (CONT ’D) (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 193. However, in the light of your continuing associations and disregard for the security apparatus of this country, together with your somewhat disturbing conduct in relation to the Hydrogen bomb and the regrettable lack of candor in certain of your responses to this board, we have voted two to one to deny the renewal of your security clearance. I barely hear the rest... GRAY(CONT’D) A full written opinion, with a dissent from Mr Evans, will be issued to the AEC in the coming days... The board rises, aides start collecting files. Still dazed, I take the phone from Garrison- GARRISON It’s Kitty. KITTY (over phone) Robert? Robert? I take a breath. Not trusting my voice... OPPENHEIMER Don’t... don’t... don’t... take in the sheets. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SENATE OFFICE -- DAY (B&W) We hear the press gathering behind the doors. Strauss checks his tie in the mirror. Smooths his hair. The Senate Aide enters, buck slip in hand. STRAUSS Is it official? SENATE AIDE I’m afraid there were a couple of unexpected holdouts. Strauss freezes, absorbing the impact.GRAY (CONT ’D) (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 193. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 194. STRAUSS I’m denied? The Senate Aide leaves him hanging for a beat. SENATE AIDE I’m afraid so, sir. Strauss doesn’t know what to do or where to look. STRAUSS Who were the holdouts? SENATE AIDE There were three, led by the junior senator from Massachusetts. Young guy, trying to make a name for himself. Didn’t like what you did to Oppenheimer. STRAUSS What’s his name? The Senate Aide checks his tally... SENATE AIDE Uh... Kennedy. John F. Kennedy. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. OLDEN MANOR, BACK GATE OVERLOOKING THE INSTITUTE -- DAY (COLOUR) I approach Kitty, who’s been crying. KITTY Did you think if you let them tar and feather you the world would forgive you? It won’t. OPPENHEIMER We’ll see. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SENATE OFFICE -- DAY (B&W) Strauss listens to the hungry press pack beyond the door. He TURNS on the Senate Aide- (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 194. 8FLiX.com FYC SCREENPLAY DATABASE 20230904 (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 195. STRAUSS Goddamn it! You told me I’d be fine! SENATE AIDE Well, I didn’t have all the facts, did I? STRAUSS I did what was right for this country. They don’t want me in the Cabinet Room? Maybe they should just invite Oppenheimer instead. SENATE AIDE Perhaps they will. STRAUSS He turned the scientists against me. One by one. Starting with Einstein. I told you about that? About Einstein, by the pond? The Senate Aide picks up Strauss’s hat and coat... SENATE AIDE You did. But, you know, sir, since nobody knows what they said to each other that day, is it possible they didn’t talk about you at all? Is it possible they spoke about something... Hands Strauss his hat and coat... SENATE AIDE (CONT’D) ...more important? Strauss looks at the Senate Aide like he wants to kill him. The Senate Aide OPENS the office door and the FLASHBULBS EAT STRAUSS ALIVE as we- CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LAKESIDE, INSTITUTE FOR ADVANCED STUDY, PRINCETON -- DAY (COLOUR) I approach the figure by the lake. The figure’s hat BLOWS off, releasing a mass of GREY CURLS. Strauss watches from the doorway as I scoop up Einstein’s hat... EINSTEIN Robert. The man of the moment. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 195. (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 196. I hand him his hat. He looks out at the lake. EINSTEIN (CONT’D) You once had a reception for me at Berkeley. Gave me an award. You all believed I’d lost the ability to understand what I’d started. So that award wasn’t for me... it was for all of you. Einstein turns to me. EINSTEIN (CONT'D) (CONT’D) Now it’s your turn to deal with the consequences of your achievements. And one day... when they’ve punished you enough...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CABINET ROOM, WHITE HOUSE -- DAY Dozens of formally attired GUESTS. Kitty by my side. Many faces, now older, are there - Rabi, Lawrence, Frank, Jackie... EINSTEIN (V.O.) They’ll serve salmon and potato salad, make speeches, give you a medal... LYNDON JOHNSON places a MEDAL around my neck. I SMILE and shake the President’s hand. Kitty BEAMS as she, in turn, shakes Johnson’s hand... Frank comes up to me, gives me a quick embrace- FRANK You’re happy, I’m happy... OPPENHEIMER Then I’m happy you’re happy. Lawrence claps me on the shoulder, smiling affectionately... EINSTEIN (V.O.) Pat you on the back and tell you all is forgiven... Teller approaches, I smile and take his offered hand... EINSTEIN (V.O.) Just remember. It won’t be for you... (CONTINUED)Gadget 2023-04-21 FINAL Shooting Script 196. 8FLiX.com FYC SCREENPLAY DATABASE 20230904 Gadget 2023-04-21 FINAL Shooting Script 197. Teller turns to Kitty, offering the same smile and handshake... EINSTEIN (V.O.) ...it’ll be for them. Kitty STARES Teller down, letting his hand hang in the air like a WILTING PLANT... and we- CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LAKESIDE, INSTITUTE FOR ADVANCED STUDY, PRINCETON -- DAY Einstein TURNS to leave. Up the hill, Strauss approaches... OPPENHEIMER Albert? When I came to you with those calculations? Einstein pauses. I watch raindrops make circles on the surface of the pond OPPENHEIMER (CONT'D) (CONT’D) We were worried that we’d start a chain reaction that would destroy the entire world... EINSTEIN I remember it well. What of it? OPPENHEIMER I believe we did. Einstein PALES. TURNS, passing Strauss without a word. The sound of FEET STAMPING... CLOSE IN ON: my staring eyes as I visualize THE EXPANDING NUCLEAR ARSENALS OF THE WORLD... THE FEET, FASTER AND FASTER- When I can take it no longer, I JAM my eyes CLOSED and we- CUT TO BLACK. CREDITS. END.Gadget 2023-04-21 FINAL Shooting Script 197.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. LOTTERY DRAWING - DAY (FILE FOOTAGE) 2 2 A few well-scrubbed young men from the Youth Draft Advisory Committee stand over a goldfish bowl containing capsules. One of the young men pulls a capsule and reads it as if someone’s won something-- YOUNG MAN June 3rd. All those whose birthday falls on June 3rd--,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT./EXT MAILBOXES - DAY/NIGHT 3 3 We see a SERIES OF TIGHT SHOTS of different kinds of mailboxes being opened--rural, suburban, apartment building, etc., all of it under-- REPORTER #1 (V.O.) President Johnson announced new monthly draft totals increasing to 35,000 per month-- REPORTER #2 (V.O.) 43,000 per month-- REPORTER #3 (V.O.) 51,000 per month-- REPORTER #4 (V.O.) 382,386 men between the ages of 18 and 24 have now been called to duty. 2.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. RURAL MAILBOX TREE - DAY 4 4 A line of mailboxes sit on the side of a rural road. One of them is open. We move down and see mail scattered at the feet of a young black man, 18, slumped down on the ground, his induction notice shaking in his hands. MARTIN LUTHER KING (V.O.) It should be incandescently clear that no one who has any concern for the integrity of life in America today can ignore the present war--",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BALLROOM - NIGHT (FILE FOOTAGE) 5 5 KING continues-- MARTIN LUTHER KING If America’s soul becomes poisoned, part of the autopsy must read “Vietnam”, And we HEAR the rifle shot that killed him RING OUT as we FLASH CUT TO: FAMOUS PHOTOGRAPH--(FILE FOOTAGE) 6 6 Three men pointing in unison to where the shot came from.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CAMPAIGN RALLY - NIGHT (FILE FOOTAGE) 7 7 It’s pouring rain and Robert Kennedy is talking to a crowd of people who have just heard the news-- ROBERT KENNEDY (V.O.) What we need in the United States is not hatred, but love and wisdom. So I ask you to return home and say a prayer for the family of Martin Luther King. We HEAR the GUN SHOT that killed Kennedy--",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. AMBASSADOR HOTEL - NIGHT (FILE FOOTAGE) 8 8 As screaming chaos engulfs the candidate.2. 3.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. LOTTERY DRAWING - DAY (FILE FOOTAGE) 9 9 YOUNG MAN April 22nd. All those whose birthday falls on April 22nd-- The MUSIC CONTINUES--,SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAMPUS AUDITORIUM - NIGHT 10 10 RENNIE We were there. RENNIE DAVIS, mid-20’s, wearing a short-sleeved white shirt and tie, is speaking to a standing room only crowd of students. In contrast to the cliche of the times, most of the students are fairly conservatively dressed. On the movie screen is footage of a Vietnamese village-- RENNIE(CONT'D) We didn’t see Vietnamese soldiers. What we saw were population centers. Schoolhouses, pagodas, women and children. Suddenly the movie screen fills with huge explosions of yellow, black and searing white. RENNIE(CONT'D) And that’s American napalm. The women and children were burned alive. Tom? TOM HAYDEN steps out from the darkness. He’s 30, handsome and serious. TOM The Democratic Party is going to nominate Hubert Humphrey next month in Chicago. We ID the two men with a chyron-- Tom Hayden Rennie Davis Leaders of the Students for a Democratic Society (SDS)3. 4.TOM(CONT'D) When it comes to the war, when it comes to social justice, there’s simply not enough of a difference between Hubert Humphrey and Richard Nixon to make a difference. APPLAUSE-- TOM(CONT'D) And so we’re going to Chicago. The APPLAUSE BUILDS-- TOM(CONT'D) Young people by busloads will go to Chicago to show our solidarity and our disgust and most importantly-- UNDERGROUND CLUB - NIGHT 11 11 ABBIE --to get laid by someone you just met. The place is seedy and packed with people and smoke. JERRY 536,000 of us sent to a country not one of these bumper sticker patriots in Washington could find on a map with a motherfuckin’ map! We ID the two men with a chyron-- Abbie Hoffman Jerry Rubin Leaders of the Youth International Party (Yippies) ABBIE We’re goin’ to Chicago. Anyone who stays in the park, sings Woody Guthrie, they’re gonna be fine. But the cops are gonna be a half-inch from losin’ their fuckin’ minds ‘cause Daley’s gonna wind ‘em up to make sure of it. We’re goin’ to Chicago peacefully. We’re going peacefully, but if we’re met there with violence, you better believe we’re gonna meet that violence with- -4. 5.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SUBURBAN DRIVEWAY - DAY 12 12 DAVE Non-violence. Always non-violence and that’s without exception. DAVE, 55, who looks like (and is) a Boy Scout Troop leader, is talking to his wife and young son as he loads a suitcase and some material for making placards into an old station wagon. We ID the man with a chyron-- David Dellinger Leader of the Mobilization to End the War in Vietnam (The Mobe) SON What if the police start hitting you? DAVE Why would the police start hitting me? SON What if they do? DAVE I’ll duck. MRS. DELLINGER David. He watches the news. DAVE Why? MRS. DELLINGER You taught him to! DAVE Guys. I’ve organized a hundred protests. This one isn’t going to be any different in that it almost certainly won’t work. The police-- MRS. DELLINGER I’m not worried about the police. And I’m not worried about Hayden and Rennie Davis. I’m worried about Hoffman and Rubin.5. 6.DAVE It’s the Democratic National Convention, honey, every camera in America is gonna be pointed at it and Daley isn’t gonna let his city become a theater of war. And Hoffman and Rubin are geniuses...in their own special way. MRS. DELLINGER Oh Jesus-- DAVE (re the SON) He’s got a Scout meeting tonight at 7. SON Dad-- DAVE If the police try to arrest me I’ll do what I always do and what I’ve taught you to do, which is what? (beat) Which is what? Tell me, bud. SON Very calmly and very politely--",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BLACK PANTHER HEADQUARTERS - NIGHT 13 13 BOBBY Fuck the motherfuckers up. BOBBY, 32, is talking to his girlfriend, SONDRA, and getting ready to leave. We’ll get a tour of Panther headquarters-- printing presses, maps, guns, body guards and women, a few of them white. BOBBY(CONT'D) They leave us alone and everything’s cool. They tangle, disrupt, intimidate, they play it fast and loose with the First Amendment-- SONDRA Robert-- BOBBY --they start breaking heads, then no, we will not be on our way.6. 7.We ID BOBBY with a chyron-- Bobby Seale National Chairman of the Black Panther Party SONDRA You can’t give this speech in Chicago. BOBBY Fred Hampton wants me there. SONDRA Let Fred give the speech. BOBBY Between Hayden and Hoffman there could be five-thousand people. It’d be nice to talk to five-thousand people. SONDRA Not while you’re in trouble in Connecticut. BOBBY Yes while I’m in trouble in--I’m the head of the Black Panthers, Sondra, when the hell am I not gonna be in trouble?! SONDRA You’re gonna be in a lot more of it if you stand up and say “Fry the pigs”! BOBBY “If they attack you”, you’re taking it out of cont",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","ext. SONDRA So will every white person in America, cops won’t give a shit about context and you don’t have enough protection in Chicago! BOBBY There’s no place to be right now but in it. SONDRA But fry the pigs?7. 8.BOBBY “IF THEY-- SONDRA Dr. King-- BOBBY --is dead! He has a dream? Well now he has a fuckin’ bullet in his head. Martin’s dead. Malcolm’s dead. Medgar’s dead. Bobby’s dead. Jesus is dead. They tried it peaceful. We’re gonna try something else. (pause) Sondra, I’ll be there for four hours, that’s it. SONDRA takes a pistol from a rack-- SONDRA You at least gonna take one of these? BOBBY If I knew how to use that I wouldn’t need to make speeches. CLOSE ON A TYPEWRITER 14 14 We see shards of an FBI confidential memo being banged out-- --Bureau letter of 5/10/68 instructed all offices to submit detailed analysis of potential counter-intelligence action against New Left organizations and Key Activists--",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COLLEGE CLASSROOM - DAY 15 15 JERRY’s demonstrating to the students-- JERRY It’s named after the Russian Commissar Vyacheslav Mikhailovich Molotov. You start with a glass bottle. CLOSE ON TYPEWRITER 16 16 --believe that the non-conformism in dress and speech, neglect of personal cleanliness--8. 9.COLLEGE CLASSROOM 17 17 JERRY You pack the styrofoam, and now your cherry bomb... CLOSE ON TYPEWRITER 18 18 --use of obscenities, drugs, sexual promiscuity-- COLLEGE CLASSROOM 19 19 JERRY Some chewing gum around the top. CLOSE ON TYPEWRITER 20 20 --these individuals are apparently getting strength and more brazen in their attempts to destroy American society-- COLLEGE CLASSROOM 21 21 JERRY lights a cigarette and fixes it to the top of the bottle with the chewing gum. JERRY(CONT'D) And a fuse.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. STREET - NIGHT 22 22 It’s almost completely dark as we hear a student shout-- STUDENT Now! And a small group of students throw Molotov cocktails which crash against the facade of a campus building. The explosions light up the building and reveal that it’s a U.S. ARMED FORCES RECRUITMENT CENTER.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. SDS OFFICE - NIGHT 23 23 TOM HAYDEN’s looking at a homemade map on the wall of the route from Grant Park to the convention center as volunteers roll out leaflets on a printing press. RENNIE DAVIS is on the phone. TOM (calling) Is that Jerry?9. 10.RENNIE Yeah. TOM Tell him to tell Abbie that we’re going to Chicago to end the war and not to fuck around. RENNIE (into phone) Tom says to tell Abbie that we’re going to Chicago to end the war and not to fuck around. INTERCUT WITH:,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. CRASH PAD - SAME TIME 24 24 JERRY’s on the phone and ABBIE’s getting high with some friends. JERRY Hayden says we’re going to Chicago to end the war and not to fuck around. ABBIE Tell Hayden I went to Brandeis and I can do both.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. UNDERGROUND CLUB - NIGHT 25 25 It’s the same place and the same night we first saw ABBIE and JERRY. ABBIE People say, you know, Abbie, are you concerned about an overreaction from the cops?",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. PRESS ROOM - DAY (FILE FOOTAGE) 26 26 MAYOR RICHARD DALEY at the podium-- DALEY I have issued by an order to shoot to kill any arsonist or anyone with a Molotov cocktail in his hand.10. 11.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. UNDERGROUND CLUB 27 27 ABBIE We’re not concerned about it.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. TARMAC - DAY (FILE FOOTAGE) 28 28 Rows and rows of National Guardsmen are coming off a transport plane-- REPORTER #5 Four units of the Illinois National Guard, totaling 5000 troops, have been deployed to Chicago--",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. UNDERGROUND CLUB 29 29 ABBIE We’re counting on it.,SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PRESS CONFERENCE - DAY 30 30 TOM is at the podium-- TOM We want to underscore again that we’re coming to Chicago peacefully, but whether we’re given permits or not, we’re coming.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. TRAINING GROUND - DAY (FILE FOOTAGE) 31 31 A REPORTER is delivering his stand-up as riot police practice technique with tear gas canisters. REPORTER #6 An additional 10,000 Chicago police officers, including riot squads--",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. A DIFFERENT PRESS CONFERENCE - DAY 32 32 DAVE DELLINGER is at the podium. DAVE We are not going to storm the Convention with tanks or mace, but we are going to storm the hearts and minds of the American people.11. 12.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. CITY HALL PRESS CONFERENCE - DAY (FILE FOOTAGE) 33 33 GOVERNMENT OFFICIAL These people are revolutionaries bent on the destruction of the United States of America.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. CONVENTION CENTER - NIGHT (FILE FOOTAGE) 34 34 The huge arena is empty but we see the familiar signs for each state’s delegation. WALTER CRONKITE speaks into the camera very simply... WALTER CRONKITE A Democratic Convention is about to begin...in a police state. There just doesn’t seem to be any other way to say it. FADE TO BLACK TITLE: The Trial of the Chicago 7,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT./EST. JUSTICE DEPARTMENT - DAY 35 35 It’s a grey, rainy morning. TITLE: U.S. Department of Justice Office of the Newly Appointed Attorney General, John Mitchell",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MITCHELL’S OUTER OFFICE - DAY 36 36 RICHARD SCHULTZ and THOMAS FORAN are waiting on the couch. SCHULTZ, 33, is a bright lawyer with a pleasant if serious manner. FORAN is his boss. From their body language we can tell they’ve been called to the principal’s office. We ID the two men with a chyron-- Richard Schultz Thomas Foran Federal Prosecutors SECRETARY You’ve arrived at a moment in history.12. 13.SCHULTZ wasn’t sure what she just said or if she was even talking to him... SCHULTZ (pause) Pardon me? SECRETARY (pointing) They’re changing the picture. Sure enough, when SCHULTZ looks at what the secretary is talking about he sees a workman swapping out a large framed photo on the wall of Lyndon Johnson with one of Richard Nixon. SCHULTZ nods. The office door opens and HOWARD, a high-level Justice Department deputy steps out. HOWARD Tom. FORAN Howard. HOWARD You flew in alright? FORAN Sure. HOWARD Richard Schultz? SCHULTZ Yes sir. HOWARD Howard Ackerman, Special Advisor to the Attorney General. SCHULTZ Pleased to meet you. HOWARD Were you told what this is about? SCHULTZ No sir. Just to meet Mr. Foran at O’Hare this morning, that we were flying to Washington and that we were meeting Mr. Mitchell.13. 14.HOWARD Good. (noticing) They’re finally changing the goddamn picture. C’mon in. They follow HOWARD into--",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JOHN MITCHELL’S OFFICE - CONTINUOUS 37 37 JOHN MITCHELL is standing behind his desk, lighting a cigarette. MITCHELL As a matter of courtesy and tradition, when we elect a new president, the outgoing cabinet members resign to spare the new president the unpleasantness of firing them. You know when President Nixon received Ramsey Clark’s formal letter of resignation? SCHULTZ No, sir. MITCHELL About an hour before I was confirmed. That was to embarrass me. I don’t know, I think it was more embarrassing for Ramsey Clark. I’m John Mitchell. FORAN Thomas Foran, Mr. Attorney General, and this is Richard Schultz. MITCHELL Richard, Chicago was more fucked up than any ten things I’ve ever seen in my life. SCHULTZ Sir? HOWARD The convention. The riots. SCHULTZ Yes sir.14. 15.MITCHELL Johnny Walker okay with everybody? FORAN Thank you. MITCHELL Richard? SCHULTZ Nothing for me, thank you. MITCHELL We don’t know how Humphrey’s people could’ve been that stupid--allow their guy to get nominated under armed guard. (to SCHULTZ) You think that’s what lost him the election? SCHULTZ Sir? MITCHELL Son, are you nervous? SCHULTZ No sir. MITCHELL Why the fuck not? (beat) I’m kidding. Don’t believe everything you’ve heard about me. Ramsey Clark gives me the finger on the way out the door. I’m asking if you think Chicago is why Humphrey lost the election. SCHULTZ No sir, I think the Republicans ran a better candidate. MITCHELL That’s for damn sure. HOWARD And Daley didn’t help his party either but Humphrey’s people and Daley didn’t break the law so that’s someone else’s table.15. 16.SCHULTZ Well as a matter of fact, sir, we don’t believe any federal laws were broken last summer. Mr. Foran had our office run a thorough investigation. Plenty of trespassing, destruction of public property, lewd behavior I suppose, but-- MITCHELL starts laughing. So does HOWARD. So SCHULTZ stops talking for a brief moment before-- SCHULTZ(CONT'D) ...nothing rising to the level of-- MITCHELL Do you think you and your boss are in the Attorney General’s office because I want you to seek an indictment for violating a federal trespassing law? SCHULTZ Sir, our office wasn’t aware the Justice Department wanted to seek any indictments at all. MITCHELL We do. SCHULTZ Ramsey Clark was dead set against bringing federal-- MITCHELL Ramsey Clark doesn’t run the Justice Department anymore, did you hear about that? And Mr. Johnson’s back home in Texas. SCHULTZ Of course, sir. MITCHELL One hour before my confirmation hearing gaveled, that’s when he resigned. What a prick. SCHULTZ It was unprofessional, sir.16. (MORE)17.MITCHELL Unprofessional, it was unpatriotic. And I’ll tell you what else--it was impolite. There’s such a thing as manners. I want to bring back manners, how ‘bout that. The America I grew up in. Will you help me, Mr. Schultz? ‘Cause I asked Mr. Foran who was the best prosecutor in his office and he said you. SCHULTZ Thank you. HOWARD tosses SCHULTZ a file-- HOWARD Section 2101 of Title 18. MITCHELL That’s the federal law that was broken. SCHULTZ That’s the Rap Brown law. HOWARD Conspiracy to Cross State Lines in Order to Incite Violence. It comes with a ten-year maximum and we want all ten. SCHULTZ For whom, sir? HOWARD tosses SCHULTZ another file-- HOWARD The all-star team. SCHULTZ looks at the top page in the file-- SCHULTZ Abbie Hoffman, Jerry Rubin, Tom Hayden, Rennie Davis, Dave Dellinger, Lee Weiner, John Froines...and Bobby Seale? MITCHELL I call them the schoolboys, and when I do, everyone here knows who I’m talking about. Petulant and dangerous. (MORE)17. MITCHELL (CONT'D)18.And we’ve watched for a decade while these rebels without a job who’ve never bothered to get their hands dirty fighting the enemy tell us how to prosecute a war. The decade’s over, the grown-ups are back and I deem these shitty little fairies to be a threat to national security so they’re gonna spend their 30’s in a federal facility. Real time. FORAN You’re lead prosecutor, Richard. You understand why I couldn’t tell you until we got here. SCHULTZ Sure. Yes sir. There’s an awkward silence... HOWARD Richard, you’re being given the ball, are you ready to do this? SCHULTZ You pay me for my opinion. MITCHELL What? SCHULTZ I said, sir, you pay me for my opinion? MITCHELL Where did you learn that, in class? I pay you to win. SCHULTZ I’m not sure we can get a good indictment on conspiracy. MITCHELL Why not? SCHULTZ For one thing, some of these people had never met each other. MITCHELL Telephones.MITCHELL (CONT'D)18. 19.SCHULTZ Mr. Attorney General, the Rap Brown law was created by southern whites in Congress to limit the free speech of black activists. (beat) Civil Rights activists who were coming in from the-- MITCHELL I know why it was--why the fuck is he teaching--It doesn’t matter to why the law was passed, it matters what it can do. SCHULTZ We’re not sure what it can do because no one’s ever been charged with it. FORAN That makes it exciting, it’s virgin land. Undeveloped real estate. MITCHELL It’s a law and they broke it. SCHULTZ Of course. MITCHELL Is there a problem? SCHULTZ No sir. MITCHELL Say what you want to say since apparently I’m paying you for your wisdom. Gimme my money’s worth. SCHULTZ There will be people who’ll see this as the Justice Department restraining free speech and there will people who’ll see these men as martyrs. MITCHELL Are any of those people in this room?19. 20.SCHULTZ (beat) No sir. MITCHELL You’re 33 and you’re about to be named lead prosecutor in the most important trial in your lifetime after having been hand-picked by the Attorney General, I’m about to do it right now. But before I do, let me ask you, how do you see them? SCHULTZ (beat) Personally or in terms of-- MITCHELL Personally. SCHULTZ I see them as vulgar, anti- establishment, anti-social and unpragmatic, but none of those things are indictable. MITCHELL Then imagine how impressed I’ll be when you get an indictment. SCHULTZ And there’s the bigger question. MITCHELL Which is? SCHULTZ Who started the riot? Was it the protestors or was it the police? MITCHELL The police don’t start riots. SCHULTZ They’ll have witnesses who’ll say they started this one. MITCHELL And you’ll dismantle them. And you’ll win. Because, Mr. Schultz, that’s what’s expected of you.20. 21.SCHULTZ (beat) Yes sir.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MITCHELL’S OUTER-OFFICE - DAY 38 38 As SCHULTZ and FORAN step out and the door closes behind them. FORAN (quietly) You didn’t show a lot of gratitude in there. SCHULTZ (quietly) On top of everything else, we’re giving them exactly what they want-- a stage and an audience. FORAN You really think it’s going to be a big audience? And we HEAR a CROWD start to chant--faint at first but then growing in volume-- CROWD (V.O.) The whole world is watching! The whole world is watching! The whole world is watching!... SCHULTZ closes his eyes for a moment and shakes his head slightly at the cluelessness of Foran’s question. SCHULTZ Yes sir, I do. And SCHULTZ exits first as we CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. COURTHOUSE - DAY 39 39 We see the source of the chanting--a massive crowd being held back by rope lines and police officers. While most of the crowd is shouting its support of the defendants, a healthy number are making it clear they find the defendants’ hair too long and politics too left and are urging them to go live someplace else.21. 22.We whip-pan to different signs: “Free the Chicago 7”; “Out of Vietnam Now!”; “What About White Civil Rights?”; “Love It Or Leave It!”, etc.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COURTHOUSE ROTUNDA - SAME TIME A40 A40 A couple of POLICE OFFICERS escort ABBIE and JERRY through the front doors and through the rotunda. Press and photographers are being held back by a velvet rope as flashbulbs spray-- ABBIE You alright? JERRY I was until I saw this. ABBIE Most of them are on our side. Someone from the crowd shouts out-- CROWD MEMBER (shouting) We love you, Abbie! ABBIE turns to flash the guy a peace sign when the guy throws an egg at him. Incredibly, JERRY grabs the egg out of the air without breaking it as the POLICE OFFICERS head into the crowd to find the guy who threw it. ABBIE Jesus Christ. How did you do that? JERRY Experience. JERRY stands there a moment... ABBIE You don’t know what to do with the egg now, do you. JERRY No. They head through the rotunda as we-- CUT TO:22. 23.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COURTHOUSE CORRIDOR - DAY 40 40 The corridor’s lined with press. The elevator dings and the doors open as WILLIAM KUNSTLER and LEONARD WEINGLASS step off. KUNSTLER is a rumpled man in his 40’s and WEINGLASS is quieter though no less a legal mind. The reporters immediately start shouting questions. KUNSTLER Hang on, quiet down please. I want you all to meet a new addition to the defense team, this is Leonard Weinglass, one of this country’s most talented First Amendment litigators. REPORTER (SY) Bill, can you tell us-- KUNSTLER (quieting the others) Go ahead, Sy. SY Can you tell us the status of Charles Garry? KUNSTLER Charles Garry is still in the hospital and you should contact his office for information. Marjorie. MARJORIE Does that mean you’re representing Bobby Seale today? KUNSTLER It’s very important that it be understood that for his own protection, I am not acting as Bobby Seale’s attorney today. One more. Jack. JACK Bill, I was told that it was Hayden who wanted to bring Mr. Weinglass in. That Hayden has concerns about your seriousness. KUNSTLER Well--23. 24.WEINGLASS This is William Kunstler. You want to find out how serious he is, meet him at a witness stand. KUNSTLER Thank you, ladies and gentlemen. KUNSTLER and WEINGLASS head into--",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DEFENSE CONFERENCE ROOM - DAY 42 42 This is the room where the defendants will meet privately with their lawyers during recesses. There’s a carton of deli sandwiches on the table and some cokes. The defendants and lawyers are filing in. TOM’s the last one in and he slams the door behind himself, which gets everyone’s attention. TOM We have to make a decision right now--a decision I just assumed we’d already made four months ago when trial prep began. Are we using this trial to defend ourselves against very serious charges that could land us in prison for 10 years or are we using it to say a pointless fuck you to the establishment? JERRY Fuck you. TOM That’s what I was afraid--Wait, I don’t know if you were saying “fuck you” or answering the question. ABBIE I was also confused. JERRY If we leave here without saying anything about why we came in the first place, it’ll be heartbreaking. TOM If the jury finds us guilty we’re not gonna be leaving here at all. And the only thing we need to say about why we came is that it wasn’t to incite violence. DAVE I’m with Jerry. TOM (beat) Why? DAVE The trial shouldn’t be about us.37. 38.TOM I would love it if it wasn’t about us but it definitely is. John? Lee? FROINES Yeah. WEINER Yes sir. TOM Do you guys want to say anything? WEINER Does anyone think our judge might be crazy? TOM The judge isn’t our problem. FROINES Give it time ‘cause I think he’s gonna be. TOM I’m talking about us. Abbie, you can’t talk back to the judge. And Jerry--Jesus. ABBIE (finally speaking up) Did you get a haircut just for court? TOM (pause) I did. ABBIE You did. You got a haircut for the judge. That’s--I can’t even--that is so foreign to me. TOM So’s soap. ABBIE Zing.38. 39.TOM Let me explain something--it took you two less than five minutes to make us look exactly like what Schultz is trying to make us look like. JERRY I don’t have a problem with what we look like. ABBIE Jerry likes what we look like. John? Lee? FROINES Yeah. WEINER I always feel like I’m ten-pounds too heavy, but yeah. ABBIE Dave? DAVE I don’t like when we fight. ABBIE Rennie? RENNIE Tom should be heard. ABBIE And he was. But when we walked in here this morning they were chanting that the whole world is watching. This is it, we’re on. This is what revolution’s gonna look like. Real revolution. Cultural revolution. TOM Why did you come here? ABBIE I got an invitation from a grand jury. TOM Last summer. Why did you come to the convention?39. 40.ABBIE To end the war. TOM Guys, before you tether yourselves to this man, just know that the very last thing he wants is for the war to end. DAVE Hang on-- TOM I don’t have time for cultural revolution. It distracts from actual revolution. KUNSTLER Alright, did everybody get everything off their chests? The door opens and FRED HAMPTON comes in-- FRED (to KUNSTLER) What in the name of hell was that?! KUNSTLER Evidently not. FRED You stood up and spoke for Bobby. KUNSTLER I made it very clear I’m not his lawyer. FRED I’d like to sit in on these meetings. KUNSTLER You can’t. FRED I think I will anyway. KUNSTLER Fred-- FRED Bobby’s life is at stake and you guys are playin’ to the crowd?40. 41.TOM Thank you. FRED Shut up. The white guys are in a furnished room while Bobby’s in a holding cell. KUNSTLER The white guys are free on bail. Bobby’s locked up ‘cause he’s under arrest in Connecticut for killing a cop, it’s not like he refused to give up his seat on a bus. WEINGLASS You have to convince him to let Bill and me represent him, just for today at least. KUNSTLER The judge is-- JERRY Fuckin’ nuts. KUNSTLER --a little hostile, and I’m sure Garry didn’t anticipate that. FRED (pause) He’s innocent in Connecticut. KUNSTLER Alright. FRED He’s never killed anyone. It’s important you all know that. KUNSTLER You have to try to convince him. FRED I can’t. KUNSTLER Try. FRED I have! (beat) He needs to do it his way. 41. 42.KUNSTLER Keep trying, alright? FRED nods. A MARSHAL sticks his head in the door-- MARSHAL We’re back. The MARSHAL exits. KUNSTLER Let’s go. Abbie, Jerry, unless you’re asked a direct question, shut your mouths while we’re in that room. ABBIE (barely audible) This is a political trial. KUNSTLER What? ABBIE This is a political trial. That was already decided for us. Ignoring that reality is just...weird to me. KUNSTLER There are civil trials and there are criminal trials. There’s no such thing as a political trial. ABBIE (beat--smiles) Okay. ABBIE heads out with everyone else. WEINGLASS stops TOM for a moment... WEINGLASS Abbie’s smarter than you think he is. TOM Cows are smarter than I think he is. They walk out the door as we CUT TO:42. 43.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COURTROOM - DAY 43 43 DAVID STAHL is on the stand. STAHL S-T-A-H-L. TITLE: Trial Day 3 SCHULTZ What is your occupation? STAHL I am the mayor’s administrative officer. SCHULTZ Calling your attention to March 26th, 1968, did you have a meeting on that day? STAHL Yes. SCHULTZ With whom?",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. STAHL’S OFFICE - DAY 44 44 As ABBIE and JERRY step in. STAHL Mr. Hoffman, Mr. Rubin is it? ABBIE Abbie and Jerry’s fine. CUT BACK TO:",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COURTROOM - DAY 45 45 SCHULTZ What was said at the meeting?43. 44.STAHL I was told that the Youth International Party would be holding a Festival of Life in Grant Park during the Democratic National Convention, that there would be thousands of young people attending and that there would be rock bands playing in the park.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. STAHL'S OFFICE - DAY 46 46 JERRY Music will be performed. STAHL Rock music? JERRY I would think. CUT BACK TO:,SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COURTROOM - DAY 47 47 STAHL They also said there would be public fornication. SCHULTZ Say that again, sir?",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. STAHL’S OFFICE - DAY 48 48 JERRY Public fornication. STAHL You’re asking for a parks permit for public-- JERRY Yeah. ABBIE And rock music. STAHL No. Of course not.44. 45.ABBIE What if it was R&B? CUT BACK TO:,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. COURTROOM - DAY 49 49 SCHULTZ Did you issue the permits? STAHL I did not. SCHULTZ And what if anything did Abbie Hoffman say when you denied the request for the permits?,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. STAHL'S OFFICE - DAY 50 50 ABBIE Mr. Stahl, you need to understand something. There’s going to be a Festival of Life in Grant Park and it will be held during the convention. Bands will play rock music. There will be public fornication, likely some of it with the wives and mistresses of delegates. Psychedelic long-haired leftists will consort with dope users. And we’re going to insist that the next President of the United States stop sending our friends to be slaughtered. These things are going to happen whether you give us the permit or not. STAHL looks at them for a long moment... STAHL The hotel rooms will be filled with delegates. Where will people sleep? ABBIE Some people will sleep in tents. Others will live frivolously. STAHL How many people are coming here?45. 46.JERRY A lot. STAHL What’s alot? A thousand? Two- thousand? JERRY Ten-thousand. STAHL Jesus Christ. ABBIE Right? CUT BACK TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. COURTROOM - DAY 51 51 SCHULTZ Did Abbie Hoffman add something at the end of that meeting? STAHL Yes. SCHULTZ What did he say? STAHL He said--,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. STAHL'S OFFICE - DAY 52 52 ABBIE Or you could gimme a hundred grand and I could call the whole thing off. CUT BACK TO:,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COURTROOM - DAY 53 53 SCHULTZ Thank you. JUDGE HOFFMAN Mr. Feinglass?46. 47.WEINGLASS Weinglass, sir. Mr. Stahl, the meeting you just described with Mr. Hoffman and Mr. Rubin, was that the only meeting you had with any of the defendants? TITLE: Trial Day 4 STAHL No. WEINGLASS On August 2nd you had a meeting with Tom Hayden and Rennie Davis.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. STAHL'S OFFICE - DAY 54 54 TOM and RENNIE are stepping in. They’re in coats and ties. TOM Tom Hayden. RENNIE Rennie Davis. CUT BACK TO:,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. COURTROOM - DAY 55 55 WEINGLASS And on August 12th you had a meeting with David Dellinger.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. STAHL'S OFFICE - DAY 56 56 STAHL (to DAVE) I’ll tell you the same thing I told the others. CUT BACK TO:47. 48.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COURTROOM - DAY 57 57 WEINGLASS There were two more meetings with Tom and Rennie--on the 10th and 12th of August--and there was one more meeting with David Dellinger on the 26th. STAHL I can’t be sure of the dates. WEINGLASS I can be sure, they’re recorded in the log at City Hall. STAHL Okay. WEINGLASS And at each meeting, a request was made for a permit to demonstrate in Grant Park during the convention.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. STAHL'S OFFICE - DAY 58 58 DAVE Mr. Stahl, we intend a peaceful demonstration. We’re not interested in violence or disturbing the delegates. CUT BACK TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. COURTROOM - DAY 59 59 WEINGLASS And at each meeting the request for permits was denied.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. STAHL'S OFFICE - DAY 60 60 TOM and RENNIE are meeting with STAHL-- STAHL I’ll tell you the same thing I told Mr. Hoffman, Mr. Rubin and Mr. Dellinger-- TOM Sir--48. 49.STAHL There will be no demonstrations within sight of the Hilton. TOM We need to demonstrate near the Hilton, that’s where the convention is. STAHL There will be no demonstrations within sight of the Hilton. TOM Okay, but the thing is, there will be. STAHL Is that a threat, Mr. Hayden? TOM No. We’re cautioning you. Thousands of people are coming to Chicago and if they’re not given a place to demonstrate they’re gonna demonstrate wherever they’re standing. It’s reckless, irresponsible and foolishly dangerous of the city not to develop a contingency plan. We’re gonna need police security and first aid, traffic control, water, sanitation-- CUT BACK TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COURTROOM - DAY 61 61 WEINGLASS So five times you were asked for a permit, five times you were advised of the dangers of not providing a location to demonstrate, not providing-- STAHL I don’t take my instructions from the defendants, sir. WEINGLASS No you don’t.49. 50.STAHL No I don’t. WEINGLASS You take them from Mayor Daley. STAHL says nothing... WEINGLASS(CONT'D) You’re appointed by the mayor and you serve at his pleasure? STAHL Yes. WEINGLASS And you’re subject to removal in the same manner by the mayor? STAHL (beat) Yes. KUNSTLER Thank you. JUDGE HOFFMAN Further cross examination, Mr. Kunstler? KUNSTLER Yes, sir. Mr. Stahl-- JUDGE HOFFMAN Excuse me, Mr. Seale, would you identify the man sitting behind you? (beat) Mr. Seale? BOBBY No sir. JUDGE HOFFMAN No? BOBBY That’s right. JUDGE HOFFMAN Why not? BOBBY He’s not on trial here.50. 51.JUDGE HOFFMAN Mr. Seale, identify the man sitting behind you. FRED leans in and whispers something to BOBBY... BOBBY His name is Fred Hampton. JUDGE HOFFMAN Let the record indicate that Mr. Hampton is the head of the Chicago chapter of the Black Panther Party. KUNSTLER Your Honor, Mr. Hampton isn’t at the bar, why is the record identifying him at all? JUDGE HOFFMAN Mr. Hampton is clearly giving Mr. Seale legal advice. BOBBY My lawyer is Charles Garry. KUNSTLER Excuse me, sir, but for all you know Mr. Hampton is giving Mr. Seale the score of the White Sox game. JUDGE HOFFMAN I will assume that he’s not. KUNSTLER Why? JUDGE HOFFMAN Because that’s what happens when you don’t have a lawyer. The Court assumes that you’re being represented by the Black Panther sitting behind you. Continue. KUNSTLER Mr. Stahl, when Abbie offered to call the whole thing off for a hundred-thousand dollars, did you think he was serious or did you think he was making a joke?51. 52.STAHL I had no reason not to think he was serious. KUNSTLER Really? STAHL Yes. KUNSTLER Do you know what extortion is? STAHL Yes. KUNSTLER Do you know that it’s a felony? STAHL Yes. KUNSTLER Okay, so when you called the FBI and told them about Mr. Hoffman’s attempt to extort a government employee, what’d they say? STAHL I didn’t call the FBI. KUNSTLER Sorry, when you called the U.S. Attorney and reported the attempted extortion, what’d their office say? STAHL I didn’t call the U.S.-- KUNSTLER Cook County D.A. then, did you call them? STAHL No sir. KUNSTLER How ‘bout the chief of police? STAHL Mr. Kunstler--52. 53.KUNSTLER How ‘bout the police officer posted outside the mayor’s office? How ‘bout the mayor? Mr. Stahl, I’m going to ask you again. When Abbie asked for a hundred-thousand dollars to call the whole thing off, did you think he was serious or did you know it was a joke? STAHL I had no reason not to believe he was serious. KUNSTLER Alright, and along with extortion, you know that perjury’s a crime, right? SCHULTZ Objection. JUDGE HOFFMAN Sustained and strike it. In fact, strike the entirety of Mr. Stahl’s testimony under cross-examination and the jury is instructed to disregard it. KUNSTLER You’re striking the entire cross- examination? JUDGE HOFFMAN I gave you and co-counsel Feinglass ample latitude to demonstrate relevance and-- KUNSTLER Co-counsel’s name is Weinglass and Mr. Stahl’s testimony under cross- examination was completely-- JUDGE HOFFMAN You’ve interrupted the court again, Mr. Kunstler. KUNSTLER (pause) Move to reinstate testimony. JERRY AND ABBIE Overruled.53. 54.JUDGE HOFFMAN Overruled. KUNSTLER Exception. JUDGE HOFFMAN Noted. Are there any further questions? KUNSTLER Yes sir. Mr. Stahl, in any of these meetings, did any of the defendants say that if you didn’t grant them permits that they would do violent acts to the city? STAHL Not precisely in that language. KUNSTLER Did they do it in any language? STAHL Yes, they said permits for the parks should be issued in order to minimize destruction. KUNSTLER Did they indicate from whom the destruction would come? STAHL The destruction didn’t come from the Chicago Police Department if that’s what you’re suggesting. KUNSTLER I wasn’t suggesting that, you just did. No more questions. BOBBY I’d like to cross-examine the witness, Your Honor. JUDGE HOFFMAN You may not. BOBBY (to STAHL) Have you ever met me?54. 55.JUDGE HOFFMAN Sit, Mr. Seale. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MAKE-SHIFT PRESS ROOM - EARLY EVENING A62 A62 ABBIE and JERRY are sitting at a table in front of a dozen microphones. TV news cameras line the back of the room. REPORTER #7 Why won’t Bobby Seale let anyone represent him? JERRY You’ve posed that question in the form of a lie. The press conference continues in VO as we CUT TO:,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT./EST. STREET IN HYDE PARK - NIGHT 62 62 We’re outside a house where all the lights on the ground floor are on. Several photographers are waiting out front. A taxi pulls up and KUNSTLER gets out to a spray of flashbulbs. He pays the driver and disappears into the house as JERRY continues-- JERRY (VO) Bobby Seale’s lawyer is Charles Garry who’s in the hospital right now. A motion was made for postponement and it was denied by a judge who just for the heck of it is suspending due process for a while.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CONSPIRACY OFFICE - SAME TIME 63 63 It’s a second-floor, three-bedroom apartment but the whole place resembles a dorm that’s been taken over by a college newspaper. Young women are everywhere working the phones or opening bags of mail. Court documents are in piles on tables and on the floor. A big board shows the schedule of witnesses and the walls are adorned with posters including ones that read “FREE THE CHICAGO 7”. 55. 56.BERNADINE (into the phone) Conspiracy office, can you hold on? (another line) Conspiracy office, can you hold on? KUNSTLER Maybe you don’t want to call it the conspiracy office. BERNADINE They understand irony and appreciate the humor. KUNSTLER I wouldn’t count on it. BERNADINE Most people are smart, Bill. KUNSTLER If you believe that, you’re gonna get your heart broken every day of your life. BERNADINE (to KUNSTLER) Hang on. (she goes back to the first caller) Hi, how can I help you? KUNSTLER (quietly) Messages? BERNADINE (into the phone) We sure do take contributions, we’ve got high-priced lawyers. KUNSTLER The high-priced lawyers are working for free, it’s the support staff that needs-- BERNADINE (into phone) We can’t take grass. ABBIE heard that and calls to Bernadine like she’s crazy-- ABBIE Hey!56. 57.BERNADINE (into the phone) Yeah, Abbie says we’ll take the weed. KUNSTLER (quietly) Messages. BERNADINE hands him a stack of messages-- BERNADINE (into the phone) Lemme give you our mailing address. KUNSTLER heads into--",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. DINING ROOM - CONTINUOUS 64 64 TOM and WEINGLASS are at the table with piles of documents. KUNSTLER I don’t want you guys holding press conferences. TOM If you’re gonna get between Abbie and a camera I’d wear pads and a helmet. KUNSTLER We had a good day. (to WEINGLASS) Tell him we had a good day. WEINGLASS 6 and 11? KUNSTLER Yeah. TOM What does that mean? WEINGLASS Jurors 6 and 11. They’re with us. TOM How do you know?57. 58.WEINGLASS 6 made sure I saw a copy of a James Baldwin novel under her arm and 11’s been nodding during the Stahl cross. TOM Falling asleep? WEINGLASS (demonstrating) Nodding. Agreeing. KUNSTLER walks out into--,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. CONSPIRACY OFFICE - CONTINUOUS 65 65 --where the press conference is now playing on the TV. REPORTER #8 (O.S. FROM THE TV) Would you have taken a hundred- thousand dollars to call the whole thing off? ABBIE (FROM THE TV) I’d have taken a hundred-thousand dollars. As for calling it off... REPORTER #9 (O.S. FROM THE TV) How much is it worth to you? What’s your price? ABBIE (FROM THE TV) To call off the revolution? REPORTER #9 (O.S. FROM THE TV) What’s your price? ABBIE drops the comedy... ABBIE (FROM THE TV) My life. KUNSTLER clocks that and we CUT TO:,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. COURTROOM - DAY 66 66 Everyone’s in their places but the BAILIFF and a MARSHALL are at the bench. They’ve given a note to JUDGE HOFFMAN and he’s looking it over. 58. 59.No one knows what’s going on and everyone’s waiting to find out. TITLE: Trial Day 23 FROINES leans into WEINER-- FROINES (quietly) Any idea what’s going on? WEINER (quietly) It’s been years since I’ve had any idea what was going on. JUDGE HOFFMAN I’m going to adjourn the court for the day and see counsel in my chambers in 15 minutes. He raps his gavel. Everyone stands as he exits but no one knows what’s going on. CUT TO:,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JUDGE HOFFMAN’S CHAMBERS - DAY 67 67 As the lawyers walk in and a MARSHAL closes the door. JUDGE HOFFMAN It’s been brought to my attention that two of the jurors have received threatening notes from a member or members of the Black Panther Party. KUNSTLER Which two jurors? JUDGE HOFFMAN Juror number 6 and Juror number 11. It was slipped into the mail at the homes of their parents. KUNSTLER 6 and 11. JUDGE HOFFMAN (to the MARSHAL) Bring in Juror 6.59. 60.The MARSHAL opens a side door and brings in JUROR #6. She’s 23-years old and nervous to be brought into chambers. KUNSTLER Judge, I wonder if we could-- JUDGE HOFFMAN Juror Number 6, how are you? JUROR #6 I’m fine. KUNSTLER Judge, before we speak to-- JUDGE HOFFMAN (stopping him) Please. (to JUROR #6) Your parents received this note in their mail this morning. They called the police as they should have done. I’d like you to take the note and read it out loud. JUROR #6 My parents? KUNSTLER Your Honor-- JUDGE HOFFMAN Please read the note out loud. JUROR #6 takes the note from the MARSHAL... JUROR #6 (reading) “We’re watching you.” JUDGE HOFFMAN And you see who’s signed it. JUROR #6 “The Panthers”. JUDGE HOFFMAN And you understand that to mean the Black Panthers, don’t you? Very shaken, she nods yes.60. 61.JUDGE HOFFMAN(CONT'D) And you understand that defendant Bobby Seale is the head of the Black Panthers. KUNSTLER Judge-- JUDGE HOFFMAN He’s the Chairman of the Black Panther Party. She nods yes. JUDGE HOFFMAN(CONT'D) Do you still feel you can render a fair and impartial verdict? She says nothing... JUDGE HOFFMAN(CONT'D) Juror Number 6, your family has been threatened and so have you by members of an organization led by one of the defendants. KUNSTLER Judge, for the love of Christ-- JUDGE HOFFMAN stops him with one look... KUNSTLER(CONT'D) I apologize, Your Honor. JUDGE HOFFMAN I would think so. (beat) Do you still feel you can render a fair and impartial verdict? JUROR #6 (barely a whisper) No sir. JUDGE HOFFMAN You’re dismissed from this jury. Thank you for your service. Please bring in Juror Number 11. JUROR #6 (quietly to WEINGLASS) I’m sorry.61. 62.WEINGLASS (quietly) Keep reading James Baldwin. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JUDGE HOFFMAN’S OUTER-OFFICE - DAY 68 68 The doors open and the lawyers empty out. FORAN (to KUNSTLER) I thought the Panthers were smarter than that. KUNSTLER They are. FORAN Well-- KUNSTLER The Panthers don’t write letters any more than the mob does, and the moment I find out it was your office that did, you’re gonna see the criminal justice system up closer than you ever wanted to. KUNSTLER exits with WEINGLASS. SCHULTZ looks at FORAN...”Did we do this?”...FORAN says nothing and we CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CONSPIRACY OFFICE - NIGHT 69 69 A large folder gets dropped on the table and opened. It contains pictures of all the jurors and alternates. The two who were just dismissed get ripped out. KUNSTLER, WEINGLASS and the DEFENDANTS are standing or sitting around. TOM Who are the alternates? JERRY We’re gonna make this public.62. 63.KUNSTLER Help yourself. TOM Who are they? JERRY Somebody other than the FBI has to investigate that letter. KUNSTLER Who’d you have in mind, Jefferson Airplane? The FBI investigates-- JERRY This is bullshit! TOM Who are the alternates? JERRY Fuckin’ bullshit. DAVE Can we clean up our language? WEINGLASS Kay Richards. She’s a 27-year old dental hygienist. TOM That doesn’t sound too bad. KUNSTLER We think she’s dating a guy named Tom Bannercheck who works for Daley. And all the defendants starts chiming in-- ALL What?!, etc./ You let her be an alternate?!, etc./ Why would she be anywhere near that jury box?!/etc. They keep shouting as the lawyers simultaneously defend themselves. KUNSTLER (simultaneously) We were out of preemptory challenges.63. 64.WEINGLASS (simultaneously) She was an alternate and we were out of preemptory challenges. TOM How did that happen? KUNSTLER It was her or the Korean War vet who kicked his son out of the house for protesting the Vietnam-- you don’t have to be Clarence Darrow to- - JERRY Did they manipulate the jury pool? How come there’s nobody who looks like me? KUNSTLER Raise your hand if you’ve ever shown up for jury duty. Nobody raises their hand... KUNSTLER(CONT'D) Then shut the fuck up. During this, an ASSISTANT has come in and handed a note to WEINGLASS. WEINGLASS has read it now-- WEINGLASS Bill. KUNSTLER Yeah. WEINGLASS hands the note to KUNSTLER, who reads it... TOM What? WEINGLASS He’s sequestering the jury. There’s silence in the room... JERRY ‘Course he is. JERRY exits.64. 65.ABBIE No such thing as a political trial. Good to know. ABBIE exits. KUNSTLER (to WEINGLASS) I want an expert in geriatric psychiatry sitting in the gallery for a few days. I want a medical evaluation of this judge. KUNSTLER heads out and WEINGLASS goes into the living room, where the end of the nightly news is playing on the TV. WEINGLASS The sequester’s probably a reaction to Abbie doing stand-up on the weekends. ABBIE It’s not stand-up. WEINGLASS It’s you in a college auditorium in a spotlight telling jokes, right? ABBIE Little reductive. JERRY Hey. JERRY’s pointing out something on the TV. Everyone starts to stand in silence, facing the TV. BACK IN THE KITCHEN-- RENNIE’s writing in his notebook... FROINES Names? RENNIE Yeah. From yesterday. TOM Is anyone hungry? RENNIE If I hadn’t asked you to help me with Sara Beth, none of this--65. 66.TOM No. RENNIE I asked you to help with Sara Beth and that’s what got us the first riot. The first riot got us the real riot. TOM Rennie, that’s not what-- RENNIE Hang on. RENNIE sees the backs of the people standing in the living room. He walks to the living room and FROINES and WEINER follow. Then TOM. We see over their backs that the news is scrolling the names of that day’s fallen soldiers. Then everyone sits. BERNADINE (to RENNIE) I’ll add the names. RENNIE Thank you. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COURTROOM - DAY 70 70 The jury box is empty but everyone else is there. KUNSTLER is addressing the judge. KUNSTLER We move to strike the order of sequestration of the jury which was made by Your Honor’s sua sponte motion. JUDGE HOFFMAN Hold on. Mr. Rubin, Mr. Hoffman, what are you wearing? ABBIE and JERRY are wearing judge’s robes. ABBIE It’s an homage to you, sir.66. 67.JUDGE HOFFMAN Do you have clothes underneath there? ABBIE Yes sir. Hang on. (to JERRY) Do you? JERRY Yeah. JUDGE HOFFMAN Take off the robes. ABBIE and JERRY take off the robes and have police uniforms underneath. A big LAUGH from the GALLERY. JUDGE HOFFMAN(CONT'D) (TO KUNSTLER) Continue. KUNSTLER We feel that sequestration for what appears will be a considerable period of time can only serve-- JUDGE HOFFMAN It would be a considerably shorter period of time if the defense made fewer objections. KUNSTLER decides to finish despite being interrupted... KUNSTLER --can only serve to the defendants disadvantage. And Your Honor, the defense will make not one fewer objection than the prosecution or this Court gives us reason to. JUDGE HOFFMAN Bailiff, charge Mr. Kunstler with one count of Contempt. ABBIE Welcome to our world, Bill. KUNSTLER May I continue my argument so it appears in the record?67. 68.JUDGE HOFFMAN Continue. KUNSTLER The jury will be in the custody of deputy marshals. The marshals will take care of all the wants and needs of the jurors and we feel that tends to make the jurors more sympathetic toward-- JUDGE HOFFMAN I understand. KUNSTLER The jurors are going to be taken care of by law enforcement officers. They won’t be allowed to go home, they’ll have minimal communication with-- As KUNSTLER’s been talking, TOM’s been looking across the room at one of the MARSHALS. The MARSHAL is adjusting the name tag on his uniform and as we push in a little on TOM, we CUT TO:",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HILTON HOTEL - NIGHT (TOM’S MEMORY) 71 71 A line of about fifty DEMONSTRATORS, including TOM and ABBIE have their backs up against the dark-tinted picture window of the Haymarket Tavern that’s part of the hotel and convention center. Facing them down are a line of RIOT POLICE with their clubs drawn. TOM sees something that immediately gets his heart racing even faster-- --a RIOT POLICEMAN takes off his name tag and then his badge and puts them in a pocket. Then another does the same and then another and we CUT BACK TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COURTROOM - DAY 72 72 DELUCA’s on the stand. DELUCA Frank DeLuca. SCHULTZ And what is your occupation?68. 69.DELUCA I’m a detective with the Police Department, City of Chicago. SCHULTZ Calling your attention to August of 1968 during the convention, were you given any specific assignment? DELUCA I was to keep Rennie Davis under surveillance with my partner, Detective Bell. SCHULTZ And while surveilling Rennie Davis on Sunday evening, August 25th, the night before the convention began, did you observe Tom Hayden committing a crime? DELUCA Yes. Mr. Hayden was letting the air out of the tire of a police vehicle. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GRANT PARK - NIGHT 73 73 It’s a sweltering hot night as we get introduced to the park and its occupants for the first time. Thousands of people that can only be made out in silhouette with flickers of lanterns, flashlights and fires. We can HEAR a pick-up band singing Simon and Garfunkel’s “America” and the song will continue throughout this whole sequence. ANGLE--We see the pick-up band sitting around the stage singing. ANGLE--Tents being erected in a sea of tents that are already erected. ANGLE--A group making protest signs. ANGLE--A fire burning in a garbage can. A sign reads “Burn Your Draft Cards” as young men come up, rip up their draft cards and throw them in the fire. ANGLE--Another fire burning in another garbage can. A sign reads, “Free Yourself from Patriarchy--Burn Your Bras”, with women walking by and dropping their bars in the fire.69. 70.ANGLE--A police vehicle is driving slowly and repeating on a loudspeaker-- POLICE OFFICER (V.O.) The park closes at 11pm by order of the Chicago P.D. You must be out of the park by 11pm. Violators will be prosecuted for trespassing. The park closes at-- ANGLE--ABBIE’s talking to a large group of protestors. ABBIE It’s a strategy of throwin’ banana peels all over Chicago and then let the machine stumble. And when it stumbles, it gets into a policy of overkill and starts to devour itself. We’ll convince ‘em. They’ll be convinced. Of what? That we’re crazy enough to do anything. ANGLE--JERRY’s talking to a group of protestors. JERRY We think it’s important for confrontational tactical knowledge to be understood. Confrontational tactics make us safer. Why? Because the police become afraid. And that’s fighting fire with-- PROTESTORS (shouting back) FIRE! JERRY begins his Molotov cocktail demonstration as we PULL BACK to find TOM and RENNIE who are walking past Jerry’s TED Talk. TOM (to no one) You don’t fight fire with fire, you fight it with water, ya jackass. RENNIE It’s a metaphor. TOM Abbie and his fuckin’ banana peels. RENNIE Also a metaphor.70. 71.TOM Between the cops, the state police and the Guard, Daley’s got 15,000 soldiers on the street whose guns are loaded with bullets that are literal. RENNIE I could make the argument that the bullets were also-- TOM Yeah, so could I, but don’t. The atmosphere’s starting to get dangerous and someone’s gonna throw a rock. I want to get the word out that we’re protesting the war and not the cops. RENNIE sees something up ahead-- RENNIE Dammit. TOM What? RENNIE I think those are my guys, I think that’s their car. ANGLE--A few unmarked sedans are parked alongside some police and park vehicles in an otherwise dark and deserted area. TOM and RENNIE walk toward a particular sedan. RENNIE(CONT'D) Yeah, that’s them. They’re back. They were following me all day. Listen, here’s the thing I haven’t told you about Sara Beth. She isn’t into this at all. TOM Isn’t into what? RENNIE When I’m with her and her family, I try to...de-emphasize the...radical revolutionary part of my-- TOM Got it.71. 72.RENNIE She and her parents are letting me stay with them and if I show up tailed by two undercover police officers-- TOM That’d be hard to explain. RENNIE This isn’t her world. And it’s definitely not her parents’ world. If I bring my world into their driveway-- TOM Yeah. RENNIE She’ll break up with me. TOM You could be in a healthier relationship. RENNIE I know, but until then, this is the one I’ve got. TOM (pause) That’s their car? RENNIE Yeah. TOM Where are they? RENNIE Looking for me. TOM thinks a minute... TOM Alright. Go back into the crowd and let ‘em find you. Then leave the park by the east exit. They’ll need their car to follow you. RENNIE What are you gonna do?72. 73.TOM It’s not gonna remind anyone of Ghandi but a little civil disobedience. Go. RENNIE You’re not gonna cut their breaks or anything, right? TOM What? No, I’m gonna let the air out of one of the tires. Now go. RENNIE I really appreciate it. I don’t want to be a phony with SaraBeth but sometimes it takes a little-- TOM You should really go now. RENNIE Yeah. RENNIE heads off and TOM takes out his keys as we CUT BACK TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. COURTROOM - DAY 74 74 The pick-up band singing “America” continues over-- DELUCA Detective Bell and I spotted Rennie Davis walking in the crowd and observed him on foot for a few minutes. Then we returned to the unit. SCHULTZ Your car. DELUCA Yes. SCHULTZ And what did you find? CUT TO:73. 74.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. GRANT PARK - NIGHT 75 75 The singing continues over-- TOM is on his knees letting the air out of a tire of the unmarked car with his key when the shadow of a man envelopes him and he stops. DELUCA (O.S.) So you think we’re idiots. DELUCA is standing behind him with his partner, BELL. DELUCA(CONT'D) Don’t fuckin’ move. BELL On your feet. TOM Those are two contradictory instructions. DELUCA grabs TOM by the collar, puts him on his feet and slams him down on the hood of the car. DELUCA Hands behind your head, spread your legs. Was that a contradictory instruction? TOM Nope. CUT BACK TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. COURTROOM - DAY 76 76 SCHULTZ What happened then? DELUCA Someone from the crowd shouted--,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. GRANT PARK - NIGHT 77 77 One of the silhouettes from the crowd shouts-- DEMONSTRATOR Hey, they’re hassling Tom Hayden!74. 75.BELL Paulie, you need to see what I’m seeing. DELUCA turns around and sees two-dozen silhouettes begin moving toward the car-- DELUCA Hey, stay back there! All a you! BELL (showing his badge) Police! Stay back! TOM (calling to the silhouettes) Listen, everybody stay cool! DELUCA (to TOM) Shut up! Tell ‘em to get back. TOM Again-- DELUCA Tell ‘em to get back.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. COURTROOM - DAY 78 78 SCHULTZ And did he tell the crowd to get back?,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. GRANT PARK - NIGHT 79 79 TOM Everybody get back! I’m alright, stay cool!",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. COURTROOM - DAY 80 80 DELUCA He was egging them on. SCHULTZ Did you take Hayden under arrest at that moment?75. 76.DELUCA No sir. SCHULTZ Why not?,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. GRANT PARK - NIGHT 81 81 Suddenly a white light is shining in DELUCA’s face and he snaps to it-- DELUCA What the hell is--who’s shining that? BELL (quietly) It’s a camera. It’s a TV camera.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. COURTROOM - DAY 82 82 DELUCA We wanted to diffuse the situation so we arranged to take Mr. Hayden in the next morning.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. GRANT STATUE - DAY 83 83 TOM’s sitting on the steps with RENNIE and a couple of friends as two POLICE CARS come rolling up--flashing lights but no sirens. TOM This is gonna be for me. RENNIE Let me try to explain to them. TOM We should tell ‘em about SaraBeth’s parents. RENNIE Yeah. TOM I was kidding. Just bail me out and keep to the schedule, it’s fine A few OFFICERS, including OFFICER QUINN, step out of their cars.76. 77.OFFICER QUINN Tom Hayden? TOM Yeah. (to RENNIE) See you in a bit. OFFICER QUINN You’re under arrest. TOM Got it.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COURTROOM - DAY 84 84 JUDGE HOFFMAN We’ll stand in recess for one hour and court will resume at-- BOBBY Your Honor-- JUDGE HOFFMAN You wish to address the court, Mr. Seale? BOBBY I--yes. I have a motion-- JUDGE HOFFMAN I will hear you Mr. Seale. BOBBY Just a moment. We see a YOUNG BLACK woman hand a legal pad to a BLACK MAN who walks the pad down to FRED HAMPTON who hands it to BOBBY. JUDGE HOFFMAN Mr. Seale, do you have a motion? BOBBY I have a motion pro se to defend myself. I’d like to invoke the precedent of Adams vs. U.S. ex rel. McCann, where the Supreme Court-- JUDGE HOFFMAN Alright, that’s enough. Where are you learning these things. Does your young friend, Mr. Hampton, have a background in--77. 78.KUNSTLER (standing) Your Honor, the other defendants would like to join in Mr. Seale’s motion. JUDGE HOFFMAN Are you now speaking on behalf of Mr. Seale? KUNSTLER No sir, I’m speaking on behalf of the other defendants. JUDGE HOFFMAN You’re standing right next to him, why don’t you represent him? KUNSTLER Because I’m not his lawyer, sir, and if I understand Mr. Seale correctly this last month and a half, and I believe I have, he is not represented by counsel. JUDGE HOFFMAN Overruled. BOBBY I am being denied right now-- JUDGE HOFFMAN Mr. Seale-- BOBBY --my Constitutional right to-- JUDGE HOFFMAN Will you be quiet? Will you? Will you be quiet? That’s all. You have lawyers to speak for you. KUNSTLER No he doesn’t! JUDGE HOFFMAN Cite Mr. Kunstler with his second count of Contempt.78. 79.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COLLEGE AUDITORIUM - NIGHT 85 85 The place is packed and smoke-filled and everyone is there to see and hear ABBIE, who’s up on stage at the microphone. He has a style onstage that’s not unlike Lenny Bruce. We come in on a BIG LAUGH and APPLAUSE... ABBIE So Hayden’s in a holding cell on a tire-pressure related charge and suddenly every freak in Chicago is mobilized. “They got Hayden, they got Hayden.” We’re gonna march down to the police station, overcome the police and the Illinois National Guard and free Tom Hayden. (pause) We couldn’t find our way out of the park. A BIG LAUGH... ABBIE(CONT'D) Over the course of 10 days, the government called 37 witnesses, each and every one of them an employee of the government. I call this portion of the trial, “With Friends Like These...”.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. COURTROOM - DAY 86 86 WOJOHOWSKI’s on the stand. SCHULTZ Would you state your full name please? WOJOHOWSKI Stanley R. Wojohowski.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. GRANT PARK - DAY 87 87 WOJOHOWSKI, who now looks like a biker comes up to ABBIE with another biker--EDDIE. EDDIE Abbie. This is Stan. WOJOHOWSKI Stan Wojohowski.79. 80.ABBIE How you doin’, Stan? EDDIE Stan’s gonna be one of your bodyguards, he handles himself pretty well. CUT BACK TO:",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COURTROOM - DAY 88 88 SCHULTZ And what is your occupation please, Mr. Wojohowski? WOJOHOWSKI I’m a Chicago Police Officer.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. GRANT PARK - DAY 89 89 A MAN is introducing RENNIE to SAM. MAN Rennie, this is Sam, he can be trusted. CUT BACK TO:",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COURTROOM - DAY 90 90 SAM Detective Sam McGiven, Chicago Police Department.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. GRANT PARK - DAY 91 91 TOM’s being introduced. SCOTT Scotty Scibelli, Tom. I’m your guy for ass, weed or whatever you need. CUT BACK TO:80. 81.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COURTROOM - DAY 92 92 SCOTT Staff Sergeant Scott Scibelli, Illinois State Police.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BAR - NIGHT 93 93 JERRY’s having a drink at the end of a crowded bar. The BARTENDER puts another drink in front of him. BARTENDER This is from the woman in the glasses. JERRY sees the woman wearing glasses, DAPHNE, at the other end of the bar. JERRY Really? JERRY takes his drink and heads over to the woman. JERRY(CONT'D) Uh...Did you mean this for me? DAPHNE I did. JERRY Nobody’s ever sent me a drink before. DAPHNE How do you like it so far? JERRY It’s a Tom Collins. I know it’s kind of a country club drink but they’re delicious. A man in England named Tom Collins claimed in 1894 to have invented it, but then another man who’s name I’ve forgotten said, no, he’d invented it two years earlier and I think there was a lawsuit. DAPHNE That’s a surprising amount of controversy for gin and lemonade. JERRY I’m Jerry.81. 82.DAPHNE Hey Jerry, do you know why the French only eat one egg for breakfast? JERRY No. DAPHNE Because in France, one egg is “un oeuf.” (pause) It’s un oeuf. JERRY Wow. DAPHNE I know. JERRY I feel so much better about my Tom Collins story. DAPHNE I’m Daphne O’Connor. CUT BACK TO:",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COURTROOM - DAY 94 94 DAPHNE Special Agent Daphne O’Conner, FBI. Counter Intelligence. DAPHNE is on the stand looking professional now. WEINER leans in to FROINES and whispers-- WEINER You think it’s possible there were seven demonstrators in Chicago last summer leading 10,000 undercover cops in protest? FROINES nods... SCHULTZ What was your assignment in Chicago?82. 83.DAPHNE To use Jerry Rubin to try to infiltrate the leaders of the protest. JERRY shakes his head... SCHULTZ You were with Jerry Rubin, Abbie Hoffman, Rennie Davis and Dave Dellinger the afternoon of the 27th? DAPHNE Yes. SCHULTZ What were the four of them doing? DAPHNE They were leading a group of protestors. SCHULTZ How many would you say? DAPHNE About eight-hundred. SCHULTZ Where were they leading these eight- hundred people? DAPHNE To Police Headquarters at 11th and State. SCHULTZ Why? DAPHNE Tom Hayden was being held there on charges of tampering with a police vehicle. Jerry Rubin said it was time to confront the pigs. SCHULTZ By pigs he meant-- DAPHNE It was time to confront the police.83. 84.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MICHIGAN AVENUE - DAY 95 95 ABBIE, JERRY, RENNIE as well as DAPHNE and the other undercovers lead DEMONSTRATORS who are pouring out onto the street from the park. We hear a call and response chant of “Free Tom Hayden! “Free Tom Hayden!” as the crowd makes it way up Michigan Avenue. A POLICEMAN standing on the street is taking this in and then reaches for his radio and calls ahead.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. POLICE STATION - DAY 96 96 TIGHT ON a rack of riot gear--helmets, nightsticks, etc., being grabbed off racks. CUT BACK TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. COURTROOM - DAY 97 97 SAM I remember also at the front of the group was Mr. Allen Ginsburg. SCHULTZ Allen Ginsburg the poet. SAM Yes. He was chanting a kind of war chant.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MICHIGAN AVENUE - DAY 98 98 ALLEN GINSBURG, who’s joined the others at the front of the group, has his hands raised and is chanting “ohmmmmm”... JERRY What’s he doing? ABBIE He’s calming the energy, settling things down. DAVE How’s it working so far? OMIT 99 9984. 85.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. COLLEGE AUDITORIUM - NIGHT 100 100 ABBIE on stage-- ABBIE The guy testified that Ginsburg was letting out a war chant. Some kind of fuckin’ jungle signal to beat poets that they should begin pelting the troopers with blank verse. A LAUGH from the CROWD... ABBIE(CONT'D) A guy in the crowd is marching with a girl on his shoulders. She’s waving an American flag and this seems to really be bothering some frat brothers who’d come to town in the spirit of fraternity.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. MICHIGAN AVENUE - DAY 101 101 A YOUNG WOMAN in a beret is being carried on the shoulders of a demonstrator as they march. She’s carrying a flag and being shouted at by three FRAT BOYS on the sidewalk. FRAT BOYS (screaming) Put the flag down! Put it down! Go to the kitchen and make me a sandwich! JERRY I’m gonna go back there and take care of that. ABBIE They’re not the enemy. JERRY In so many fuckin’ ways they are. FRAT BOYS Put down the goddam flag you ugly bitch! Go to the kitchen and make me a fuckin’ sandwich! CUT BACK TO:85. 86.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. COURTROOM - DAY 102 102 WOJOHOWSKI The group turned right on 11th Street.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. COLLEGE AUDITORIUM - NIGHT 103 103 ABBIE We make a right on 11th Street.,SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. COURTROOM - DAY 104 104 DAPHNE And that’s when they saw it.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. 11TH STREET - DAY 105 105 ABBIE Holy shit. JERRY Jesus. The RIOT POLICE are pouring out of the station and forming a line in the middle of the street. ABBIE Are they about to conquer Spain? JERRY (beat--let’s do it anyway) Well fuck it. DAVE What do you mean fuck it? JERRY This is it. It’s time. Here we are. ABBIE We’re not rushing the police. JERRY Why the fuck not? ABBIE Because we’ll be critically injured.86. 87.RENNIE Tom doesn’t want anyone hurt. DAVE We’ve gotta turn this crowd around. There’s too much momentum, we’ve gotta turn ‘em around and calm ‘em down. DAPHNE (to JERRY) He’s right. This isn’t safe, I know something about this. DAVE gets on his walkie-talkie-- DAVE (into the walkie-talkie) All marshals--slow ‘em down and turn ‘em around. It’s the Alamo up here. Turn ‘em around and get ‘em safely back in the park. JERRY We should be marching right up to them. ABBIE I don’t think they’re gonna surrender man. Keep ‘em moving. Dave and I are gonna stay and make Tom’s bail. (to DAVE) I don’t carry money, do you? DAVE I do, I’m a grown man. The rest of the leaders start heading back where they came from as ALLEN GINSBURG holds out his arms in a meditation position and lets out a soft “ohmmmmm...” JERRY You’re killin’ me, Allen. You’re goddam killin’ me. (shouting) Keep ‘em moving.87. 88.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COLLEGE AUDITORIUM - NIGHT 106 106 ABBIE The marshals are spreading the word that we’re gonna keep moving, go left on Roosevelt and back in the park, right?",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. COURTROOM - DAY 107 107 DAPHNE When they got to the park they saw that three divisions of police officers had moved in from the south.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. GRANT PARK - DAY 108 108 JERRY, RENNIE and the DEMONSTRATORS approach and see that there are lines and lines of police officers that have formed at the top of the hill in the park.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COLLEGE AUDITORIUM - NIGHT 109 109 ABBIE I don’t know what tactical genius came up with that, but you know when shit happens? When you don’t give protestors a place to go.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. COURTROOM - DAY 110 110 SCHULTZ How would you characterize the mood of the crowd? KUNSTLER The witness is in no position to characterize the mood of a thousand strangers. JUDGE HOFFMAN Do you have an objection? KUNSTLER Yes sir. JUDGE HOFFMAN On what grounds?88. 89.KUNSTLER On those grounds. And ABBIE and JERRY lead the gallery in a chorus of-- ALL Overruled! JUDGE HOFFMAN I will clear this courtroom! SCHULTZ Mr. Wojohowski? WOJOHOWSKI The crowd was looking for a fight.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. GRANT PARK - DAY 111 111 The DEMONSTRATORS are now faced off with the POLICE. JERRY (shouting) You’re pigs! Your children are pigs! RENNIE We should leave their children out of it. JERRY You’re right, I know, you’re right.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COURTROOM - DAY 112 112 SCOTT “White, honkey m-f-ers, get out of our park!” And then he said, “Look at ‘em--",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. GRANT PARK - DAY 113 113 JERRY --they don’t look so tough. RENNIE Well...the guns...89. 90.JERRY (shouting) Put down your guns, motherfuckers, we’ll fight like fuckin’ men! RENNIE Just so you know, I do not have your back on that.",FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. COLLEGE AUDITORIUM - NIGHT 114 114 ABBIE And the guys from Kappa Gamma Douchebag who were hassling the girl? They’re back.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. GRANT PARK - DAY 115 115 FRAT BOYS Put the flag down! Put it down! Put the goddam flag down you cunt! Make me a sandwich! RENNIE (to JERRY) Just calm the crowd down. (beat) Help me calm ‘em down, Jerry. DAPHNE Baby. Defuse the situation. They’ll listen to you. JERRY Huh. DAPHNE What? JERRY Nothing, that sounded nice when you said it. DAPHNE Right now! JERRY Yeah.90. 91.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. COURTROOM - DAY 116 116 DAPHNE Someone from the crowd shouts--,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. COLLEGE AUDITORIUM - NIGHT 117 117 ABBIE A guy somewhere in the crowd shouts- -,SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. COURTROOM - DAY 118 118 SCOTT --it may have been Jerry Rubin-- KUNSTLER and WEINGLASS both jump up-- KUNSTLER Object. WEINGLASS (simultaneously) Objection. KUNSTLER If he doesn’t know who it was-- JUDGE HOFFMAN Sustained. SCHULTZ Someone in the crowd shouted what?,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. GRANT PARK - DAY 119 119 SOMEONE IN THE CROWD (shouting) Take the hill! And suddenly a land rush breaks out. The CROWD starts charging up a hundred-yard hill to a statue that sits atop-- heading right for the RIOT POLICE. JERRY and RENNIE take in what’s happening and then-- RENNIE Shit. JERRY Oh fuck.91. 92.JERRY and RENNIE begin running after and through the crowd-- RENNIE (to the protestors) Stop running! JERRY (to the protestors) Stop running! Slow down! We can HEAR an officer on a bullhorn-- POLICEMAN There are no permits for this demonstration! You are ordered to leave the park immediately! There are no permits for this demonstration! You are ordered to leave the park immediately!,FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COLLEGE AUDITORIUM - NIGHT 120 120 ABBIE The street name for chloroacetophenone is tear gas and it’s a fuckin’ blow torch--your lungs, your skin, your eyes...Riot clubs? They’re made out of the same wood they use for baseball bats.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. GRANT PARK - DAY 121 121 Tear gas canisters get fired into the crowd as the POLICE strap on gas masks. The POLICE move into the CROWD and start swinging their clubs full force. The unlucky ones near the gas emerge from the thick, grey dust blinded and gasping for air. Others have blood spray from their foreheads and down their mouths as they get struck in the face with clubs. JERRY and RENNIE are trying to pull people away and send them back down the hill. We see the YOUNG WOMAN in the beret--she’s making her way through the crowd, through the tear gas and up the hill. Suddenly she’s tackled from behind by the three FRAT BOYS. FRAT BOY #1 I told you to put that flag down, go in the kitchen and make me a fuckin’ sandwich!92. 93.They grab her as she tries to escape. She’s screaming as she’s smacked in the face and her shirt gets torn off. Now JERRY sees this and starts flying toward her through the crowd. JERRY Hey! What are you doin?! Get the fuck offa her! What the fuck is the matter with you?! JERRY pulls one guy off-- JERRY(CONT'D) Get the fuck offa her! FRAT BOY #2 Fuck you, hippie faggot! And the punch that JERRY’s wanted to throw for years lands square in the face of this guy, and just as quickly, JERRY’s elbow breaks the nose of the guy’s buddy who’s about to help him. The third guy goes running to avoid the tear gas that’s just been shot into the area. JERRY tends to the girl-- JERRY You’re alright. You’re okay. JERRY pulls off his shirt-- JERRY(CONT'D) Here. You’re okay. He takes a bandana from his pocket-- JERRY(CONT'D) You need to hold this over your face and I’ll get you outa here. But now there’s the sound of a gun locking behind JERRY’s head. He puts his hands up without turning around-- POLICEMAN Don’t move, Jerry. JERRY Get those guys, they were-- JERRY turns around--three POLICEMEN in gas masks have guns on him...93. 94.POLICEMAN You’re under arrest.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COURTROOM - DAY 122 122 There’s silence. DAPHNE is on the stand and KUNSTLER is taking a moment before he begins his cross... KUNSTLER After bailing Tom Hayden out, Abbie, Dave and Tom returned to the park, is that correct? CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PARK - EARLY EVENING 123 123 TOM, ABBIE, JERRY, RENNIE and DAVE survey the scene. The battle is long over but we can still see some tear gas and people being treated by EMTs and put into ambulances, etc. After a long moment... TOM I’ll be honest, I’m starting to worry about getting everyone out of Chicago alive. ABBIE That’s not really up to us. TOM Yeah it is. ABBIE What are you lookin’ at me for? I went to bail you out of jail. TOM takes a moment because he can’t believe this... TOM (pause) Eight-hundred people followed you! ABBIE Oh that. Yeah, people follow me, fuck if I know why? TOM I’m wracking my brain as well.94. 95.RENNIE (to JERRY) How’d you make bail so fast? JERRY I wasn’t arrested, I was detained. They couldn’t figure out what to charge me with. DAVE Assault. JERRY I was assaulting someone who was assaulting someone. DAPHNE Guys. Nothing’s more dangerous than a crowd of people who are moving. It’s like trying to re-direct the Mississippi River. JERRY Isn’t she great? TOM (to ABBIE) Get your people to cool off. We’re responsible for these people. ABBIE We have to protest in front of the convention, Tommy, plain and simple. ‘Cause that’s where the cameras are. We have to get to the convention. And that means we have to leave the park. And that’s when people’ll get hurt. As long as every person following me knows that, I sleep fine at night. TOM Well you should tell me how you do it. ABBIE A lot of it’s drugs. TOM Yeah. TOM points to the hill, where tear gas still hovers and people are being bandaged or handcuffed...95. 96.TOM(CONT'D) That’s what happened when we tried to go up a hill. We’re not getting anywhere near the convention. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COURTROOM - DAY 124 124 DAPHNE still on the stand. KUNSTLER Special Agent O’Connor, you testified that Jerry Rubin said, “Fuck ‘em all. They’re all pigs. We should form an army and get guns.” DAPHNE Yes. KUNSTLER And when he said that, did anyone form an army and get guns? DAPHNE No. KUNSTLER Did Jerry Rubin instruct the crowd to run into the park? DAPHNE No. KUNSTLER Did Rennie Davis? DAPHNE No. KUNSTLER Was Abbie Hoffman even there? DAPHNE No. KUNSTLER Was Dave Dellinger? DAPHNE No.96. 97.KUNSTLER Was John Froines there? DAPHNE No. KUNSTLER Lee Weiner? DAPHNE No, he wasn’t there. KUNSTLER And you’ve testified that Jerry and Rennie--can you say it for me again? DAPHNE Mr. Kunstler-- KUNSTLER They were trying to turn people around and send them back down the hill. Just like you told them to. DAPHNE Mr. Kunstler, the demonstrators attacked the police and the police responded. KUNSTLER Are any of the demonstrators you saw attacking the police sitting at the defense table? DAPHNE No sir. KUNSTLER Thank you. JUDGE HOFFMAN The Court will stand-- BOBBY I wasn’t there either. JUDGE HOFFMAN Mr. Seale-- BOBBY I wasn’t there at all and I should be allowed to cross-examine this--97. 98.JUDGE HOFFMAN We’ll stand in recess until-- FRED HAMPTON stands up and addresses the whole room-- FRED Four hours. That’s how long Bobby Seale-- JUDGE HOFFMAN Marshals. FRED --was in Chicago. Four hours. The DEFENDANTS APPLAUD and bang the table--all but TOM who’s poker-faced but hating this. RENNIE sees that TOM isn’t cheering and he slows and stops as we JUDGE HOFFMAN Court stands in recess for the weekend. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT./EST. NATURAL HISTORY MUSEUM - DAY 125 125 It’s a Saturday during the Christmas season and families are going into and coming out of the museum.,NOTHING +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PARK BENCH - DAY 126 126 It’s a crisp, Christmastime afternoon. A couple of trumpets, a trombone and a baritone horn are playing “O Holy Night” a distance away as ABBIE and JERRY sit on a bench. JERRY I took in the exhibit. I cleared my mind. I stood there for twenty minutes and I felt nothing. ABBIE Well...but it wasn’t a painting, it was an exhibit. It was a natural history museum.98. 99.JERRY And when you put exhibits of Native Indian families in a natural history museum alongside dioramas of early man and the Jurassic age, it gives the impression that the Cherokee evolved into modern day Europeans. ABBIE Hey, look who it is! SCHULTZ and his two young daughters, 6 and 4, are coming down the path. ABBIE(CONT'D) Should we say hi? JERRY I’ve got a bone to pick with that guy. SCHULTZ, getting closer, sees ABBIE and JERRY. ABBIE Hey counselor! SCHULTZ No colleges this weekend? ABBIE Winter break. My audiences went home to their parents. Are these ladies related to you? SCHULTZ These are my daughters Julie and Emily. ABBIE (to the girls) Your dad’s a good guy. And that’s coming from someone who he’s been trying hard to put in federal prison. SCHULTZ We shouldn’t be talking without your lawyer here. ABBIE Nah, we’re all on the same team.99. 100.SCHULTZ In one sense I guess, but in a much truer sense we’re not. (SCHULTZ takes a couple of dollars out of his pocket) Girls, take this dollar over to the musicians and put it in their hat. Then take this dollar and buy some of those candy-covered peanuts mom won’t let you have. The girls run excitedly to where they were told. ABBIE Sweet kids. SCHULTZ ‘Cause if your lawyers were here I’d feel comfortable telling you that the window’s closing for you to plead out. JERRY Oh we’re not takin’ a fuckin’ deal, would you stop? And I wish I could share Abbie’s sentiment that you’re a good guy, but I’m afraid I can’t. SCHULTZ I’m sorry to hear that. JERRY Sending Daphne O'Connor to break my heart was way outa line. SCHULTZ Well I don’t work for the FBI but Special Agent O'Connor was one of many agents sent to gather intelligence on what had been deemed a credible domestic threat. JERRY Fine, then you bug our phones, you wire up a dope dealer, be a man. You don’t send a woman to ensorcell me--it means “enchanting”--only to have her crush my soul. SCHULTZ How long did you two know each other?100. 101.JERRY Ninety-three hours. It could have been a lifetime. SCHULTZ For a fruit fly. Enjoy the weekend. JERRY Is that even ethical? Aren’t there ethics rules? SCHULTZ Did she engage with you sexually? JERRY (pause) We were taking it slow. ABBIE He’s gonna be alright. JERRY One egg is un oeuf? They teach her that at the Academy?! SCHULTZ Yep. ABBIE We just wanted to say that we don’t have any beef with you. We know you’re doing your job and we know you don’t think we’re criminals. SCHULTZ I’m not sure where you’re getting that information but I represent the People without passion or prejudice. ABBIE You think we were responsible? SCHULTZ I think you got the result you were looking for. ABBIE So did Nixon. SCHULTZ How ‘bout that. See you Monday.101. 102.SCHULTZ walks away toward his daughters. JERRY calls after him-- JERRY (calling) Does she ever mention me? SCHULTZ, with his back still turned, just shrugs, and we CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. CONSPIRACY OFFICE - NIGHT A151 A151 All the lights are off. We HEAR a phone ringing...,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CONSPIRACY OFFICE - NIGHT B151 B151 BERNADINE’s sleeping in a sleeping bag on the floor. TOM’s asleep on a couch in sweatpants and a t-shirt. The ringing continues and TOM wakes up in a start. It takes him a moment to realize the phone’s ringing and he looks at it from across the room as BERNADINE answers it. BERNADINE (into phone) Conspiracy Office. TOM watches as BERNADINE listens... BERNADINE(CONT'D) (to TOM) It’s Bill. Something’s happened, Tom. TOM stands there a moment before we CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COOK COUNTY JAIL - VISITING ROOM - MORNING 151 151 TOM and KUNSTLER are waiting in the empty room before a GUARD opens the door and BOBBY SEALE steps in in prison coveralls. The door closes with the clang.102. (MORE)103.KUNSTLER Bobby, Fred Hampton was shot and killed last night. There was a police raid and there was a shootout and he’s dead. BOBBY doesn’t say anything... KUNSTLER(CONT'D) (consulting notes) It happened between the hours of 4am and-- BOBBY I know. KUNSTLER You were told? BOBBY Yeah. KUNSTLER I’m sorry. BOBBY (pause) The seven of you, you’ve all got the same father, right? (to TOM) I’m talking to you. You’ve all got the same father, right? Cut your hair, don’t be a fag, respect authority, respect America, respect me. Your life, it’s fuck you to your father, right? A little? TOM (beat) Maybe. BOBBY Maybe. And you can see how that’s different from a rope on a tree? TOM Yeah. BOBBY Yeah. He was shot in the wrist first. You can’t hold a gun if you’ve been shot in the wrist. You can’t pull a trigger. The second shot was in the head. (MORE)103. BOBBY (CONT'D)104.Fred was executed. (pause) Anything else? KUNSTLER (pause) No.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COURTROOM - DAY 152 152 DETECTIVE FRAPOLY’s on the stand. BOBBY’s all but dead behind his eyes. TITLE: Trial Day 90 SCHULTZ Detective, calling your attention to the evening of the next day, Tuesday, August 27th, were you in Grant Park on that day? FRAPOLY Yes. There was a “Free Huey Newton” rally going on. SCHULTZ Did you recognize any of the speakers? FRAPOLY I heard Jerry Rubin give a speech. Phil Ochs sang and then Bobby Seale gave a speech. BOBBY speaks lifelessly, almost by rote-- BOBBY I object to this man’s testimony against me because I’ve been denied counsel. JUDGE HOFFMAN We understand. SCHULTZ Do you recall anything from Mr. Seale’s speech? FRAPOLY Yes. He said--BOBBY (CONT'D)104. 105.BOBBY I object to this man’s-- JUDGE HOFFMAN Quiet. SCHULTZ Go ahead. FRAPOLY May I refer to notes? SCHULTZ Yes sir. FRAPOLY He said, “We must understand that as we go forth to try to move the reprobate politicians-- BOBBY Your Honor-- FRAPOLY “--our cowardly Congress, the jive, double-lip talkin’ Nixon--” BOBBY Jive double-lip talkin’ Nixon? You make me sound like one funky cat, thank you sir. JUDGE HOFFMAN Last warning, Mr. Seale. SCHULTZ Did he say anything else? FRAPOLY He said, “The revolution at this time is directly connected to organized guns and force.” SCHULTZ No more questions. BOBBY shakes his head to himself, then says simply and calmly- - BOBBY A jive, double-lip talkin’, funky, funky cat.105. (MORE)106.JUDGE HOFFMAN Would the defense like to cross- examine the witness? BOBBY Yes. I’m sitting here saying that I would like to cross-- JUDGE HOFFMAN Only lawyers can address a wit-- BOBBY My lawyer is Charles Garry. JUDGE HOFFMAN I’m tired of hearing that. BOBBY I couldn’t care less what you’re tired of. JUDGE HOFFMAN What did you say? BOBBY I said it would be impossible for me to care any less what you’re tired of and I demand to cross- examine this-- JUDGE HOFFMAN Sit in your chair and be quiet and don’t ever address the Court in that-- BOBBY turns to the GALLERY-- BOBBY (to the crowd) It was premeditated murder. Fred Hampton was assassinated last night. The GALLERY gasps-- JUDGE HOFFMAN Marshals, put Mr. Seale in his seat. BOBBY keeps talking as a few MARSHALS come to deal with him-- BOBBY He wouldn’t have been able to hold a gun in his right hand. (MORE)106. BOBBY (CONT'D)107.When they publish the coroner’s report, make sure you ask about the bullet wound in his wrist. The MARSHAL’s have put BOBBY in his seat. JUDGE HOFFMAN I strongly caution you, Mr. Seale, I strongly caution you that-- BOBBY Oh strongly fuck yourself. JUDGE HOFFMAN Marshals, take that defendant into a room and deal with him as he should be dealt with. The MARSHALS grab at BOBBY and lift him out of his seat.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HOLDING CELL - DAY 153 153 The door opens and BOBBY’s thrown into the room. The door slams behind him.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. COURTROOM - SAME TIME 154 154 Tense silence as everyone waits.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOLDING CELL - SAME TIME 155 155 We see quick, very tight shards of BOBBY being put in restraints. His wrists, his ankles--",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COURTROOM - SAME TIME A156 A156 ABBIE and JERRY are staring casual bullets at JUDGE HOFFMAN... RENNIE’s scratching out a note. INSERT: The notes reads--”Don’t stand for JH”. RENNIE shows the note to TOM, who glances at it and reluctantly nods “okay”. RENNIE passes the note to DAVE, who looks at it and passes it to JERRY--BOBBY (CONT'D)107. 108.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HOLDING CELL - SAME TIME B156 B156 A balled up rag is stuffed in BOBBY’s mouth. Another piece of cloth starts to be tied around his face--,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COURTROOM - SAME TIME 156 156 Tense silence. The side door opens and the MARSHALS bring BOBBY in--bound, gagged and chained. The GALLERY reacts in horror. The MARSHALS stand BOBBY up at his chair. HOFFMAN raps his gavel until there’s finally silence. JUDGE HOFFMAN Let the record show that I tried, fairly and impartially, I tried to get the defendant to sit on his own. I ask you again, and you may indicate by raising your head up and down or moving it from side to side, if I have your assurance that you will not do anything to disrupt this trial if I allow you to resume proper order. BOBBY doesn’t move...just looks at him... JUDGE HOFFMAN(CONT'D) Do I have your assurance? BOBBY looks at the judge and gently shakes his head “no”... JUDGE HOFFMAN(CONT'D) Mr. Schultz, call your next witness. SCHULTZ doesn’t move...nobody does... JUDGE HOFFMAN(CONT'D) Mr. Schultz, call your witness. SCHULTZ May we approach, Your Honor? JUDGE HOFFMAN waves the LAWYERS up to the bench.108. 109.KUNSTLER Can he breathe? (to BOBBY) Can you breathe alright? BOBBY nods “yeah”. The LAWYERS step up to the bench and speak very quietly. SCHULTZ Your Honor, a defendant is bound and gagged in an American courtroom. FORAN He brought it on himself. KUNSTLER (to FORAN) Are you insane? JUDGE HOFFMAN That’s enough. KUNSTLER This is an unholy disgrace to the law. This is a medieval torture chamber. JUDGE HOFFMAN I know no other lawyer who would utter such a thing. WEINGLASS This is an unholy disgrace to the law and a medieval torture-- JUDGE HOFFMAN I said that’s enough! (beat) Love of God. (beat) What do you want, Mr. Schultz, this is your sidebar. SCHULTZ Your Honor, at this time the Government would like to make a motion that Bobby Seale be separated-- FORAN Wait--109. 110.SCHULTZ (to FORAN) Yes. Just--please sir. (to JUDGE HOFFMAN) --a motion that Bobby Seale be separated from the other defendants and that a mistrial be declared in his case. JUDGE HOFFMAN You want me to give him his mistrial? KUNSTLER You took their black guy and made him a sympathetic character. JUDGE HOFFMAN I’ve lived a long time and you’re the first person who’s ever suggested that I’ve discriminated against a black man. WEINGLASS Then let the record show that I’m the second. JUDGE HOFFMAN (pause) Step back. The lawyers return to their tables. JUDGE HOFFMAN(CONT'D) I’m issuing an order declaring a mistrial as to the defendant Bobby G. Seale. CHEERS go up in the courtroom. JUDGE HOFFMAN(CONT'D) Mr. Seale, you’re currently charged with 16 counts of contempt for your repeated displays of disrespect, and you have a pending homicide charge in Connecticut. You are not home free and I doubt you ever will be. We’re adjourned until ten a.m. Monday. BAILIFF All rise.110. 111.TOM stands out of habit but no one else does. TOM immediately sees his mistake but it’s too late to sit. JUDGE HOFFMAN clocks this, nods at TOM approvingly, and exits as we CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT./EST. CONSPIRACY OFFICE - NIGHT 157 157 We HEAR BERNADINE answer the phone-- BERNADINE (V.O.) Conspiracy office, how can I help you?",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CONSPIRACY OFFICE - SAME TIME 158 158 The mood is exhaustion. Everyone’s quiet. BERNADINE (into the phone) No, sir, I’m a white woman. (listens) Yeah, I’ve slept with several in my life so far and on balance I’d have to say yes, it is better and to tell you the truth, I think that’s a big part of what’s got you worked up. WEINGLASS Hang up the phone. BERNADINE (into the phone) It’s not even so much that it’s bigger, it’s just better, you know what I mean? WEINGLASS Hang up the phone. BERNADINE hangs up the phone. WEINGLASS(CONT'D) Was that a parting gift for Bobby? BERNADINE No, that was just for me.111. (MORE)112.WEINGLASS joins KUNSTLER and the DEFENDANTS who are sitting around the living room. KUNSTLER’s got a drink and he’s smoking a jo",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int. Out of the silence... JERRY (to TOM) Why the fuck did you stand up? TOM I was just--it was a reflex. RENNIE He was respecting the institution. TOM And I don’t know what good it does to insult the judge. And it was in view of the jury. And the press. And Foran and Schultz who’ll be recommending sentencing if we’re convicted. ABBIE It’s a revolution, Tom. We may have to hurt somebody’s feelings. There’s momentary silence in the room... RENNIE (pause) So...we have this list. I was thinking maybe Monday morning we could read the names into the record. TOM Jesus-- RENNIE As a way of saying-- TOM As a way of saying what? RENNIE That whatever we’re facing, you know, is peanuts compared to what these guys-- TOM He’s the one who’s gonna sentence us. (MORE)112. TOM (CONT'D)113.The judge gets to decide what we’re facing. It’s a goddam trial. ABBIE A political trial. TOM No, we were arrested for--the law doesn’t recognize political-- ABBIE We weren’t arrested, we were chosen. Lee, John, have you guys asked yourselves what you’re doing here? WEINER Every day. ABBIE You’re a give-back. They give the jury a couple of guys they can acquit and feel better about finding the rest us guilty. Lenny, am I wrong? WEINGLASS No. FROINES Our role in history is that we made it easier to convict our friends? Lee? WEINER nods his head... ABBIE They’re gonna find us guilty of “I just don’t like you.” That’s why Bill won’t put any of us on the stand. DAVE I could take the stand, I’m easy for them to like. I’m literally a Boy Scout troop leader. KUNSTLER You’re a conscientious objector. DAVE A lot of people are conscientious--TOM (CONT'D)113. 114.KUNSTLER During World War II. You sat out World War II. Even I want to punch you. DAVE Well we can talk about that. KUNSTLER I’m looking forward to it. JERRY I could take the stand. KUNSTLER Have you ever taught a classroom how to make a bomb? JERRY 8th graders are taught how Oppenheimer made a bomb. KUNSTLER Not one you can build with material from Woolworths. RENNIE You know what would be ironic? JERRY Rennie Davis speaks. KUNSTLER What? RENNIE I said you know what would be ironic? TOM He heard you, he’s asking what would be ironic. RENNIE I was just gonna say if John Mitchell did all this just to get back at Ramsey Clark. TOM For what?114. 115.RENNIE That thing. Remember? Outgoing cabinet members are supposed to resign as a courtesy but Ramsey Clark didn’t tender his resignation until an hour-- As this goes on, we PUSH IN on KUNSTLER and WEINGLASS as they look at each other, each having the same thought. JERRY Yeah, I read Mitchell had a fit about that. (to WEINGLASS) Did you read about that? (beat) Lenny? But KUNSTLER and WEINGLASS keep silently staring at each other... JERRY(CONT'D) (beat) Bill? KUNSTLER He was never even on our witness list. TOM Who? KUNSTLER The first witness you’d put on the stand...if this was a political trial. (calling) Bernadine! BERNADINE Yeah. KUNSTLER My office needs to find Ramsey Clark. ABBIE William Kunstler just showed up. CUT TO:115. 116.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT./EST. SUBURBAN HOUSE - DAY 159 159 There’s a dusting of snow on the ground as a taxi pulls into the circular driveway. The side of the taxi lets us know we’re in the D.C. area. TOM, KUNSTLER and WEINGLASS get out of the cab. WEINGLASS pays the driver while KUNSTLER looks at something--a black sedan sitting in the driveway next to the family car. KUNSTLER Lenny. WEINGLASS looks over. KUNSTLER walks to the black sedan and wipes away some snow that’s caked on the license plate--it reads “U.S. Gov’t”. WEINGLASS Maybe--I don’t know, does he have a Secret Service detail? KUNSTLER No. They’re here for us. The three of them walk up to the front door and stand there a moment. It’s like they’re about to knock on the door belonging to the Wizard of Oz. KUNSTLER(CONT'D) He was the Attorney General, what do we do, we just ring the doorbell? WEINGLASS Yeah, I guess so. KUNSTLER You want to do it? TOM Just ring the damn-- TOM rings the doorbell. They wait... KUNSTLER It’s a nice house. WEINGLASS Yeah.116. 117.KUNSTLER (pause) What would you call this, Tudor or Colonial? The door’s opened by JANE, a young, African-American housekeeper. KUNSTLER(CONT'D) Good morning, I’m Bill Kunstler. Mr. Clark is expecting us. JANE Come in.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FOYER - CONTINUOUS 160 160 JANE He’s in his study at the end of the hall. Can I get anyone coffee? KUNSTLER I’ll tell you, ma’am, that sounds great. WEINGLASS Nothing for me, thank you. TOM gives a small wave that means he’s fine. JANE The end of the hall. KUNSTLER and WEINGLASS start down the hall but TOM’s stopped by-- JANE(CONT'D) Mr. Hayden? TOM looks at her... JANE(CONT'D) I read in the paper you were the only one who stood for the judge after what he did to Bobby. TOM Oh. That was a mistake. It was a reflex and-- KUNSTLER Tom?117. 118.TOM Yeah. TOM joins the two lawyers as they head down the hall.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. STUDY - DAY 161 161 RAMSEY CLARK, in khakis and a button-down shirt, is sitting with two men in dark suits, one of whom we recognize as HOWARD from John Mitchell’s office. Framed photos are on the wall of Clark with LBJ in the Oval Office, with Bobby Kennedy and from his days as a Marine. CLARK is both laid back and completely in control. He gets up to greet his visitors. CLARK Hey, Bill, Ramsey Clark. KUNSTLER Pleased to meet you, sir, this is Leonard Weinglass. CLARK (shaking hands) Mr. Weinglass. KUNSTLER And Tom Hayden. CLARK I know who Tom Hayden is, the FBI used to work for me. These two men are senior deputies with the Justice Department--Mr. Calley and Mr. Howard. KUNSTLER I don’t know what these men are doing here. CLARK I invited them. KUNSTLER (pause) You invited them? CLARK I don’t want any appearance of impropriety. KUNSTLER There isn’t any impropriety.118. 119.CLARK And now there are witnesses to that. KUNSTLER’s at a loss. He’s screwed before he even got started... KUNSTLER (pause) Sir, these men are going to call Schultz and Foran as soon as we’re done here. CLARK Don’t be ridiculous, they’ve already called Schultz and Foran and they’re gonna call John Mitchell as soon as we’re done here. Ask what you want to ask. KUNSTLER In front of them? CLARK Mm-hm. KUNSTLER takes a breath... KUNSTLER (pause) Alright. Mr. Clark, while you were the Attorney General for President Johnson, was there ever a discussion with the White House about seeking indictments against my clients? HOWARD He can’t answer that. KUNSTLER Why not? HOWARD It’s against the law. WEINGLASS That’s an overly broad interpretation of the law. KUNSTLER That’s Lenny’s way of saying you’re criminally full of shit, Deputy Howard.119. 120.HOWARD Sir-- KUNSTLER And I’ll tell you what--We’ve dealt with jury tampering, wire tapping, a defendant who was literally gagged and a judge who’s been handing down rulings from the bench that would be considered wrong in Honduras!--so I’m less interested in the law than I was when this trial began. HOWARD Whether you like the law or not, as a former A.G. he’s protected by it. KUNSTLER No, you’re protected by it-- (to CLARK) --and due respect, sir, I can subpoena you. HOWARD Find a judge in this circuit who’ll sign that subpoena. CLARK He’s right. And taking the stand voluntarily would be a big risk for me. KUNSTLER Again, due respect, but my clients take a much bigger risk when they-- CLARK What took you so long? KUNSTLER (beat) --when they stand up against enormous power they can’t see and-- I’m sorry, what took me so long to do what? CLARK To realize I’m your star witness? KUNSTLER’s a little thrown now...120. 121.KUNSTLER (beat) Well...we were...remarking on that ourselves, but-- CLARK Bill-- HOWARD He can’t testify. CLARK I’m in private practice now and if John Mitchell wants to cut me in half, he can and he will. TOM You have to find--Sir, you have to find some courage now and CLARK Find some courage, yeah. TOM Yes--You have to find some courage and-- WEINGLASS (holding a hand up) Tom. CLARK That’s what these two men came to tell me. That if John Mitchell wants to cut me in half, he can and he will. So I wanted them here in the room when I said--When do you want me in court? The room freezes for a moment... HOWARD Mr. Clark-- KUNSTLER I’m sorry? CLARK Swear me in, Bill. HOWARD It’s against the law for you to testify, Ramsey, it’s that simple.121. 122.CLARK It’s General Clark and arrest me or shut the fuck up. (to TOM--simply) Found it.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COURTROOM - DAY 162 162 TITLE: Trial Day 124 KUNSTLER The defense calls Ramsey Clark. SCHULTZ Your Honor, the People move to disallow this witness. JUDGE HOFFMAN I’d like the marshals to take the jury from the room. As the marshals lead the jury out of the room we see that HOWARD and CALLEY are in the gallery now--poker faced. JUDGE HOFFMAN(CONT'D) Mr. Schultz? SCHULTZ The Code of Federal Regulations mandates that the disclosure of Justice Department material is prohibited without prior knowledge of the Attorney General--plainly meaning the sitting Attorney General--who is John Mitchell who has specifically denied his approval. WEINGLASS Judge, the rule refers to very specific kinds of documents and information. If the regulation was interpreted as Mr. Schultz is asking it to be, nobody in the federal government would ever be able to testify in a trial after leaving their job.122. 123.JUDGE HOFFMAN I think the government is at least justified in asking the defense to demonstrate by voir dire the testimony it expects to illicit from the witness. KUNSTLER You’d like us to question the witness outside the presence of the jury? JUDGE HOFFMAN If I find any of the testimony relevant I’ll call the jury back in to hear it. (pause) Take it or leave it, Mr. Kunstler. KUNSTLER doesn’t have a choice... KUNSTLER Defense calls Ramsey Clark. CLARK steps to the witness box where the BAILIFF is ready with a Bible. BAILIFF State your name. CLARK William Ramsey Clark. BAILIFF Do you swear that the testimony you give will be the truth, the whole truth and nothing but the truth? CLARK I do. KUNSTLER Mr. Clark, what was your occupation in the summer of 1968? CLARK I was Attorney General of the United States. KUNSTLER You were appointed by President Johnson.123. 124.CLARK Yes. KUNSTLER And confirmed by the United States Senate. CLARK Yes. KUNSTLER Did you receive a phone call at your office at 11:50 A.M. On September 10th of last year? CLARK Yes. KUNSTLER From whom was the call? CLARK President Johnson. KUNSTLER Will you state what President Johnson said to you and what was said to him? SCHULTZ Your Honor, at this point we’ll object. A cabinet officer does not have to and should not have to relate the contents a private call he had with the President. JUDGE HOFFMAN I’ll sustain the objection. KUNSTLER Please the court, this is voir dire, I thought objections were reserved. JUDGE HOFFMAN There’s a question of attorney/client privilege to consider. CLARK The president isn’t a client of the Attorney General.124. 125.JUDGE HOFFMAN (beat) Excuse me, sir? CLARK The president isn’t a client of the Attorney General. I’m happy to answer. There’s a moment of awkward silence... SCHULTZ Your Honor, I don’t--hearing from the witness on this point is highly irregular. JUDGE HOFFMAN (pause) Well gentlemen, I’m...This is my courtroom but the witness is the former--he’s--and he’s just stated his willingness, you know--so for the purposes of voir dire I’ll hear the answer. CLARK The President asked me if I intended to seek any indictments related to the riots the previous month in Chicago. KUNSTLER And what did you tell him? CLARK I told him we wouldn’t be seeking indictments. KUNSTLER Can you tell us why? CLARK An investigation by our criminal division led to the clear conclusion that the riots were started by the Chicago Police Department. The DEFENDANTS--except TOM and RENNIE--along with many in the gallery jump up and CHEER, banging the table and shouting. KUNSTLER gives them a look as JUDGE HOFFMAN gavels the room to order.125. 126.KUNSTLER Did your counter-intelligence division make a report as well. CLARK They concluded that there had been no conspiracy on the part of the defendants to incite violence during the convention. KUNSTLER What happened on the first Tuesday after the first Monday in November of that year? CLARK Richard Nixon was elected president. JUDGE HOFFMAN Sustained. KUNSTLER (beat) Nobody objected. SCHULTZ We do. It’s well known that there’s no love lost between the witness and the sitting Attorney General. The witness has been called to wage a political attack and he should not be allowed to appear before the jury. JUDGE HOFFMAN Mr. Kunstler? KUNSTLER Your Honor can’t possibly be considering not allowing the jury to hear what we’ve just heard. SCHULTZ The witness can’t present to them testimony that will assist in making a determination of guilt or innocence. KUNSTLER He just testified that his own Justice Department came to the conclusion--126. 127.SCHULTZ And the current Justice Department-- the only one that matters--came to a new conclu-- KUNSTLER And therefore the motivation of the prosecution is now called into-- SCHULTZ The motivation of the prosecution isn’t an issue in a courtroom. KUNSTLER Not any courtroom I’ve ever been in except this one! FORAN Object! JUDGE HOFFMAN Mr. Kunstler, do you have any further examination that will demonstrate that this witness will make a material contribution or should I ask him to step down? KUNSTLER You’ve ruled? You’re not going to let the jury hear his testimony? JUDGE HOFFMAN Not unless you can demonstrate to me, which you have not thus far done, that this witness- KUNSTLER Yes sir. KUNSTLER gathers himself, then says quietly to the COURT REPORTER-- KUNSTLER(CONT'D) (quietly) Are you any good? JUDGE HOFFMAN Are you addressing the Court Reporter? KUNSTLER (quietly) Keep up with us..127. 128.JUDGE HOFFMAN Mr. Kunstler. Like a speed drill-- KUNSTLER (to CLARK) Is this prosecution politically motivated? SCHULTZ Object! CLARK Yes. KUNSTLER President Nixon inherited an unpopular war? CLARK Yes. JUDGE HOFFMAN Step down please, Mr. Clark. CLARK And your clients are making it more unpopular every day. KUNSTLER The administration’s paranoid about the SDS, the MOBE, the New Left? JUDGE HOFFMAN Mr. Clark, please. (beat) Please, I’ll be forced to find you in Contempt. You understand. CLARK (pause) I do, Your Honor. KUNSTLER (pause) Thank you, sir. JUDGE HOFFMAN You may step down. CLARK gets up, shares a look with KUNSTLER, and exits...128. (MORE)129.KUNSTLER Your Honor, when the jury returns, will they be informed that the defense had called the former Attorney General but that the Court ruled he couldn’t testify? JUDGE HOFFMAN No, that motion will be denied. KUNSTLER goes back to his table. Then he absently picks up a heavy law book and SLAMS it on the table with a BANG. JUDGE HOFFMAN(CONT'D) Cite Mr. Kunstler with his third count of Contempt. DAVE (quietly) You’re a thug. JUDGE HOFFMAN Did one of the defendants speak? DAVE (standing) I did. I said you’re a thug and you are. TOM (quietly) Dave-- JUDGE HOFFMAN Please sit, Mr. Dellinger. DAVE If we’re guilty, why not give us a trial? If we’re-- JUDGE HOFFMAN Marshals, seat the defendant. DAVE If we’re guilty, as you clearly decided-- JUDGE HOFFMAN Watch yourself. DAVE --decided we were a long time ago-- (to a MARSHAL) You don’t need to grab my arm. (MORE)129. DAVE (CONT'D) (MORE)130.(to JUDGE HOFFMAN) If we’re guilty, then why not give us a trial? I’ve sat here for six months and watched you-- (to a MARSHAL) I’m asking you not to grab-- But A DIFFERENT MARSHAL grabs him. DAVE throws his arm off, then punches him in the face, sending the MARSHAL to the floor. It all happened too fast. The GALLERY and the DEFENDANTS jump up as the MARSHALS jump up as DAVE’s taken down by the other MARSHALS then dragged to his feet with his arms twisted behind him. JUDGE HOFFMAN Take him outa here. Lock him up! As DAVE gets handcuffed, he looks to the back of the courtroom where his young son is looking at him. DAVE (calling) I hit him. I’m sorry. The MARSHALS have him out the door.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CONSPIRACY OFFICE - NIGHT 163 163 The DEFENDANTS--minus DAVE--are sitting around the entryway...dejected. The PHONE RINGS...JERRY picks up the receiver and hangs up. JERRY There’s only one thing--one thing to do. Solidarity with Dave. Tomorrow we go into court and get ourselves arrested. TOM We’re already arrested. JERRY (pause) Is Bill talking to you about taking the stand? (beat)DAVE (CONT'D) (MORE)130. JERRY (CONT'D)131.Some of the press guys are saying Bill’s been talking to you about taking the stand. TOM He’s been talking to me about it. JERRY He thinks you might get the crowd worked up with a position paper? TOM Maybe he thinks I won’t try to get the crowd worked up at all. Maybe he thinks there are jurors who’ve relied on the safety of the police and are put off when someone calls them pigs. Or maybe he just wants a witness who dresses like a grown man. JERRY The cops in this city in the summer of 1968 were pigs. TOM I wonder how many of them have kids in Vietnam. JERRY (to ABBIE) He’s gonna take the stand, not you? (beat) We’re okay with that? ABBIE’s lost in thought... JERRY(CONT'D) Abbie! ABBIE (to TOM) What did you mean the last thing I want is to end the war? TOM (long pause) What?JERRY (CONT'D)131. 132.ABBIE Like...50 years ago when the trial started you said, “Why did you come to Chicago?” and I said, “To end the war”, and you turned to everyone and said, “The last thing he wants is to end the war.” What did you mean by that? TOM I meant that you’re making the most of your close-up. ABBIE Yeah? TOM No more war, no more Abbie Hoffman. ABBIE What’s your problem with me, Hayden? TOM I really wish people would stop asking me that question. RENNIE Hey, Dave wouldn’t want us to fight. ABBIE Answer it. One time. TOM Alright. For the next 50 years, when people think of progressive politics, they’re gonna think of you. They’re gonna think of you and your idiot followers passing out daisies to soldiers and trying to levitate the Pentagon. They’re not gonna think of equality or justice, they’re not gonna think of education or poverty or progress. They’re gonna think of a bunch of stoned, lost, disrespectful, foul- mouthed, lawless losers. And so we’ll lose elections. ABBIE All because of me.132. 133.TOM Mm-hm. ABBIE And winning elections, that’s the first thing on your wish list? Equality, justice, education, poverty and progress--they’re second? TOM If we don’t win elections it doesn’t matter what’s second and it’s astonishing that someone still has to explain that to you. There’s a long silence... RENNIE (pause) Okay, so Jerry was talking about-- ABBIE (quietly) We don’t have any money. TOM I’m sorry? ABBIE We don’t have any money. So I stage stunts and cameras come, microphones come. And it’s astonishing that someone still has to explain that to you. TOM You’re trading a cow for magic beans. JERRY That ended up working. TOM What? JERRY The magic beans. There was a giant up there. I can’t remember what happened after that, the little boy may have gotten eaten.133. 134.FROINES No, the giant turned out to be nice. JERRY Are you sure? FROINES No. WEINER It’s almost hard to believe the seven of us weren’t able to end a war. ABBIE (to TOM) Lemme ask you something. RENNIE You guys should just shake hands. ABBIE You think Chicago would’ve gone differently if Kennedy got the nomination? TOM Do I think-- (laughs a little) Yes, it--yes. The Irish guys would have sat down with Daley and--yes. ABBIE I think so too. TOM Yeah. ABBIE That’s why I was wondering--weren’t you just a little bit happy when the bullet ripped through his head? (beat) No Chicago, no Tom Hayden. TOM looks at ABBIE for a moment in stunned disbelief, then lunges at him-- TOM I WAS ONE OF HIS PALLBEARERS! Everyone immediately reacts--134. (MORE)135.ABBIE (pushing him off) That’s right! (beat) We’re not going to jail because of what we did, we’re going to jail because of who we are. Think about that the next time you shrug off cultural revolution. We define winning differently you and me. KUNSTLER comes in with WEINGLASS. ABBIE(CONT'D) Bill, you shoulda seen it. Tom tried to beat me up but through sheer of force of intellectual superiority-- KUNSTLER Stop talking. (beat) Just stop talking. KUNSTLER reaches into his bag and pulls out an envelope. KUNSTLER(CONT'D) Foran’s office turned this over tonight in discovery. It was given to them by somebody in the crowd. KUNSTLER’s taken a reel-to-reel tape out of the envelope. KUNSTLER(CONT'D) No foul play, there are affidavits, they really did just get this. TOM What’s on the tape? KUNSTLER The sound of you starting the Chicago riot. KUNSTLER goes into the living room and everyone follows. TOM (pause) What? KUNSTLER Somebody had a tape recorder at the band shell. (MORE)135. KUNSTLER (CONT'D)136.They’ve got you saying it. It’s a clear tape. You can’t take the stand. TOM I can handle Schultz and the tape. KUNSTLER No. TOM They’re going to play the tape anyway, right? KUNSTLER If you take the stand they’ll make you answer for it and you can’t. TOM They’d just cracked Rennie’s head open. KUNSTLER So you started a riot--defense rests. TOM They’d just cracked-- KUNSTLER “If blood is going to flow--” TOM Bill-- KUNSTLER “--let it flow all over the city.” TOM They’d just clubbed Rennie. KUNSTLER Everybody kept their cool. Abbie, Dave, shit-- (pointing to JERRY) --this guy kept his cool! You’re the one who lost it. TOM I can take the stand. KUNSTLER You want to hear what the cross from Schultz is gonna sound like?KUNSTLER (CONT'D)136. 137.TOM Sure. I’ll show you what my answers’ll sound like.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. GRANT PARK - NIGHT 164 164 A giant CROWD OF DEMONSTRATORS is listening to DAVE introduce a speaker. TOM, ABBIE and JERRY are standing off to the side on stage. RENNIE’s way in the back of the crowd. DAVE They called him a radical. They called him a criminal. They called him un-American. In the back of the crowd, RENNIE looks to his left where a young guy is starting to climb a flagpole. TOM, from the stage, looks to the back of the crowd and sees the same thing. TOM (V.O.) First of all, it turned out the guy climbing the flagpole was a kid.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CONSPIRACY OFFICE - NIGHT 165 165 KUNSTLER It seems like you guys attract an awful lot of underage minors. TOM (to WEINGLASS) You want to object? WEINGLASS Objection. KUNSTLER Overruled. TOM We attract the people who have the most to lose by this war continuing. KUNSTLER I’m glad you brought that up. Did you serve?137. 138.TOM I wasn’t drafted. I didn’t try to evade the--I had a high number. KUNSTLER But you didn’t enlist. TOM I did not volunteer to kill Vietnamese people, no. KUNSTLER You testified that you saw at least six policemen start to go after the man--sorry, kid--who was climbing the flagpole. TOM Yes. KUNSTLER It was dark and you were a hundred yards away. Do you have telescopic night vision? TOM There were floodlights.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. GRANT PARK - NIGHT 166 166 DAVE And when they called him anti- American. He said, “No. That ignominious distinction goes to those who mouth American values-- POLICEMEN in the back of the crowd see the kid climbing the flagpole and move in to stop him. RENNIE and a few others dive into the police, trying to get them to stop. DAVE(CONT'D) --while breaking America’s heart.” RENNIE (shouting) Hey! It’s alright! He’s a kid! We’ll get him down! From the stage, TOM can see that a little trouble’s started--138. 139.DAVE I’d like to introduce you now to Carl Oglesby of the SDS. TOM (to himself) Shit.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. CONSPIRACY OFFICE - NIGHT 167 167 KUNSTLER And? TOM The police were shoving Rennie away.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. GRANT PARK/FLAG POLE - NIGHT 168 168 OFFICER This doesn’t concern you! RENNIE Just leave the kid alone! He’ll come down! OFFICER #2 I know who you are! Step back!,FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. CONSPIRACY OFFICE - NIGHT A169 A169 TOM Rennie was just trying to get the police off of the kid. KUNSTLER Get the police off of the kid. TOM Yes. KUNSTLER How? TOM He was-- KUNSTLER --grabbing them?139. 140.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. GRANT PARK - NIGHT B169 B169 TOM’s watching helplessly as this develops. The OFFICERS have the kid pinned against the flagpole now and an OFFICER punches the kid in the groin as hard as he can. Then does it again. RENNIE Jesus! RENNIE grabs the OFFICER and pulls him off the kid--,FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. CONSPIRACY OFFICE - NIGHT 169 169 TOM Outa nowhere--,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GRANT PARK - NIGHT A170 A170 A nightstick cracks RENNIE across the face, sending blood flying.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. CONSPIRACY OFFICE - NIGHT B170 B170 TOM It was six armed police officers versus Rennie Davis and a pocket protector so I can understand that response. KUNSTLER How ‘bout your response. Let’s press “Play”. KUNSTLER has a small reel-to-reel tape recorder out now and hits “play”. It’s a crude recording but we HEAR FROINES--,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. GRANT PARK - NIGHT 170 170 FROINES steps to the microphone-- FROINES I’d like to say to the police back there that we have--we’re allowed to be here, we have a permit for-- we need medics back there.140. 141.The camera is PUSHING IN ON TOM. People have limits and TOM’s coming face to face with his.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. CONSPIRACY OFFICE - NIGHT 171 171 Back to the tape recording-- KUNSTLER Dellinger tried to stop you from saying what you were about to say to the crowd.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. GRANT PARK - NIGHT 172 172 DAVE comes over to TOM-- TOM Rennie’s been beaten. DAVE We can--listen to me--we can still get everybody out of here safely. TOM No we can’t. DAVE Tell ‘em to stay calm. TOM No. DAVE They’ll listen to you.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. CONSPIRACY OFFICE - NIGHT 173 173 KUNSTLER Did you tell ‘em to stay calm?,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. GRANT PARK - NIGHT A174 A174 TOM takes over the microphone from FROINES-- TOM Rennie Davis has just been beaten by the police! Rennie’s skull has been cracked open.141. 142.,FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CONSPIRACY OFFICE - NIGHT B174 B174 KUNSTLER Did you tell your crowd to stay calm or did you-- TOM Bill-- KUNSTLER I’m Richard Schultz and John Mitchell told me to win, Tom. Did you tell your crowd to stay calm or did you say-- TOM Yes. Absolutely. If blood is going to flow--",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. GRANT PARK - NIGHT 174 174 TOM (shouting into the microphone) --let it flow all over the city! DAVE Goddammit Tom! TOM (into the microphone) If gas is going to be used, let it come down all over Chicago! We’re going to the Convention! The CROWD REACTION, which has been building wildly in volume, has reached a crescendo-- TOM(CONT'D) Let’s get on the street! Get on the street!",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CONSPIRACY OFFICE - NIGHT 175 175 KUNSTLER “If blood is going to flow, let it flow all over the city.” Was that an order to start a peaceful demonstration?142. 143.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. GRANT PARK - NIGHT 176 176 And now we’re on the backs of a line of riot police who are climbing up the back of a hill in the dark. They get to the crest of the hill and we see what they see--an ARMY OF PROTESTORS coming right toward them.,FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CONSPIRACY OFFICE - NIGHT 177 177 KUNSTLER Once you’d had a moment to settle down, did you try top stop people?",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. GRANT PARK - NIGHT 178 178 The ARMY OF PROTESTORS is getting closer to the BATTALION OF RIOT POLICE. We HEAR a RADIO COMMAND and-- BAM--tear gas gets shot into the crowd. BAM BAM BAM--more tear gas gets fired. We see TIGHT IMAGES of protestors getting cracked in their heads and across their faces by police batons.,FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. CONSPIRACY OFFICE - NIGHT 179 179 KUNSTLER You didn’t try to stop anyone. TOM No.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. GRANT PARK - NIGHT 180 180 We see bloody faces on the ground as the feet of the protestors move by. TOM is going through the crowd and directing them-- TOM (shouting) The bridges! Head to the bridges! The bridges!143. 144.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CONSPIRACY OFFICE - NIGHT 181 181 KUNSTLER You were the one who told people to go to the footbridges. TOM The ones who were able to make it out of the park without getting arrested or maimed. KUNSTLER And those people, the ones you sent to the footbridges, did they know what was waiting for them on the other side?",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. FOOTBRIDGE - NIGHT 182 182 A few hundred protestors who made it through the battalion of riot police come into view at one end of a footbridge connecting to Michigan Avenue. Headlights come into view from the other direction and we see that the source of the headlights are a moving wall of five Jeeps outfitted with concertina wire in front.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. ANOTHER FOOTBRIDGE - SAME TIME 183 183 Another group of protestors meets a moving line of NATIONAL GUARDSMEN with bayonets.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. THIRD FOOTBRIDGE - SAME TIME 184 184 A third group of protestors meet armored vehicles covered with NATIONAL GUARDSMEN.,FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CONSPIRACY OFFICE - NIGHT 185 185 KUNSTLER All access to the convention was blocked. TOM By an armored division.144. 145.KUNSTLER Of the Illinois National Guard, they’re the good guys. TOM Jeeps fitted with concertina wire called Daley Dozers, and when did I stop being one of the good guys? KUNSTLER Let’s find out. Were glass bottles being thrown at the police?",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FIRST FOOTBRIDGE - NIGHT A186 A186 We see glass bottles flying through the air and crashing on the street in front of the police. DAVE Shit, no! DAVE starts making his way through the crowd-- DAVE(CONT'D) (shouting) Don’t throw anything! Drop the bottles! Don’t throw anything!",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CONSPIRACY OFFICE - NIGHT (FILE FOOTAGE) B186 B186 TOM Some people threw bottles. Dave was the one trying to shut it down. They were frustrated--all three footbridges were-- KUNSTLER You, Abbie, Jerry and 11 others eluded the police. TOM I wouldn’t say we eluded them, I’d say we were fleeing from them. KUNSTLER You found an unguarded bridge.145. 146.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SMALL FOOTBRIDGE - NIGHT 186 186 TOM, ABBIE, JERRY and 15 others are standing on one end of a dark, empty bridge that’s only protected by a police barricade. JERRY throws the barricade over and they head across--",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. COLLEGE AUDITORIUM - NIGHT 187 187 ABBIE Now here’s where things got weird.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CONSPIRACY OFFICE - DAY 188 188 KUNSTLER You, Abbie, Jerry and 11 others found the only way to the convention.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COLLEGE AUDITORIUM - NIGHT 189 189 ABBIE In the lobby of the Hilton, right next to the Convention Center, is a bar called the Haymarket Tavern. The Haymarket Tavern is a watering hole for Chicago’s political class and their hookers. And the place was packed to watch Humphrey getting the nomination a mile away.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HAYMARKET TAVERN - NIGHT 190 190 The place is crowded with lawyers and their dates who are partying it up. On the television sets we can see and hear the roll call vote being taken. One side of the bar is a floor-to-ceiling picture window. DELEGATE (FROM TV) Mr. Chairman, the great state of Ohio, the Buckeye State-- PATRONS (toasting) The Buckeye State!146. 147.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. COLLEGE AUDITORIUM - NIGHT 191 191 ABBIE One side of the Haymarket Tavern is a huge picture window with smoked glass. You can’t see inside from the street.,SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HAYMARKET TAVERN - NIGHT 192 192 TOM, ABBIE, JERRY and the others have just about crossed to the other side of an intersection clogged with police barricades, police vehicles, ambulances, etc., to a darker place on the street.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CONSPIRACY OFFICE - NIGHT 193 193 KUNSTLER You made it through the riot police, the tear gas, the national guard and you’re in sight of the Convention Center--",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HAYMARKET TAVERN - NIGHT 194 194 TOM, ABBIE, JERRY and the others are on a dark, empty sidewalk. A few riot police appear from around the corner. The group turns in the other direction where more riot police appear.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CONSPIRACY OFFICE - NIGHT 195 195 TOM Where we got trapped. KUNSTLER What’s another word for trapped? TOM We were trapped between the window and the police. KUNSTLER What’s another word for trapped? (beat) “Caught”, right?147. 148.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HAYMARKET TAVERN - NIGHT 196 196 TOM, ABBIE, JERRY and the others are basically pinned against the picture window by the riot police who are coming closer.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COLLEGE AUDITORIUM - NIGHT 197 197 ABBIE Inside the bar it’s like the 60’s never happened. Outside the bar, the 60’s were being performed for anyone who looked out the window.",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HAYMARKET TAVERN - NIGHT 198 198 The roll call continues on the television sets and the festive mood continues. A WOMAN looks out the window and notices the backs of the protestors that are out there. Her date is deep in conversation-- BAR PATRON #1 Does anyone know what a buckeye is? WOMAN (trying to get his attention) Hey. BAR PATRON #2 A buckeye? BAR PATRON #1 Yeah. WOMAN Am I the only one who sees what’s going on out there? BAR PATRON #2 A buckeye is a nut. A poisonous nut. We see a few other people near the window are starting to notice what’s going on outside.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. COLLEGE AUDITORIUM - NIGHT 199 199 ABBIE And we see a cop do something you don’t ever want to see a cop do.148. 149.,FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. HAYMARKET TAVERN - NIGHT 200 200 We PUSH IN on TOM as he sees a RIOT OFFICER pull off his badge and then his name tag and put them in a pocket. ABBIE watches as the another RIOT OFFICER pulls off their badge and name tag. JERRY watches another.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CONSPIRACY OFFICE - NIGHT 201 201 KUNSTLER All those people, how come you and Abbie and Jerry are the only ones who saw them do that? TOM I don’t know. It was dark. People were scared.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. COLLEGE AUDITORIUM - NIGHT 202 202 ABBIE 60’s outside the bar. 50’s inside the bar. And then...? An unnecessary metaphor.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HAYMARKET TAVERN - NIGHT 203 203 BAR PATRON #2 (over the noise) It’s a nut? BAR PATRON #1 What? BAR PATRON #2 (louder) A nut! CRASH!!!!!!--TOM, ABBIE, JERRY and the DEMONSTRATORS are pushed through the window, which smashes to pieces. PATRONS are SCREAMING as the RIOT POLICE come in after the DEMONSTRATORS.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CONSPIRACY OFFICE - NIGHT 204 204 KUNSTLER Were you resisting arrest?149. 150.TOM They pushed us through the window. KUNSTLER You overrun the riot police-- And now TOM and KUNSTLER begin talking over each other at the same time-- KUNSTLER(CONT'D) --make it past the tear gas, make it past the national guard, find an open bridge, you can practically reach your hand out and touch the convention and you gave yourself up peacefully?TOM (simultaneously) Which is more than Rennie can say! Over 400 people admitted to area hospitals with severe injuries! They had armored vehicles! Bayonets! They took off their name tags and badges! We were trying to protest peacefully at the fucking convention!",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HAYMARKET TAVERN - NIGHT 205 205 TOM is sitting on the floor in the rubble and the aftermath...He sees ABBIE sitting against a wall in handcuffs...They’re both bleeding and they share a look of defeat... POLICEMAN (O.S.) Hands behind your back. TOM (pause) Yeah.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CONSPIRACY OFFICE - NIGHT 206 206 KUNSTLER Who started the riot, Tom? TOM is spent. After a moment he says a word that doesn’t mean to make sense by itself... TOM (pause) “Our”. KUNSTLER (pause) What?150. 151.TOM (beat) “Our”. “Our blood”. ABBIE puts it together... ABBIE (pause) “Our” blood. If “our” blood is going to flow--you meant to say, “If ‘our’ blood is going to flow, let it flow all over the city.” You didn’t mean the cops, you were saying if they’re going to beat us up then everyone should see it. KUNSTLER (quietly) Jesus Christ. ABBIE You do this-- (to KUNSTLER) He does this, it’s a pattern. Read his portion of the Port Huron Statement. He implies possessive pronouns and he uses vague noun modifiers. TOM looks at ABBIE... TOM (pause) You read the Port Huron Statement? ABBIE I’ve read everything you’ve published. TOM I didn’t know that. ABBIE You’re a talented guy. Except for the possessive pronouns and the vague-- TOM I know. And for the first time, TOM is able to allow himself a laugh...then--151. (MORE)152.TOM(CONT'D) (to KUNSTLER) Put Abbie on the stand instead. JUDGE HOFFMAN (V.O.) Would you state your full name for the record please.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COURTROOM - DAY 207 207 ABBIE’s on the stand. ABBIE It’s Abbie. JUDGE HOFFMAN Your last name. ABBIE My grandfather’s name was Shaboysnakoff but he was a Russian Jew protesting anti-semitism so he was assigned a name that would sound like yours. JUDGE HOFFMAN What is your date of birth? ABBIE Psychologically, 1960. JUDGE HOFFMAN What were you doing until 1960? ABBIE Nothing really. It’s called an American education. JUDGE HOFFMAN Why don’t we just proceed with the testimony. ABBIE Sure. KUNSTLER Do you know why you’re on trial here? ABBIE We carried certain ideas across state lines. Not machine guns or drugs or little girls. (MORE)152. ABBIE (CONT'D)153.When we crossed from New York to New Jersey to Pennsylvania to Ohio to Illinois, we had certain ideas. And for that, we were gassed, beaten, arrested and put on trial. In 1861, Lincoln said in his Inaugural address that, “When the people shall grow weary of their Constitutional right to amend their government, they shall exert their revolutionary right to dismember and overthrow that government.” And if Lincoln had given that speech in Lincoln Park last summer he’d be on trial with the rest of us. KUNSTLER How do you overthrow and dismember a government peacefully? ABBIE In this country we do it every four years. KUNSTLER That’s all. KUNSTLER sits. SCHULTZ smiles a little... SCHULTZ So Chicago was just a massive voter registration drive. ABBIE (laughs) Yeah. SCHULTZ Did you hear the tape that was played in court of Mr. Hayden at the bandshell? ABBIE Yes. SCHULTZ You heard the tape? ABBIE Yes.ABBIE (CONT'D)153. (MORE)154.SCHULTZ Did you hear Mr. Hayden give an instruction to his people to take to the streets? ABBIE His people. Hayden’s not a mafia Don and neither am I. SCHULTZ Did you hear him say, “If blood is gonna flow, let it flow all over the city”? ABBIE The beginning of the sentence was supposed to be-- (beat--forget it) Yes. Yes I did. SCHULTZ What do you think of that? ABBIE I think Tom Hayden’s a badass of an American patriot. SCHULTZ I didn’t ask what you thought of the man, I asked what you thought of his instruction to the crowd. ABBIE You know, I’ve heard Tom Hayden say, “Let’s end the war” too but nobody stopped shooting. You can do anything to anything by taking it out of context, Mr. Schultz. SCHULTZ Is that right? ABBIE A guy once said, “I am come to set a man at variance with his father. And the daughter against her mother.” You know who said it? SCHULTZ Jerry Rubin? ABBIE (laughing a little) Yeah. No. It was Jesus Christ. (MORE)154. ABBIE (CONT'D) (MORE)155.Matthew 10:34. And it sure sounds like he’s telling kids to kill their parents. Until you read Matthew 10:33 and 10:35. SCHULTZ Did you-- ABBIE He’d just seen his best friend get hit in the face with a nightstick. The police, Mr. Schultz, whose people are they? SCHULTZ Do you have contempt for your government? ABBIE (laughing) Do I-- SCHULTZ Do you have contempt for your government? ABBIE I think the institutions of our democracy are wonderful things that, right now, are populated by some terrible people. SCHULTZ Please answer the question. ABBIE Tell me again? SCHULTZ Do you have contempt for your government? ABBIE I’ll tell you, Mr. Schultz, it’s nothing compared to the contempt my government has for me. SCHULTZ We’ve heard from 27 witnesses who’ve testified under oath that you hoped for a confrontation with the police. ABBIE (CONT'D) (MORE)155. SCHULTZ (CONT'D)156.That your plans for the convention were specifically designed to draw the police into a confrontation. ABBIE If I’d known it was going to be the first wish of mine that came true I would’ve aimed higher. SCHULTZ It’s a yes or no question. When you came to Chicago were you hoping for a confrontation with the police? ABBIE says nothing for a moment... SCHULTZ(CONT'D) I’m concerned that you have to think about it. ABBIE Gimme me a moment, would you friend? I’ve never been on trial for my thoughts before. FADE TO BLACK TITLE: Trial Day 113",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COURTROOM - DAY 208 208 We see some familiar faces in the gallery. DAVE’S FAMILY, HOWARD, DAPHNE, BERNADINE...and we now see that FROINES and WEINER are in the front row of the gallery too, no longer with the defendants. We HEAR a heavy door open on the side and the gallery hushes, their eyes fixed on the side door. The DEFENDANTS are led in wearing prison coveralls. They exchange looks with FROINES and WEINER as they’re led to the defense table. BAILIFF All rise. JUDGE HOFFMAN enters and takes his seat without fanfare. BAILIFF(CONT'D) 69 CR 180, United States of America versus David Dellinger et al.SCHULTZ (CONT'D)156. 157.JUDGE HOFFMAN The law requires that before sentencing I allow the defendant or defendants to make a statement to the Court. I’ve advised defense counsel that the Court will allow one defendant to speak for the group and I’ve been advised that the group has chosen Mr. Hayden. Is that right? TOM (standing) Yes sir. JUDGE HOFFMAN In spite of your actions during the convention, you are the one defendant who has shown during this trial, respect for this court and for this country and remorse for your actions. I truly believe--I mean this--I truly believe that one day you could be a very productive part of our system. I’d like you to make your statement brief and without any political content of any kind. If you make your statement brief, if you make it respectful, remorseful and to the point, I will look favorably upon that when administering my sentence. Do you understand what I just said? TOM sees a thick sheaf of papers that sits in front of Rennie at the table. JUDGE HOFFMAN(CONT'D) Mr. Hayden? TOM Yes. (pause) You’ll look favorably in sentencing. JUDGE HOFFMAN Yes. TOM (pause) If I make my statement respectful and remorseful.157. 158.JUDGE HOFFMAN Yes. TOM And I’m sorry, Your Honor, what was the third one? JUDGE HOFFMAN Brief. TOM Brief. If I do those things...then my government will look favorably on me. JUDGE HOFFMAN You understand? TOM looks back at the packed GALLERY--Dave’s wife and son, Fred’s girlfriend, CLAIRE... TOM Yes sir. JUDGE HOFFMAN Please begin. TOM Okay. TOM takes the thick sheaf of papers from in front of Rennie-- TOM(CONT'D) Your Honor, since the day this trial began, four-thousand seven hundred and fifty-two U.S. troops have been killed in Vietnam. (pause) And the following are their names. ABBIE leads the other DEFENDANTS in CHEERING as the GALLERY ERUPTS and stands for this final moment of defiance. RENNIE makes a small fist-pump to himself before standing and CHEERING. TOM(CONT'D) Corporal Kenneth Joe Auston, 19 years old. Specialist Billy Francis Dodd, 21 years old. JUDGE HOFFMAN is banging his gavel, trying to restore order as the NAMES and the CHEERING continue.158. 159.JUDGE HOFFMAN There will be--Mr. Kunstler, he will not read four-thousand five- hundred names into the record. There will be quiet in the gallery! Mr. Hayden! TOM Staff Sergeant David Cruz Chavez, 31 years old. Corporal Philip Lawrence Jewell, 21 years old. Amidst the CHEERING and CLAPPING and GAVEL BANGING, SCHULTZ rises to his feet. FORAN What are you doing? SCHULTZ Respect for the fallen. (beat) Show ‘em some respect, sir. JUDGE HOFFMAN is banging his gavel in vain. And while the NAMES and the CHEERING continue, the picture starts to slowly freeze into a tableau... Over the frozen picture we see the following TITLES-- 209 209 Abbie Hoffman, Tom Hayden, David Dellinger, Jerry Rubin and Rennie Davis were found Guilty of Incitement to Riot and sentenced to 5 years each in federal prison. DISSOLVE TO: The verdict was reversed by the Seventh Circuit Court of Appeals and a new trial was ordered. DISSOLVE TO: The U.S. Attorney declined to re-try the case. DISSOLVE TO: In 1974, in a bi-annual survey, 78% of Chicago trial lawyers gave Judge Julius Hoffman a rating of “Unqualified”. DISSOLVE TO: William Kunstler served 10 days in prison for Contempt of Court. DISSOLVE TO:159. 160.Attorney General John Mitchell served 18 months in Federal prison for his role in the Watergate break-in. DISSOLVE TO: Bobby Seale was found Not Guilty of murder by a Connecticut jury. He lives in Northern California and has published several books on barbecuing. DISSOLVE TO: Jerry Rubin became a stockbroker. In 1994 he was struck and killed by a car while jaywalking near the campus of UCLA. DISSOLVE TO: Tom Hayden was elected to the California State Assembly in 1989. He lost his bid for the U.S. Senate by 2 percentage points. DISSOLVE TO: Abbie Hoffman wrote a best-selling book, though the number of copies in circulation is unknown as the title was Steal This Book. DISSOLVE TO: He killed himself in 1989. The CHEERING and the NAMES continue for just another moment before we immediately SNAP TO BLACK From the BLACK, we HEAR a huge crowd shout, one last time-- CROWD (V.O.) THE WHOLE WORLD IS WATCHING! ROLL CREDITS160.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BOEING 757 -DAY A FEMALE FLIGHT ATTENDANT is looking directly at us. FEMALE FLIGHT ATTENDANT Do you want the cancer? Turn to see RYAN looking back. Handsome. Anonymous. Right now -Confused. RYAN Excuse me? FEMALE FLIGHT ATTENDANT (same delivery} Do you want the cancer? Ryan furrows -What the hell is going on here? 2. The flight attendant raises her hand to reveal a CAN OF SODA. FEMALE FLIGHT ATTENDANT The can, sir? Oh ••• No. Um, no thank you. The flight attendant moves to the next aisle. Ryan takes a beat, then returns to his work. MOVE OUT THE WINDOW INTO AN: l ' 3. ANIMATED TITLE SEQUENCE OVER CLOUDS -""'UP IN THE AIR"" TRANSITION TO:",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. REALLY SMALL CONFERENCE ROOM -DAY Two words -Subordinate chic. Seated at a tiny table is RYAN. The Grim Reaper in a suit. Across from him sits STEVE, who has just received bad news. FREEZE. STEVE (clarifying) I'm fired? RYAN No. That would imply that you had broken company policy and that of course is not the case. The position itself simply no longer exists. STEVE You're just taking my job away? RYAN No one's taking anything, Steve. There's nobody to blame. The position has just gone away. It is in the past. However, more importantly, .YQY are still here. You are the future. And that is what you must begin to focu.e on, because if you cannot find fulfillment from within, tllere is no future. STEVE Who the fuck are you? RYAN (V.O.) Excellent question. Who the fuck am I? Foor Steve has worked here for seven years. FLASH IMAGES: Steve at his cubicle. ( RYAN rv.o.) Be's never had a meeting with me before ••• Steve in a meeting. RYAN (V.O.) ••• or passed me in the hall, •• Steve passes a female coworker in the hall. RYAN (V.O.) .•• or told me a story in the break ro01n •••• Steve laughing at a coworker1s story RYAN (V.O.) And that's because I don't work here. I work for another company that lends me out to pussies like Steve's boss ••• STEVE'S BOSS -uA Big Pussy"". RYAN (V.O.) ••• who don't have the balls to sack their own employees. And in some cases, for good reason. Because, people do crazy shit when they get fired. STEVE WIPING OFF HIS BOSS'S DESK. STEVE SBREDpING CLASSIFIED DOCUMENTS. STEVE POURING BLEACH INTO TBE COMMUNAL COFFEE POT. STEVE, UP ON TBE ROOF, LOADING AN ASSAULT RIFLE,",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SMALL CONFERENCE ROOM -DAY Steve is trying to hold it together. STEVE So, what happens now? BACK TO: RYAN We begin a process that may take months, but by the end1 will see you in a job that fulfills you. Ryan slides Steve a PACKET. RYAN (CONT'D) I want you to review this packet. Take it seriously. The answers are all inside. Steve thumbs through it with skepticism. RYAN {CONT'D} Anybody who ever built an empire, or changed the world, sat where you are now. And it'a because they sat there that they were able to do it. This has a profound effect on Steve. RYAN (CONT'D) I'm going to need your key card. ST'.EVE Right ••• Steve begins removing it from his wallet. RYAN Take the day. Put together your per$onal things. Talk to your co­ workers. Tomorrow, go out and get some exercise. Go to~ a jog. Give yourself routines and pretty soon· you'll find your legs. 5. Steve nods and gets up to leave. Just as he's about to walk Oll:t, he. S1:--------------­ our finger on the nation's pulse.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CORRIDOR, C'l'C -DAY People filter out at the conclusion of a meeting. Ryan stops Craig on his way out. RYAN How's Natalie doing? CRAIG GREGORY Just great. Must have taught her well. (begins to exit) Now just make sure the rest of these guys know what they're doing. Ryan looks around at the new employees sitting at teleconference aetQps. They•r~-- a11 pretty green.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RYAN'S LOFT, OMAHA -EVENING 107. Ryan is laying on·his sofa, talking to Alex on the phone. RYAN Yeah, it's a real home and everything. ALEX Do you have the shakes? RYAN No, I'm settling in pretty well. We notice Ryan is wearing a Homestead Suites robe. ALEX You got a real bed, right? Not like some futon. RYAN You'll find out Tuesday. ALEX (teasing) Yeah? You going to touch me like sharks do?",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. RENTAL CAR COUNTER -MORNING Ryan talks to a RENTAL ADVISOR. RYAN {pointing to Stratus) I'd like to buy one of those. RENTAL ADVISOR We're happy to hear you had such a pleasant experience with our line. RY.AN No, I mean it. I want to buy one. RENTAL ADVISOR A Dodge Stratus, air?- RYAN One of~ Dodge Stratuses. RENTAL ADVISOR Um, they•re not for sale sir. Ryan pulls out his MEMBERSHIP CARD. 108. CUT TO: RYAN DRIVING OFF THE LOT IN -BIS NEW DODGE STRATUS.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CTC -DAY Ryan is walking by and notices a YOUNG CTC EMPLOYEE making a rookie mistake. He stops and walks in to help. RYAN Don't try to be so comforting. OUr job isn't to make them feel better. We're here to bridge a transition. Instead of showing compassion, show strength ••• and hold onto that packet til the last second. That's your way of saying goodbye.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. OLD MARKET, OMAHA -DAY Ryan in a group of a dozen runners, rounds the ·corner and heads into downtown.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CONFERENCE ROOM, CTC -ANOTHER DAY Ryari Ia at the t:able with eight others~ Craig i.s leading a meeting. Ryan seems focused on something on his laptop. · We see his screen: The calendar shows that Alex is arriving that day. The screen tabs over to a flight schedule. We focus on a flight that says -on Time-. Ryan smiles.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. SUPERMARKET -DAY Ryan follows an older lady through the p~oduce aisle and copies her buyi~g habits.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. FLOWER MARKET -DAY Ryan walks out with a couple vases of flowers.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RYAN'S LOFT -DAY Ryan prepares the house. 109. He stocks the fridge. Lines up the beverages, label out. Fixes his sheets. Puts out flowers. Unwraps a fresh bar of soap.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BAGGAGE, OMAHA AIRPORT -AFTERNOON .Ryan waits at the bottom of the escalator. women's f'eet keep appearing, but none of them are hers. Finally, his cell phone rings. RYAN (answers) Hey, have you landed? ALEX I got stuck in Chicago. RYAN (really disappointed) Oh. r got the whole condo ••• That's a shame. What happened? ALEX Just work. You knctw how it is. This was a little easier when we were two moving objects. RYAN Think you'll still get out? ALEX I'm stuck in Chicago for another couple days. Then, I have a couple stops out West, hut could be there by next week. RYAN Right •.• ALEX I'm just as disappointed. RYAN Yeah, me too.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CONVENTION HALL -DAY Ryan stands before a sea of people at GOALQOEST XX. He pulls out a BACK PACK and sets it on a tabl.e. RYAN Last year, I flew three hundred fifty thousand miles. The moon is only two fifty. 110. A long beat. Uncomfortable. Ryan looks at the back pack. RYAN Imagine for a second that you're carrying a backpack ••• I want you to~ the straps on your shoulders ••• You feel them? Ryan isn't feeling them. Be is not inspired. He isn't believable. He's barely even there. RYAN Now, I want you to pack it with all the stuff you have .in your life. Start with the little things. Ryan is trying, but he can't find the will to do this. RYAN The ••• um ••• The stuff in drawers and on shel.ves. Ryan takes a beat. Be just stares at the backpack and thinks about all the things he has removed from it •••. And then ••• RYAN Excuse me • ......... .... lIDd .. wi.tb. ... t:hat, ..... E.ya.n. l.eav:es ... the .... etage •... Handlers .... .try .... to .... figure. out what Ryan is doing. A guy in a suit goes to the mic and tries to reassure the audience, but we're already gone.",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SKYBRIDGE, AIRPORT -EVENING Ryan hustles until he is actually jogging.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BOARDING GATE, OMAHA AIRPORT -EVENING Ryan runs up to the flight. The last one to board. 111. !NT. AIRPLANE -NIGHT Over Ryan's shoulder, through the window, we see Chicago below as the flight begins its descent.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CORRIDOR OF LIGHT, CHICAGO O'l:IEARE AIRPORT -NIGHT Ryan on the PEOPLE MOVER.under the ceiling of NEON LIGHTS. Peaceful. music emits from hidden speakers. Ryan walks briskly past idle riders.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. RENTAL0CAR SATELLI-rE KIOSK -NIGHT Ryan hurriedly signs a hand-held device, hops into a SEDAN and speeds off. The RENTAL CAR ASSISTANT suddenly realizes ••• RENTAL CAR ASSISTANT Hey, you forgot to give me your Devotion Club card!",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. RrTE:...AID -NIGHT Ryan exits the automated door with a bag and some flowers. He pulls out a box of condoms and stuff them in his pocket and tosses the bag.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. TOWNHOUSE, CHICAGO SUBURBS -EARLY EVENING Ryan steps out of hie rental car and approaches the door 0£ the townhouse -checking the address against a piece of HOMESTEAD SUITES STATIONARY. Ryan stops, knocks, anq puts on a smile. We hear Footsteps. The door unlocks and opens revealing ALEX. She's wearing sweatpants and glasses. She's-at home~ She looks different. RYAN But there's something else. Alex is in shock ••• She's frozen. Something's wrong. Ryan's smile begins to melt. A man's voice calls from. inside. MAN'S VOICE (O.C.) Honey, who's at t.he door? ('cc . '~'""_,,r.: 112. A couple kids run by through the background, giggling. A man chases after them. Alex is still speechless. Her eyes are angry and apologizing all at the same ti.me. Ryan just stands there. Emotionally bleeding to death. ALEX {almost inaudible) What are you doing here? Ryan begins to step away. He turns and heads for his car, dropping the flowers. Alex's husband becomes visible just as she's shutting the door. ALEX'S HUSBAND Who was that? ALEX .•• just so:me guy who was lost. Ryan gets in his rental car and drives off.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HOMESTEAD SUITES -NIGHT We're watching Ryan through his window from far away ••• almost as if looking through binoculars. Be sits on his bed, tie undone, holding a glass with an inch of scotch on his knee.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RYAN'S SUITE, HOMESTEAD SUITES -MORNING We see quick glimpses of Ryan getting ready. Crappy little COFFEE MAKER crappily brewing. Crappy botei BAR OF SOAP crappily lathering. Crappy HAIR DRYER. crappily blowing.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. AIRPORT SHUTTLE -MORNING Ryan is on the phone with Alex. RYAN How could you lie to me?,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ALEX'S CAR, DOWNTOWN GARAGE -SAME INTERCU'l' WITH: Alex sits in the car with the engine running. ALEX Bow could you just show up at my door like that? RYAN What do you mean? I wanted to see you. I didn't know you had a family, because you never told m~. ALEX Come on, I thought we signed up for the same thing. RYAN Try to help me understand. What is it you signed up for? ALEX I thought our relationship wae perfectly clear. It's ••• (a long beat) ••• an escape~ RYAN I'm an escape? ALEX You know, a break from our normal lives ••• A parenthesis. RYAN I'm a parenthesis? ALEX Seriously, Ryan? I qan't believe we're having thiB conversation. I mean what do you want? Ryan stumb1es on this. Whac does he want? . ALEX (CONT'D) You don't even know what you want. I'm sorry that I ruined your night ••• But you oould ha-y""'e seriously screwed things up for me. That was my family. That's my real life. RYAN I thought I was a part of your~ life. ALEX (sighs) Look; Ryan. I'm a grown up. I don't hold a grudge. (MORE) 113. ALEX (cont'd) When you're ready to be an adult and have fun again, just give :me a call. 114. Ryan can't quite believe what he's hearing. There's only one thing he can do. He hangs up.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SKYBRIDGE -MORNING Ryan is walking when his phone buzzes. Be checks the DISPLAY - CTC Calling. He presses IGNORE, IN'l', TICKET DESK -CHICAGO O'HAIRE -DAY Ryan walks up to the TICKET DESK. He is more lost than usual. There is something plucky about the TICKET AGENT. PLUCKY TICKET AGENT Welcome back, Mr. Bingham. RY.AN . Yeah, right, you got me in 2C? PLUCKY TICKET AGENT Of course. Left side aisle, non­ bulkhead. Just like you like it. RYAN What's got you so fucking happy? The plucky agent fades a bit, then tries to recompose. PLUCKY TICKET AGENT Your boarding card, Mr. Bingham. Ryan takes the ticket and exits. lNT. BOEING 757 -DAY Ryan sits doing nothing. Others around him play Sudoku, read trashy paperbacks, work on laptops. Ryan just stairs at the stitching on tbe eeat in front of him Wh'iiln, •• uBi.n':f' PURSER Ladies and gentlemen, we have a special announcement to make. Passengers look up. PURSER {CONT'D) our pilot has just informed me that we are passing over the city of Mesa ••• {MORE) PURSER {CONT'D) which might not mean much to moat of your but means a lot to one of our fliers today, because he just hit FIVE. • • MILLION. • • MILES ••• RY.AN Oh no ... 115. The Gershwin theme song for the airli.ne rains down from the o~erhead speakers. Passengers clap. Flight attendants gather at Ryan,.a seat with big smiles and champagne. Ryan doesn't even Teact. He's just stunned. The flight attendants separate just enough for a man in a bomber jacket to squeeze through. It's Maynard Finch, the CEO from the commercial. MAYNARD FINCH (to Ryan) That seat taken? RYAN I, uh ••• no. Maynard gives a little salute to his flight attendants, then slides by Ryan to the window seat. MAYNARD FINCH You're the youngest yet to hit five mil. Don't know where you found the time ••• (remembers) Oh right, here you go. Maynard ptills cu~ a MEMEERSHIF CARD. !t shines as if made out of platinum. MAYNARD FINCH (CONT'D) Sev:entn card .we.'ve made. Small. club. It has a pair of wings around ""Member Number 78• Ryan holds it between his fingertips .•• Catches hie own reflection. MAYNARD FINCH (CONT'D) We really appreciate your loyalty. RYAN You know how many times I've thought about this moment? Played out the conversation I'd have with you right here. (=··-. \.., . .,,./ MAYNARD FINCH Really? What did you want to say? A long beat. RYAN You know, I .•• I can't remember. MAYNARD FINCH That's alright. Happens to all of us. {chit chat} So, where you from? Ryan looks at him straight in the face. RYAN I'm from here. DREAM LIKE TERMINAL 116. FADE TO: Ryan's POV of a long PEOPLE MOVER extending into the distance. Gates pass on either side. There is a translucent effect on the screen. As if we're looking through glass. And then we see why. We turn to see that Ryan is wearing a WHITE SPACESUIT. Riding the people mover. Briefcase in hand. Spacesuit Ryan steps off the people m.over and walks through the terminal. No one pays him any attention. Be's merely another person lost in Airworld. EXT, TERMINAL -NIGHT Spacesuit Ryan stands in the taxi line, waiting for a cab.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TAXI -NIGHT Spacesuit Ryan rides in the back of the cab. EXT, CTC HEADQUARTERS -NIGHT The taxi pulls up outside CTC in downto1.m Omaha. Sp~cesuit Ryan steps out. A beat later, he begins to float up. He floats up above the cab and begins to climb up floor by floor. He passes his own floor, peering into the empty room. 117. He reaches the top of the building and continues to soar into . the air until he is above the entire city of Omaha ••• From afar, we see his tiny white isolated spacesuit hovering above the Omaha skyline. We move back in close. His ascent has seemed to stop. Ryan measures the world below, when a flight attendant hovers up into frame next to him. The same one from the beginning of the film. FLIGHT ATTENDANT Mr. Bingham? I'm afraid it's time to leave. RYAN WAKING UP ON A PLANE SLAM CIJT·'l'O: The plane is sitting at the gate and he's the last guy on. The flight attendant atands next to him with a hand on his shoulder. He starts grabbing his things.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RYAN'S OFFICE, CTC -NEXT DAY Ryan picks up the phone at his desk. He removes his new FIVE MILLION MILE CARD and dials a number of£ the hack. AIRLINE OPERATOR Hello, Mr. Bingham. RY.AN Oh, how did you know it was me? AIRLINE OPERA'.I'OR This is your dedicated line. we reserve theta for our moat loyal and appreciated fliers. RYAN Oh .. I'd like to transfer some of my miles. Can you open up an account under ,Jim and Julie Miller? AIRLINE OPERATOR Certainly. Bow many miles would you like to trans,fer? RYAN How many miles would it take to circle the globe? AIRPORT OPERATOR We have our Naround-the-world"" tickets. They're four hundred thousand miles each. RYAN Sounds perfect. Craig enters Ryan's doorway. CRAIG GREGORY Got a second? RYAN (to the airline operator) I'm going to have to call you right back. Craig takes a seat across from Ryan. CRAIG GREGORY What happened to you yesterday? I was trying to reach you all day. RYAN I got tied up in ••• personal stuff. What's going on? An uncomfortable beat. CRAIG GREGORY Do you remember Karen Barnes? Ryan doesn't. CRAIG GREGORY (CONT'D) She was part of a thirty person reduction a few weeks back in Wichita. Natalie fired her. RYAN No, I fire dozer15 of people a day. CRAIG GREGORY She killed herself. Jumped off a bridge. RYAN CRAIG GREGORY (agrees} Yeah. (formality) Do you remember anyone giving you any signals of anything? Depression? 118. RYAN They're all depressed •. We're firing them. CRAIG GREGORY Bey, look, you know .I have to ask. RYAN No, I don't remember anything. Of course they're upset. You never think that ••• CRAIG GREGORY Wasn't any woman who gave you any indication ••• 2 Anything? Ryan remembers her. RYAN No, nothing that stands out. (a thought) Is Natalie alright? Is she coming in? CRAIG GREGORY Natalie quit. Ryan isn't surprised. RYAN Just like that? CRAIG GREGORY Text message. Ryan stifles a laugh. CRAIG GREGORY (CONT'D) Yeah, real fucking nice, right? No one has manners anymore. RYAN She say where she was going? CRAIG GREGORY Nah. She was pretty upset. RY.AN I should give her a call. CRAIG GREGORY (business) I need you back in the air. Ryan doesn't react. 119. CRAIG GREGORY (CONTtD) Did you hear me? I thought you'd be thrilled. RYAN I'm fine. What about video conferencing? CRAIG GREGORY . CTC is pausing on the whole new media front for a moment. Giving ~ta little more thought. Getting our work horses back out doing what they do best. RYAN How long are you sending me·out? CRAIG GREGORY We're going to let you sail and sail. Send us a postcard if you ever get there. Ryan absorbs this. Nods ..",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RYAN'S LOFT, OMAHA -DAY Ryan packs his roll-away.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SUBURBAN HOUSE -DAY 120. Natalie walks up the driveway# toting her ROLL-AWAY. The front door opens revealing a husband and wife in their late fifties. It's NATALIE'S MOM AND DAD. She's moving back in with her parents. Natalie drops her head, embarrassed. They immediately hug her. For the moment, she's a kid again.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. OMAHA AIRPORT -DAY Ryan walks through the automated door. He looks like he did in the opening of the film. Maybe even-wearing the same~----~---­ clothes. Something is different though. RYAN {V.O.) Tonight, most people will be welcomed home by jumping dogs and squealing kids. Their spouses will ask about their day and tonight they'll sleep. 121. Ryan stops and looks up at a GIANT BOARD OF DESTINATIONS. An endless list of cities around the world. A menu of new lives departing every five minutes. RYAN (V.O.) The stars will wheel forth from their daytime hiding places, crowning their neighborhood witl} lights. We look back at Ryan. His eyes lock on one of the cities. We don't see which one. He makes a mental decision and turns in the direction of the gate. He lets go of his ROLL-AWAY. RY.AN (V.O.) And one of those lights, slightly brighter than the rest, will be my wingtip, passing over, blessing them. Ryan takes a step, but before his foot can land we ••• CUT TO BLACK",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. NASSAU BAND REHEARSAL STUDIO - GEHRING HALL - NIGHT11A cavernous space. Sound-proofed walls. And in the center, a DRUM SET. Seated at it, in a sweat-marked white T, eyes zeroed on his single-stroke roll, is ANDREW NEIMAN. He’s 19, slight, honors-student-skinny -- except for his arms, which have been built from years and years of drumming. Suddenly -- a MAN enters the practice room. Stopping, rising-- ANDREWSorry... I’m -- I’m sorry-- MANIt’s ok. Stay there. The MAN steps forward, removes his coat. He’s tall. Late fifties. Black T-shirt, black slacks, black shoes. We’ll know him as FLETCHER. The room is silent now. And then, softly, as he’s one of those people whose whisper can scare the crap out of you-- FLETCHERWhat’s your name?ANDREWAndrew Neiman, sir.(It’s pronounced “Nayman”.) FLETCHERWhat year are you? ANDREWI’m a first-year, sir. FLETCHERYou know who I am?ANDREWYes...FLETCHERYou know what I do? ANDREWYes...FLETCHERSo you know I’m looking for players. ANDREWYes...FLETCHERThen why did you stop playing? Beat. Andrew nods, smiles. He gets it. Summons up all his remaining energy and resumes playing, trying to really show off this time. Rolls, fills, speedy stick-work. He finishes.FLETCHER (CONT’D)Did I say to start playing again? Andrew looks at him. ANDREWI thought--(then, blanching,)I’m sorry, I misun--FLETCHERI asked you why you stopped playing. Your version of an answer was to turn into a wind-up drummer monkey. ANDREWI’m sorry -- I--I stopped playing becau-- FLETCHERShow me your rudiments. Andrew nods. Plays one rudiment after another: double-stroke roll, paradiddle, ratamacue, flam, flamadiddle. FLETCHER (CONT’D)Uh-huh. Double-time swing. Fletcher begins clapping his hand in time. Fast. Andrew plays.FLETCHER (CONT’D)No. Double-time. Double it. Bop-bop-bop-bop-bop-bop-bop-bop-bop-bop.Andrew tries doubling the tempo. But he can’t. Fletcher STOPS CLAPPING. The sign of death. Andrew keeps playing, eyes shut... Then -- he hears the door CLOSE. He stops, and looks up. Fletcher has left the room. Pink (9/10/2013)2 A moment later -- the door OPENS. It’s Fletcher. Andrew’s eyes widen. Maybe it’s not over...FLETCHER (CONT’D)Woopsy-daisy. Forgot my coat.Fletcher grabs it, steps back out, CLOSES the door. Andrew stares ahead, alone again at the drums -- and totally deflated. It’s over. WIDE SHOT of the band room as Andrew slowly rises. A title card: Shaffer Conservatory of MusicFall Semester",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. NEW YORK STREET - SHAFFER CONSERVATORY - NIGHT22Andrew exits, hurries off. Pasted onto his overloaded back-pack are patches, buttons, names: Krupa. Roach. Buddy Rich... The buildings of midtown New York loom over him like giants -- immense, forbidding...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MOVIE THEATER - LOBBY - NIGHT33A quiet two-screen theater. Andrew buys concessions. The GIRL at the counter is about his age. She’s pretty, but doesn’t really know it. More to the point, she doesn’t seem to care. Her name is NICOLE. NICOLESwedish fish? ANDREWNah, not this time, thanks... Andrew and Nicole exchange smiles. He takes his items -- popcorn, Raisinets, two sodas -- and heads off. Peers back at Nicole. She’s staring into space. She looks suddenly lonely. Andrew takes in the sight. You can tell he’s attracted to her -- but he’s too nervous to do anything. A beat later, he enters the theater.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MOVIE THEATER - MOMENTS LATER44Andrew spots a 53-year-old man seated near the front. This is his dad -- JIM. Mild-mannered, soft-spoken, average in every respect. Has the eyes of a former dreamer. Pink (9/10/2013)3 A smile between the two of them. Andrew hands his dad the Raisinets, hands him the drink. Routine. The movie hasn’t started yet. As they exchange items--JIM You ok? ANDREWSure... A beat. ANDREW (CONT’D)He had me play today. JIM And? Andrew shrugs. It’s clear what that means. JIM (CONT’D)You still have other options. ANDREWWhat do you mean? JIMIt’s good to be open-minded. When I was your age I thought I’d have a book deal at 23. Then that changed to 30. Then 40. ANDREWRight... And that didn’t upset you? Jim shrugs, keeps his eyes down. He has a tendency to look down when talking. The lights dim. The previews begin. ANDREW (CONT’D)I mean, it has to do something to you. JIM (another shrug)I don’t know. Why? It’s just life. (pause)There’s other things to care about. Friends. Romance... Andrew takes it in. Especially the last part. JIM (CONT’D)At my age you get perspective. ANDREWI don’t want perspective. Pink (9/10/2013)4 Jim smiles. A moment. Just then a MOVIEGOER squeezes into the row to head to a seat further down -- and bumps against Jim and his bucket of popcorn. JIM NEYMANSorry. The Moviegoer doesn’t say a word. Andrew watches. Takes it in. OMITTED 55Pink (9/10/2013)4A",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DORMITORY - HALLWAY - HOURS LATER 66Rusty elevator doors squeak open. Andrew steps out -- into a grimy, green-walled hallway. Pink (9/10/2013)5 Dim lights, loud MUSIC blaring from behind a door. A thudding party beat... At the end of the hall -- where the music is coming from -- a few PARTYGOERS mingle by a door. The door opens. A YOUNG MAN hands a SECOND YOUNG MAN a wad of cash in exchange for a Zip-lock bag of PILLS. The SECOND YOUNG MAN eyes Andrew. Andrew turns away, heads left -- to his own door. Hurriedly opens it and slips inside.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DORMITORY - ANDREW’S ROOM - NIGHT 77A single. Drumsticks and drum pads scattered, biographies of Bach and Coltrane on the shelf, posters of Louis Armstrong and Charlie Parker on the walls. A TV is on, some sort of music documentary. Andrew watches from his bed -- as, over OLD AUDIO OF DRUMMING and old stills of a boy at a drum set -- NARRATOR (V.O.)By the age of ten, Traps the Boy Wonder was wowing crowds all over America. By his teens, Buddy Rich was well on his way to becoming the stuff of legend. TALKING HEAD #1Like any truly great player, Buddy seemed to have been born with music in his blood. He grasped it intuitively, in a way you and I just can’t. TALKING HEAD #2You check out the old stuff, man. You look at those movies when he was a kid, his arms...Beat. Andrew takes it all in -- especially these words:TALKING HEAD #2 (O.S.) (CONT’D)You just can’t teach that. That kind of genius.(pause)You either got it or you don’t. Andrew turns off the TV. We hear the party beat continuing outside, muffled. He leans back and switches off his light. WE FADE OUT.Pink (9/10/2013)6",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GEHRING HALL - NASSAU BAND ROOM - DAY88The same room we saw Andrew practicing in at night -- only now it’s full of musicians. Mostly male, mostly first- and second-years. This is NASSAU BAND, one of Shaffer’s lower-level jazz ensembles. Because it’s Shaffer, the players are still first-rate. A few third-years are here, too -- including a red-head drummer with the body of a linebacker. RYAN CONNOLLY. Andrew looks up -- in time to see Ryan with a GIRL by the doorway. Ryan’s girlfriend is gorgeous -- tall, all curves. Ryan lets his hand slide down her shoulder. Andrew watches... The GIRL waves bye to Ryan as he heads in. He’s all macho confidence. TRUMPETERMy man Ry! Shit, how you feeling? RYANStitched up at last, dude. TRUMPETERThings were hurting with Neiman on the kit--Ryan taps him to stop. Andrew is within earshot -- and has heard. Beat. Ryan moves over to Andrew, sits down at the set.RYANYou have a good weekend, bro? ANDREWYeah. Definitely. Really good. RYANDon’t worry about Greg. He’s a dick. Andrew nods. Admires Ryan. Seems more diminutive now than ever. RYAN (CONT’D)You been practicing? ANDREWYeah. All the time. RYANMy man.Then -- the Nassau Band conductor appears: RON KRAMER. MR. KRAMERMorning, fellas. “Billie’s In”, bar 8. Pink (9/10/2013)7 Mr. Kramer CLAPS OFF in time -- and the band begins playing FIRST NASSAU BAND REHEARSAL CHART. Mid-tempo. Ryan’s confident, in control. Andrew turns his pages, watches... MR. KRAMER (CONT’D)Nice, Ryan... Woah, trumpets. TRUMPETER #2**Yeah, yeah - sorry about that one.**MR. KRAMER**Just brass again. **To Ryan’s left, a whisper-- **TRUMPETERRy...Ryan turns. Visible as a silhouette through the frosted glass of the main door...is FLETCHER. Andrew turns and looks as well. Tenses up.Fletcher lingers outside. Then he walks on. Ryan turns back to the Trumpeter. RYANNot today.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GEHRING HALL - NASSAU BAND ROOM - MOMENTS LATER99Rehearsal has ended. The MUSICIANS have just filed out -- except for Andrew, who’s hanging back... MR. KRAMERAre you learning from Ryan? ANDREWYeah... He’s been great to me. MR. KRAMER Last week was a little overwhelming for you?ANDREW(is that a question?)Yeah...(then, hesitant,)I wonder...what you think about my progress? MR. KRAMERYour progress?ANDREWI just... I’m...practicing hard and...Pink (9/10/2013)8 MR. KRAMERAndrew -- you’ve got a good attitude. You always arrive on time. Andrew nods. Waiting. Pink (9/10/2013)8A MR. KRAMER (CONT’D)Yeah. Ok? ANDREW(beat)Ok... Do you think... I know Fletcher’s looking for players...for Studio Band...MR. KRAMERYeah, Andrew... Lincoln Center looks out for Fletcher’s top players. If it weren’t for Ryan’s injury he’d have been in Studio Band last year. He’s a natural player. Andrew takes this in. Nods. ANDREWOk.MR. KRAMER(this is awkward)Look... I’m going to be candid. 90% of our players will never make it into the Lincoln Centers or the Collectives. The question is -- who’s in that 10%? A beat. MR. KRAMER (CONT’D)So I’d practice. You could start a rock band.Andrew takes it in. The implication is clear. He turns -- and glimpses a poster on the wall: a DRUMMER throwing a stick in the air mid-solo. Buff. Confident. The opposite of him. ANDREWI...I have one more question... (Kramer looks at him)...Do you know what the process for transferring is? Pink (9/10/2013)9 OMITTED 1010",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GEHRING HALL - BASEMENT HALLWAY - CONTINUOUS1111Andrew walks down a hallway. A piece of paper in his hand. It’s a TRANSFER APPLICATION... He notices as two attractive female students pass him.**STUDENT #1**At least you didn’t embarrass yourself **like what’s-his-face.**STUDENT #2**That was truly pathetic.**As he continues walking, he hears music. Stops. Approaches. **Looks.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GEHRING HALL - STUDIO BAND ROOM - CONTINUOUS11A11AThrough the pane of glass, Andrew can see a FULL ORCHESTRA. Everyone looks older than in Nassau. More focused. All eyes glued on Fletcher as he assumes his position... Fletcher’s right arm moves, just a hair, and the band starts: fast, dazzling. Andrew watches -- in awe. The band’s playing STUDIO BAND EAVESDROP CHART, and the sound is so full, so precise, so commanding. Nothing like Nassau. And suddenly -- Fletcher TURNS AROUND. His eyes meet Andrew’s. Andrew ducks out of view -- shit ---- and hurries away.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ANDREW’S PRACTICE ROOM - A FEW HOURS LATER 1212Andrew practices like mad, trying to nail a double-time swing. To his left a digital METRONOME blinks. The time set: 380. Andrew stops. Resets the metronome. 390. Resumes playing. Tries to keep up. Resets the metronome to 400. Can’t keep up at all now. Struggling, sweating, hands blistering, when -- CRAAACK. Andrew’s right drumstick SNAPS IN HALF. He stops. Spent. Looks at his hand, sweating and throbbing from the blisters. Looks back at the metronome. Still beeping away. He turns it off. Glances up ahead at a poster -- of BUDDY RICH hunched over a drum Pink (9/10/2013)10 kit, mid-solo -- tacked to the wall. Stares at the image. Then looks down -- at the PAPERWORK we saw earlier. The heading: “APPLICATION TO TRANSFER”... Pink (9/10/2013)10A",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ANDREW’S PRACTICE ROOM - MOMENTS LATER12A12AA CD slides into a player. The title: “BUDDY RICH: BIRDLAND”. Andrew skips ahead to the third track. Immediately, drums start. Another double-time swing. Only this one is insanely fast. Even faster than Andrew was going.Andrew listens. Looks at his drum kit. Thinks. Makes a decision. Turns the CD off.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MOVIE THEATER - LOBBY - AFTERNOON1313The same movie theater as before. Andrew marches in. Has one goal and one goal only now.Walks up to Nicole at the counter. Takes a deep breath, and--ANDREWHey -- look -- I -- I don’t know how to say this -- I see you in here all the time and -- I was just wondering -- (stops, collects himself,)-- if you’d want to get a bite to eat with me. Beat. Nicole just looks at him. Andrew can’t believe he said what he just said. Feels like a creep. Instantly regrets it. NICOLEPlease get away from me. ANDREWI’m so sorry, I -- I didn’t mea-- NICOLEI’m kidding.She smiles. Beat. Andrew manages a nervous laugh.NICOLE (CONT’D)That your dad you always come in with? ANDREW(discombobulated, trying to keep up--)Kind of bobs up and down when he walks? That’s him. NICOLE(laughs; then,)Andrew, right? I’m Nicole. ANDREWNice to meet you, Nicole... Pink (9/10/2013)11 NICOLEMonday I get off at seven. ANDREWMonday. Ok. Great. I’ll be here Monday. A moment -- an awkward silence -- then Andrew turns -- and, in a daze, realizing what’s just happened, his spirits suddenly starting to soar -- he glides off.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GEHRING HALL - LOBBY OUTSIDE DEAN'S OFFICE - DAY1414The next morning. Andrew, still riding high, is seated in a lobby outside the DEAN’s OFFICE. In his hand -- a FILLED-OUT TRANSFER APPLICATION. ASSISTANTAndrew Neiman?(Andrew turns)Dr. Fletcher would like to see you. ANDREWOh. Ok...Andrew’s thoughts are elsewhere. Distracted -- not sure what this is about but doesn’t really care -- he dutifully follows...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GEHRING HALL - FLETCHER’S OFFICE - DAY1515BLACK. We hear knocking. FLETCHER (O.S.)Come in. A door opens -- the black gives way -- and we see, seated at a polished mahogany desk, Fletcher. He looks as imposing -- and as well-dressed -- as ever. FLETCHER (CONT’D)Hey, Andrew! I guess Sophie found you? Andrew is taken aback. Fletcher remembers his first name?ANDREWYes... I’m... I--FLETCHERCome in, come in, close the door... Fletcher rises to greet Andrew, as Andrew closes the door. Pink (9/10/2013)12 FLETCHER (CONT’D)I like to chat with students coming in and going out. I hear you’re going out? Andrew looks surprised by the warmth in Fletcher’s voice. ANDREWYes. Transferring. To Columbia. FLETCHERTerrific. Columbia’s a terrific school. Did something precipitate this? ANDREWI just decided to...(not sure how to say it)...to try out some other things. Not focus only on drums. You know? Beat. Fletcher looks at him. Is he upset? Dismayed? FLETCHERBravo.(as he starts to head back toward his desk--)Too many students clamp down on their “pursuits” like leeches.(sits atop his desk)Hobbies they picked up in their teens, and for what? Take a seat. ANDREW(starts heading to a couch)Uh... Yeah.. I mean, I --(passes by a “1st Place Prize” plaque on a coffee-table)-- I was a little younger than my teens when I started drums, but-- FLETCHERWhat were you then? Twelve? ANDREWSix. FLETCHEROh. Well, kids start swimming when they’re six, doesn’t mean they’re Michael Phelps. It’s a hobby, never anything you consider going all the way with. Am I right? ANDREWDefinitely. I mean -- well -- for a time, I thought I’d go all the way -- but, yeah--Pink (9/10/2013)13 FLETCHERWell, kids want anything. I wanted to be a nanny. Thank God those I trusted talked me out of it. Good to listen to advice. ANDREWYes, I’ve done that, you’re right, it’s--FLETCHER--good to get outside perspectives. So long as they don’t have ulterior motives, I’d listen to what the people you trust tell you. Andrew nods. But that phrase seems to echo. Ulterior motives... Fletcher hops down from the desk and makes his way to the couch. FLETCHER (CONT’D)So what’s the passion you’ve chosen to pursue at Columbia, then? ANDREW(as Fletcher takes a seat next to him)Oh... Well... I’m not...not really sure. It’s not a specific thing I have in mind.FLETCHERAh. Well that’s ok. You’re young. Most people, it takes years for them to find their calling. My father, for instance -- he had no idea what he wanted at your age. He tried a lot of things, a little bit of this, a little bit of that. Took him years before he realized his dream was insurance. That was his passion. The cubicle, the coffee breaks, the dry wall.He lets this simmer for a beat. Then--FLETCHER (CONT’D)I’m sure you’ll find your calling as well.He rises back up. A moment of silence. FLETCHER (CONT’D)I guess that’s it, then. Any questions? He notices Andrew looking at a photo on the wall. Pink (9/10/2013)14 FLETCHER (CONT’D)That’s Sean Casey. Graduated three years ago. Now he’s first trumpet at Lincoln Center. (heading toward the door--)He came a long way. ANDREW(trying to collect his thoughts as he rises)...So -- are you -- still looking for Studio Band players then...? FLETCHER(turning around to face Andrew)Some, yes. But it’s no cakewalk. Most kids here can’t last. Laszlo Polgar, Hungarian psychologist, declares in 1967 that talent is all about conditioning. Says he can make his kids, whoever they are, the best in the world at something. What that something is he’ll decide. He’s a lousy chess player but he picks chess because it’s objective. Goes around looking for a wife, finds one who agrees to his experiment. Starts having kids: Susan, Sofia and Judit. Gets them practicing before they can even talk. These weren’t kids who were sitting and smelling the roses. These were kids who were going to leave an actual mark on the world. Who was the top female player by 1984? Susan. Who played the eight-straight-wins “Miracle of Rome” in 1989? Sofia. And who is universally considered the greatest female chess player of all time? Judit. He takes a breath. Smiles. We linger for a second on Andrew, standing in place, taking it all in. Andrew’s eyes quickly drift to the photos behind Fletcher -- the images on the walls... The Studio Band with Wynton Marsalis. Fletcher at the JVC Jazz Festival. One jazz luminary after another... FLETCHER (CONT’D)Which is why I’m sure you’ll be great at whatever you set your mind to at Columbia.(puts his arm around Andrew, starts escorting him toward the door--)It was a pleasure chatting, Andrew, now--ANDREWI just -- one thing first -- I mean -- I’m not entirely sure I’m transferring yet... Pink (9/10/2013)15 FLETCHERWell that’s worrisome. I’m sure you had good reason to make your decision. ANDREWI -- just might give it some more time--FLETCHERNo need to do that. First instincts are best. ANDREWMy first instinct...is not to transfer... FLETCHERI’m not sure your first instinct is right, then. Why don’t you give it some more thought, and in the meantime...(reaches the door; about to close--)...make sure your double-time swing is ready by Monday’s Nassau Band. He closes the door. WE LINGER on Andrew. A spark has been lit.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GEHRING HALL - NASSAU BAND ROOM - NIGHT 1616Andrew plays the drums with Nassau Band. Keeps missing hits. The song’s SECOND NASSAU BAND REHEARSAL CHART (ANDREW). MR. KRAMERAlright, that’s... That’s enough of that. Back to just the core, please. MUSICIANS trade places. As Ryan trades with Andrew, he turns-- RYANDude -- what’ve you been practicing? Just then, the DOOR SWINGS OPEN -- and in steps FLETCHER. All eyes go to him. All talking ceases. Absolute silence, save for Fletcher’s footsteps. Andrew waits. Heart pounding... Fletcher arrives at the head of the band -- as Kramer silently and meekly retreats. Fletcher props up the music stand to his height, looks down at the sheet music, runs his finger down it to find the spot he wants... Andrew, like all the other players, is dead-still, eyes glued on Fletcher’s every move...Fletcher looks up, surveys the band with his eyes. Then, raising his hand-- FLETCHERDown the line. Pink (9/10/2013)16 Instruments SNAP upward with military precision. No one wants to miss a beat. FLETCHER (CONT’D)Trumpets. Bars 36 to 38. One-two-- The TRUMPETER on the right starts playing. Five notes before Fletcher cuts him off with the slightest flick of his hand.FLETCHER (CONT’D)N",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",ext. One-two--(the SECOND TRUMPETER misses his cue)N,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","ext. One-two-- Nothing. Fletcher looks up. There are no more trumpeters. He looks over at Kramer: “Are you serious?” FLETCHER (CONT’D)Trombone. Bars 21 to 23. Four-and--(TROMBONIST is scrambling to find the right page)Saxes. 48 to 50. “And” of one. And-one--(ALTO SAX gets through one bar)Next--Before he even counts off, he notices the TENOR SAX’s fingering -- all he needs to know.FLETCHER (CONT’D)Drums.We get a split-second glimpse of the TENOR SAXOPHONIST, wondering what just happened -- before we CUT to the drums, Ryan at the ready. FLETCHER (CONT’D)Double-time swing. Ryan takes a breath. Fletcher CLAPS him off. Ryan plays. FLETCHER (CONT’D)Thank you. You. Behind. Palms sweaty, Andrew takes Ryan’s place. Trains his eyes on Fletcher’s hands. Deep breath. Fletcher CLAPS, and Andrew begins -- trying to get the motion right, trying to stay in time--FLETCHER (CONT’D)Thank you. Bass. Five bars of “Donna Lee”.We STAY ON Andrew as the BASSIST plays; Andrew slides off the drums and back to his regular seat. Pink (9/10/2013)17 FLETCHER (O.S.) (CONT’D)(to Bassist)Thank you. We CUT back to Fletcher. He looks over the band once more. We see the MUSICIANS’ faces -- scared, but hopeful. Then-- FLETCHER (CONT’D)Drums. Come with me. Ryan’s heart starts speeding. His excitement visible, he-- FLETCHER (CONT’D)Other drums. Ryan freezes. Andrew is stuck in place for a moment. Then, eyes wide -- is this really happening? -- he rises and approaches the doorway... There, Fletcher hands him an ORANGE PAPER SLIP. FLETCHER (CONT’D)Give this to Admin for rescheduling. We meet 6am to 1pm every day. Room B16. And with that, he EXITS.In a daze, Andrew drifts back toward the band. Kramer looks at him. Andrew answers the look with a defiant smile. Vindicated.MR. KRAMEROk fellas, let’s...let’s take it back from the top.. He claps off. The band plays SECOND NASSAU BAND REHEARSAL CHART (RYAN). Andrew pretends not to notice Ryan’s eyeing him in shock. Just sits down, lets it all settle. And -- ever so slowly -- Andrew’s face dissolves into a GRIN...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PIZZERIA - NIGHT1717NICOLEThis is a nice place. We’re at a cheap pizzeria now. Nicole is seated, two half-eaten slices of pepperoni in front of her. An old jazz track is playing -- PIZZERIA CHART. Seated across from Nicole is Andrew -- echoes of the earlier grin still on his face, a brightness in his eyes. ANDREWYeah, I come here a lot. Pink (9/10/2013)18 Beat. Then -- clicking back to reality -- this is not a nice place, did I fuck up? -- ANDREW (CONT’D)They have good music, so I -- it’s not just the food... (points, re: the tune)This is Jackie Hill, “When I Wake”, July 17th, 1938, Bob Ellis on drums. NICOLEAre you trying to impress me? ANDREWNo -- sorry -- I didn’t mean -- they have like -- ten songs they loop through. They’re always playing the same thing. NICOLEAnd you know the dates to all ten? ANDREW...Yeah. Nicole smiles. A moment. Andrew fidgets. Nervous. NICOLEYou know every time I saw you in the theater you always had your eyes pointed to the floor.ANDREWReally? NICOLELike you were fascinated by the soda stains on the carpet.ANDREWMy dad tells me I have a problem making eye contact. NICOLEMy parents like to criticize me too. When I was growing up my mom told me my chin was too big and that that’s why guys wouldn’t like me. ‘Cause my dad had cursed me with a big chin.ANDREWWhat?Pink (9/10/2013)19 NICOLEYeah, it’s -- look -- (she turns, points her chin up)It’s Jay Leno. Andrew laughs. Nicole looks prettier to him than ever. NICOLE (CONT’D)She keeps asking me if I have a boyfriend yet, and then blames it on the chin. ANDREWShe sounds insane. NICOLEShe wanted to be an actress when she was my age. ANDREWAnd you? What do you do? NICOLEOther than serving you popcorn?ANDREWWhat do you want to do with your life? NICOLE(thinks; wasn’t prepared for a question that direct)I go to Fordham... I’m not sure... ANDREWWhat’s your major? NICOLEI don’t have one yet. ANDREWWell what did you come here to study?NICOLEI just came here for a general education.ANDREWRight, but you picked Fordham for a reason. Why Fordham? Pink (9/10/2013)20 NICOLEI applied to a bunch of schools, Fordham let me in. Why’d you pick Shaffer? ANDREWIt’s the best music school in the country. Beat. Nicole shrugs. NICOLEWell Fordham was Fordham. A moment. NICOLE (CONT’D)I don’t love it there to be honest...ANDREWNo?NICOLEI mean -- the people there... I don’t think they like me. I’m from Arizona and -- I don’t know, I think they see it in me.A beat. Andrew thinks about this, then--ANDREWI don’t like the people at Shaffer either. But I think it just takes time... Things change, you know. NICOLEI know.(then, opening up more than she expected, more fragility in her voice now)I feel homesick sometimes. You know? I hate how people in college pretend they never feel homesick. Or maybe I’m literally the only one, but... I don’t think so. A moment of silence. She looks at Andrew. He looks at her. ANDREWI know exactly how you feel.(then, he smiles)I still go to the movies with my dad. Nicole nods. Smiles back. Andrew said it playfully, but she can tell he also meant it to reach out to her. Pink (9/10/2013)21 She scoots her legs. Her knee happens to touch Andrew’s. He notices. So does she. They look at each other. NICOLE...I like this song. ANDREWYeah -- this part is great -- here --Nicole smiles. Looks at Andrew. He looks back. Their knees stay still, just barely touching. And, on this moment, just as the song ends --",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DORMITORY - ANDREW’S ROOM - PRE-DAWN 1818Andrew’s in bed -- fast asleep. Seems stress-free for once -- his body totally relaxed, his mind deep in a dream. His arm hits his night stand -- WAKING him up. His eyes open. He looks at his alarm clock. It reads: 5:17. ANDREWShi--",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. DORMITORY - HALLWAY - MOMENTS LATER18A18AAndrew bursts out of his room and RACES down the hall.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DORMITORY - NEW YORK STREET - MOMENTS LATER 1919Andrew DASHES across the green. It’s still pitch black outside, the city cold and menacing.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GEHRING HALL - STAIRWELL - CONTINUOUS2020Andrew busts inside, runs down the STAIRWELL -- and SLIPS. Falls full-throttle down a whole flight, hands smacking against the tile. Rises, sore, and keeps running.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. GEHRING HALL - BASEMENT HALLWAY - CONTINUOUS20A20AAndrew reaches ROOM B16 -- pushes open the doors--Pink (9/10/2013)22,SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. GEHRING HALL - STUDIO BAND ROOM - CONTINUOUS20B20B--only to find the room EMPTY. No one is there. Andrew checks the time on his phone: 5:33. Did he miss them...?,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. GEHRING HALL - BASEMENT HALLWAY - CONTINUOUS20C20CAndrew steps back into the hallway. Spots a SIGN-UP SHEET at the door. Looks at it. Sees the words “STUDIO BAND” scrolled down for each day. The listed start-time: “9AM”.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GEHRING HALL - STUDIO BAND ROOM - MORNING 2121Andrew sits on the drum throne. A clock on the wall reads: 8:57. He’s dozed off, is out cold. His hand, cut from his fall down the stairs, rests against the snare drum.Suddenly -- the DOOR opens --SAXOPHONIST #2She told me to pull out, then wet the whole fucking bed.SAXOPHONISTNo, serious??Andrew shoots up. Surges to his feet. The SAXOPHONISTS don’t pay him any attention. They’re big guys, macho. Another DOOR opens. MORE PLAYERS...These are the CORE MEMBERS of Studio Band -- Shaffer’s cream of the crop. Mostly third- and fourth-years. All male. A few ALTERNATES follow, first- and second-years. Andrew watches as the PLAYERS buzz their mouthpieces, whip open their folders, pull out their instruments. A flurry of chatter and activity... One of the CORE MEMBERS heads to the drums: CARL TANNER, 22. Andrew sees him, and--CARLYou the new alternate?ANDREWYeah -- I’m -- Andrew Neiman...CARL(couldn’t care less about his name)Tune the set to a B-flat. Then you’ll turn my pages during rehearsal. Pink (9/10/2013)23 Andrew, nervous, sits back down at the drums and--ANDREW(to the PIANIST)Excuse me?(no answer)Um -- sorry -- excuse me?(the Pianist looks at him)Could I have a B-flat please? The Pianist plays a B-flat. Andrew tunes. By now the room is filled: TRUMPETS, TROMBONES, SAXES. ANDREW (CONT’D)(to the Pianist)Excuse me -- could I maybe have ano-- But Carl has already risen. Ushers Andrew back up. Sits down at the drums, as Andrew sits down by the music stand. SAXOPHONIST #2Milk the cunt!!The PIANIST plays a middle C, and the players start tuning to it. Andrew watches, listens -- the sea of sounds building, the clock on the wall ticking, until -- it hits 9:00. THE DOOR BURSTS OPEN. Fletcher marches in, carrying a stack of sheet music. Sudden tension -- and utter silence. Fletcher sets his music down. Stares at the band. Dead-serious, silently judging. A moment passes... Then -- he SMILES. He’s switched all of a sudden to warm and cuddly. FLETCHERWe’ve got a squeaker today, people. Neiman. (he pronounces it “Neeman”)Nineteen years old. Isn’t he cute? Laughs throughout the room. We can overhear a few snickers: PLAYERS (O.S.)Neee-man... Andrew looks. Fletcher keeps his smile up... And then--FLETCHERAlright, gang. “Whiplash”. Pink (9/10/2013)24 The players get out the chart. Andrew catches a glimpse -- a messy clutter of notes and time signatures...Fletcher raises his hand. Total silence. Then -- the slightest move of Fletcher’s finger, and the band begins WHIPLASH STUDIO BAND REHEARSAL CARL #1. The chart’s named “Whiplash” for a reason. It’s fast, frenetic, 7/4 time. This fast, with this many polyrhythms, it’s impossibly hard. CARLPage... Page... Andrew turns the page. Carl glares. Shouldn’t have had to tell him to turn it. But Andrew can’t follow. The band’s too fast.. FLETCHERStop. You. Barker. (pointing to the THIRD TRUMPETER’S horn)That is not your boyfriend’s dick. Do not come early. Moving ahead. Bar 93. The players flip their sheet music. Andrew catches a glimpse of a TROMBONIST ejecting the spit from his horn. A puddle has formed by his feet. FLETCHER (CONT’D)Five-six-seven--The band plays WHIPLASH STUDIO BAND REHEARSAL CARL #2. Intense, visceral. Fletcher paces back and forth, eyeing players as they play. He’s got fox’s ears, hawk’s eyes. Every sinew of his body is focused. Andrew watches, awed, scared, completely overwhelmed. FLETCHER (CONT’D)Stop! The band comes to a halt. FLETCHER (CONT’D)Now this one upsets me. We have an out-of-tune player. Before I go any further, does that player want to do the right thing and reveal himself? (silence)Ok. Maybe a bug flew in my ear. Bar 115. Five-six-and-- He cues the BAND with his hand, then cuts them off.Pink (9/10/2013)25 FLETCHER (CONT’D)No, I guess my ears are clean because we most definitely have an out-of-tune player. Whoever it is, this is your last chance. (paces back and forth, slowly)Either you know you are out of tune, and are therefore deliberately sabotaging my band; or you do not know you’re out of tune -- which I’m afraid is even worse. Nothing. The players avert his gaze. All terrified... FLETCHER (CONT’D)Reeds. Five-six-and--(they play, he cuts them off)Bones. Five-six-and--(they play, he cuts them off)Ahhhh, he’s here. Silence. He eyes the TROMBONISTS. Lands on one, METZ. Overweight. Been picked on his whole life. FLETCHER (CONT’D)Tell me it’s not you, Elmer Fudd. Metz sits there, trembling. On the brink of tears. FLETCHER (CONT’D)It’s ok. Play.(Metz does so, Fletcher stops him, leans in, whispers--)Do you think you’re out of tune?Metz, terrified, looks down at the floor. FLETCHER (CONT’D)There’s no fucking Mars Bar down there. Look at me. Do you think you’re out of tune? METZ...Y--yes...FLETCHERThen why the FUCK didn’t you say so?!?Silence. It’s the first time we’ve heard Fletcher really SHOUT. His voice is booming, louder than one would have thought. Then--FLETCHER (CONT’D)I’ve been carrying your fat ass for too long, Metz. Pink (9/10/2013)26 (MORE) I will not let you cost us a competition because your mind’s on a fucking Happy Meal and not on pitch. Stein, congratulations, you are now fourth-chair trombone. Metz -- get the fuck out. Still trembling, tears bubbling out, Metz picks up his trombone and walks to the door. Andrew watches -- shocked. Once the door closes--FLETCHER (CONT’D)For the record, Metz was not out of tune. You were, Wallach. But Metz didn’t know it. And that’s bad enough. And then -- he looks straight at Andrew. FLETCHER (CONT’D)Alright, take ten. When we get back -- the squeaker’s on. Andrew’s face goes ghost-white.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GEHRING HALL - BASEMENT HALLWAY - MOMENTS LATER2222Andrew sits in the corner of the hall, the “WHIPLASH” sheet music in his hand. Tries desperately to count the beats...ANDREWFive-six-seven... Six-two-two-five...He scribbles on the page, trying to compute the patterns: “7/9 + 7/4 = 7/18”. “1/64 X 7/9”... We see feet pass by, and hear--STUDIO CORE MEMBER #1**Stein won’t last a week. He doesn’t have the lips. **STUDIO CORE MEMBER #2**Fudd lasted longer than he should have... STUDIO CORE MEMBER #3**Maybe if he spent half the time **practicing that he does to polishing off **cheeseburgers...**STUDIO CORE MEMBER #4**(laughs)**You got that right.**Andrew’s eyes follow the PLAYERS. They’re tall, built. Next to them Andrew feels like a scrawny teen. Pink (9/10/2013)27FLETCHER (CONT’D) Just then -- a PAIR OF DRESS SHOES reach Andrew’s side. Startled, Andrew looks up. It’s Fletcher. Andrew scrambles to his feet, as Fletcher puts his arm over him and -- earnestly, back to the warm tone he displayed days ago -- FLETCHER(walking Andrew down the hall)Listen, Andrew. I know what you saw in there is worrying you, but there’s a big difference. This is your first day. Pink (9/10/2013)27A (MORE) Metz had been dragging mud for two years.(comes to a stop, looks straight at Andrew--)Besides, you’re no Elmer Fudd. This is a huge opportunity for you. You know that, right? ANDREWYeah...FLETCHERYour parents musicians? ANDREWNo, not really... FLETCHERWhat do they do? ANDREWWell, my dad’s a writer. FLETCHERWhat’s he written? ANDREWWell he’s...I guess he’s mainly a teacher.FLETCHERCollege?ANDREWPennington High.FLETCHERAnd your mom? ANDREWI don’t know... She left when I was a baby. FLETCHERSo no musicians in the family. ANDREW...No, I guess not... FLETCHERWell, you’ve just got to listen to the greats then. Jo Jones, Buddy Rich. You know, Charlie Parker became “Bird” because Jones threw a cymbal at his head. Pink (9/10/2013)28FLETCHER (CONT'D) (MORE) You see what I’m saying?(Andrew nods)Pink (9/10/2013)28AFLETCHER (CONT'D)(MORE) The key is -- relax. Don’t worry about the numbers or what the other players think. You’re here for a reason. You believe that, don’t you?(Andrew nods)Say it. ANDREWI’m here for a reason.FLETCHERGood.A beat. And, finally-- FLETCHER (CONT’D)Now have fun.He pats Andrew on the back -- then promptly walks off.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. STUDIO BAND ROOM - GEHRING HALL - MOMENTS LATER2323The players are taking their seats. Slowly, Andrew walks in. Eyes the DRUMS. Takes a deep breath. He can do this... Carl is seated in the alternate’s seat. The drum throne is empty. Just waiting for Andrew... Andrew sits down. WE MOVE IN CLOSER ON HIM -- as he adjusts his seat, lays his music out, gets his sticks ready...FLETCHER (O.S.)Alright, gang.Andrew looks up. Fletcher has just entered.FLETCHER (CONT’D)“Whiplash”. Fletcher eyes Andrew. FLETCHER (CONT’D)Neiman -- just do your best. Andrew nods. Looks at the music. Counts in his head. He’s ready...Fletcher CLAPS the band off. WHIPLASH STUDIO BAND REHEARSAL ANDREW #1, mid-tempo, far easier than before. Andrew’s doing well. Fletcher nods, smiles-- FLETCHER (CONT’D)Let’s see some fills. Pink (9/10/2013)29FLETCHER (CONT'D) Andrew fills, rolling down the toms. Fletcher grins. Andrew, seeing Fletcher’s grin, can’t help but smile. Getting into it now. The whole BAND building, his drumming growing more intense. He fills again. FLETCHER (CONT’D)Snap! We’ve got Buddy Rich here. Andrew grins. Fills again. Accenting, playing a counter-rhythm. When he trips up. Comes in a hair late. FLETCHER (CONT’D)(waving the band to stop)Ok, little trouble there. No problem. Let’s pick it up from 17. Fletcher claps. Andrew plays WHIPLASH STUDIO BAND REHEARSAL ANDREW #2. Fletcher waves him to stop again. FLETCHER (CONT’D)Not my tempo. Ok? Fletcher claps again. Then another wave for Andrew to stop. FLETCHER (CONT’D)Downbeat on 18. Ok? He’s still soft, calm, warm. He claps again. Then, stopping--FLETCHER (CONT’D)The “and” of 4. Bar 17, the “and” of 4.He claps off. Stops Andrew again, only seconds later. FLETCHER (CONT’D)17, the “and” of 4. Ok? And you’re rushing a little... Andrew nods. Getting nervous now... Fletcher claps again. Stops again. FLETCHER (CONT’D)Not quite my tempo. All good, here we go.He’s about to clap off when, out of nerves, Andrew hits his bass drum early. FLETCHER (CONT’D)No -- ready? Fletcher claps. Stops Andrew yet again. Pink (9/10/2013)30 FLETCHER (CONT’D)Sorry, you’re -- you’re dragging a little now. (Andrew tries to pull his seat up, getting anxious, flustered)All set? Andrew nods. Get it together... Fletcher claps. Stops. FLETCHER (CONT’D)You’re rushing. Claps again. Stops again. FLETCHER (CONT’D)Dragging. Claps again. Andrew plays WHIPLASH STUDIO BAND REHEARSAL ANDREW #3, expecting another stop -- but it doesn’t come. Fletcher nods, as though now satisfied, then slowly turns around. Puts his hand on a spare chair. Looks like he’s about to sit down, when... ...like a flash of lightning he WHIPS up the chair and HURLS it straight at Andrew’s head. Andrew DUCKS, as the chair CATCHES the top of the bass drum, almost toppling it over. An EAR-PIERCING CLANG OF CYMBALS, as Andrew’s sticks go flying and the chair hits the floor. Then -- total silence in the room. Andrew is shell-shocked, beyond shaken, what in the fuck just happened???...FLETCHER (CONT’D)(as though discussing the weather)Why do you suppose I just hurled a chair at your head, Neiman? ANDREWI... I... I d--don’t kn--FLETCHERYes, you do. ANDREWI... The...the tempo... FLETCHERWere you rushing or were you dragging? ANDREWI... I don’t... I don’t-- Pink (9/10/2013)31 Fletcher BOUNDS up to him, almost RUNNING -- suddenly beast-like, terrifying, veins set to BURST-- FLETCHERStart counting. ANDREW(like a deer in the headlights)...Five-six-seven--FLETCHERIn four, damnit! ANDREWOne-two-three-four...Fletcher SLAPS Andrew on his left cheek. Then--FLETCHERKeep counting!!ANDREWOne-two--(another slap)--three--(a third slap)--four--FLETCHERWas I rushing or I was dragging? ANDREWI -- I don’t -- I don’t know--FLETCHERStart counting again. ANDREWOne-two--(a slap on his left cheek)--three-four-o--(another slap)--ne-two-three--FLETCHERWas I rushing or was I dragging? ANDREWR--rushing...FLETCHERSo you do know the difference! If you dare to sabotage my band I will fuck you like a pig. Pink (9/10/2013)32 (MORE) Now are you a rusher, are you a dragger, or are you going to be ON MY FUCKING TIME?!? This is a new Fletcher we’re seeing. An animal. But no one but Andrew seems surprised--ANDREWI--I’m gonna be on your time... FLETCHER(flips over a new sheet of music, points to the top)What does this say? ANDREW260... Quarter note 260...FLETCHERCount a 260. ANDREWO-one-two-three-four... FLETCHERJesus fucking Christ -- I didn’t know they allowed retards into Shaffer! Do you expect me to believe you can’t read tempo? Can you even read music??? (points back to the music)What the fuck is this? ANDREWA half-note...FLETCHERAnd this?ANDREWA--a dotted sixteenth... FLETCHERSight-read this measure. ANDREWBop-bop-ba-bop-ba--FLETCHERWhat are you, in a fucking a capella group?? Play the goddamn set!! Andrew plays the measure on the drums. Shaking, terrified... Pink (9/10/2013)33FLETCHER (CONT'D) FLETCHER (CONT’D)Now answer my question -- were you rushing or were you dragging?(because Andrew hesitates--)ANSWER!!!!!ANDREWR--r--r--rushing... FLETCHERDear God, is that a tear in your eye? Are you one of those single-tear people? Do I look like a double fucking rainbow to you??Andrew tries to hide his tear, mortified, wipes it, cowers--FLETCHER (CONT’D)You must be upset. Are you upset??ANDREWN--no...FLETCHEROh so you don’t give a shit about any of this?ANDREWNo, I -- I do give a sh--FLETCHERSo are you upset? Yes or fucking no. ANDREWYes...FLETCHERYou are upset...ANDREWI am upset...FLETCHERSay it so the rest of the band can hear you. ANDREWI am upset...FLETCHERLouder. ANDREWI am upset!Pink (9/10/2013)34 FLETCHERLOUDER!!!!!!ANDREWI am upset!!!FLETCHERYou are a worthless friendless faggot-lipped little piece of shit, whose Mommy ran out on Daddy once she realized he wasn’t Eugene O’Neill, and who’s now weeping and slobbering over my drum kit like a fifteen-year-old girl -- so for the last father-fucking time, SAY IT LOUDER!!! ANDREW(tears pouring out now)I AM UPSET!!!!!! Then -- silence. Andrew hunches over the drum set, shaking, face awash in tears. The other PLAYERS just stare...FLETCHERCarl...Carl silently switches places with Andrew at the set. FLETCHER (CONT’D)Start practicing harder, Neiman.(then, turning to the band,)“Whiplash”. Once more from the top. He claps the band off. As for Andrew, he just sits behind Carl -- dazed, red-faced, and utterly gutted. His first day of Studio Band is over.",FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GEHRING HALL - BASEMENT HALLWAY - DAY 2424Andrew exits. Trying to hold it all in. Then--RYANHey, bro. He sees Ryan, a few yards away. Andrew hides his face, hides the TEARS that are starting to spill out uncontrollably...RYAN (CONT’D)I never said congrats, man. Congra--...and RUNS like hell. Pink (9/10/2013)35",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DORMITORY - ANDREW’S ROOM - DUSK2525Andrew is curled in the corner, crying. We linger here. Then, his PHONE rings. He looks at it. Hesitates... ANDREW...Hello...? JIM (O.S.)You didn’t show. And, finally, breaking down, can’t hold it in any longer--ANDREWHe ripped me apart... JIM (O.S.)...Who?(then,)That asshole? You told me you were transferring... Andrew looks at his desk. There, atop a pile of papers, is his TRANSFER APPLICATION. All filled out. Ready to go. Next to it, a BUDDY RICH CD... ANDREW(almost to himself)...I thought he liked my playing.JIM (O.S.)Who cares what he likes? Who is he to you? When I started writing plenty of people tried to put me down. You ignore them. Andrew is silent. When I started writing... Those words seem to have the opposite effect Jim intended. ANDREWWhen you started writing... JIM (O.S.)Why don’t you come home tonight? ANDREWNo, I -- I have to practice... JIM (O.S.)No, you have to take it easy. ANDREWI need to go now...Pink (9/10/2013)36 JIM (O.S.)Andrew--ANDREWI have to go... Sorry. I’ll call you later.He hangs up. Rises. Wipes his reddened eyes. And exits his dorm. PRE-LAP KNOCKING -- FLETCHER (PRE-LAP)Yes?",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GEHRING HALL - STUDIO BAND ROOM - FLETCHER’S OFFICE - DAY2626Andrew steps into Fletcher’s office. Before Fletcher can say a word-- ANDREWI’m sorry to interrupt you. I just want to tell you -- I’m so thankful to have been accepted into Studio Band. And I’m going to make sure I don’t disappoint you. Fletcher, seated at his desk, just looks at Andrew. Andrew nods, turns around. Marches back down the hall -- as PERCUSSION begins... WE FOLLOW HIM, sticking close to his face, the resolve now in his eyes. Something has changed. PERCUSSION grows louder and, as we move, hurdles us back......to FLETCHER’S OFFICE. And to Fletcher, peeking out through his doorway now. Fletcher smiles...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ANDREW’S PRACTICE ROOM - DAY2727Andrew sits at his drum set, furiously practicing...And just like that, moving fast, DRUM PATTERN FOR MONTAGE carrying us, we’re--",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GEHRING HALL OFFICE ROOM - DAY2828CLOSE ON Andrew’s hand, Xerox-ing pages of music. The titles: “WHIPLASH”, “ALEPH NULL”, “EASY SIX”... Pages dense with notes... Pink (9/10/2013)37",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. NEW YORK STREET - SHAFFER CONSERVATORY - EVENING2929Fletcher steps outside. It’s drizzling a bit. He slowly unfolds an umbrella. Passes by a few other FACULTY MEMBERS on his way to the sidewalk. Keeps walking. The DRUMMING continues...,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DORMITORY - ANDREW’S ROOM - EVENING3030Andrew pulls the MATTRESS off his bed, drags it to the door with his ALARM CLOCK. Heaves both out to the hallway...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SUBWAY - NIGHT3131Fletcher is seated, squished in between commuters, towered over by other travelers. Looks diminutive in this setting...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. NEW YORK SIDE STREET - NIGHT3232Andrew marches down a side-street, wolfing down a McDonald’s burger for dinner, earphones plugged into a METRONOME...",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. ANDREW’S PRACTICE ROOM - NIGHT3333Andrew lifts a 50-lb weight with his right arm. Then a 75-lb. Then picks his stick up and plays his double-time swing...,SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FLETCHER’S APARTMENT BUILDING - NIGHT3434Fletcher reaches a nondescript high-rise. With his folded-up umbrella, his head hanging low, and the careful delicacy with which he opens the door, he looks here like nothing so much as a quiet, everyday man...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ANDREW’S PRACTICE ROOM - NIGHT3535Andrew sleeps, earphones still in and metronome still on. He’s on the MATTRESS he brought down from his dorm, the ALARM CLOCK by his side. Next to it, a suitcase of clothes. Above, the poster of Buddy Rich. It’s as though he’s moved in.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FLETCHER’S APARTMENT - DINING ROOM - NIGHT3636Fletcher sets the table for dinner. He has nice porcelain plates, and a glass of red wine. But the meal? A frozen ready-made steak and vegetables. On the wall, a photo. In it, a younger Fletcher, and a WOMAN, and a NINE-YEAR-OLD GIRL. All smiles... Pink (9/10/2013)38",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ANDREW’S PRACTICE ROOM - MORNING3737Andrew rises from the same mattress and slides onto his drum seat. Starts playing, hands dotted with blisters, eyes crusty with sand. The METRONOME still on......because it was never turned off. CUT TO: Rides furiously, trying to beat his double-time swing... The METRONOME reading 380... His muscles exhausted...CUT TO: The METRONOME adjusted up to 390... Blisters tearing...CUT TO: 400.. Hands bleeding now, blood smearing the sticks... CUT TO: 405... The METRONOME going crazy now... The DRUMMING so fast it’s a wash, a wall of sound, blood on the cymbal--",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FLETCHER’S APARTMENT - DINING ROOM - NIGHT 3838Silence. Fletcher finishes his meal. Puts the dishes away. Sits down on a couch. Still alone. The apartment, like his office, is small but elegant. Pictures of icons on the walls. Monk. Holiday. Coltrane...Fletcher reaches into a stack of LP’s: Chopin, Ravel... Pulls one out with the most delicate touch, as though he were handling a newborn. Sets it on a record player by his side. A scratch, a hiss, and then -- -- FLETCHER’S SONG. Melancholy, lovelorn... Fletcher just sits and listens, barely moves -- but you can tell the music now playing means everything to him... A moment, and then...",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DUNELLEN AUDITORIUM - STAGE - EVENING 3939Wild, feverish, absurdly fast BIG BAND JAZZ. We’re on-stage. An orchestra about the size of Studio Band is in full swing, reaching the end of RIVAL OVERBROOK BAND CHART. The band FINISHES. No applause. A card: First Competition of the Winter SeasonPink (9/10/2013)39",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DUNELLEN AUDITORIUM - GREEN ROOM - HALLWAY - MOMENTS LATER 4040The RIVAL PLAYERS quickly shuffle into the green room, past Andrew, who watches, awed. A VOICE--TECHNICIAN (O.S.)Terry! Andrew turns, glimpses a CORRIDOR through the doorway. Out in the corridor, he sees a TECHNICIAN welcome Fletcher. In the Technician’s arms, a FOUR-YEAR-OLD GIRL -- the Technician’s daughter --FLETCHERMike!(and, to the girl,)I’m so sorry, can I have your autograph? (she blushes, shakes her head)Are you playing an instrument yet? TECHNICIANShe started piano this week. FLETCHEROoo, I need pianists! (to the girl)What do you say, you ready for Carnegie Hall? The Technician smiles again, looks at the girl. She hides her face in his chest, embarrassed. He and Fletcher laugh. FLETCHER (CONT’D)Alright, alright. (looking up at her dad)Great to see you, Mike. He leans in. They hug. FLETCHER (CONT’D)See you after the show! Cheers! He steps in, closes the door and addresses his PLAYERS, who are busy sanding their hands, buzzing their lips, preparing: FLETCHER (CONT’D)Ok, you fucking cocksuckers. E Dorian.(the non-percussion players lift their instruments)Hurry the fuck up!! E Dorian. (they play the Dorian scale)Double it.(they play it double-time)Pink (9/10/2013)40 (MORE) G Lydian.(they play the Lydian scale)D Lydian Augmented.(they play it)Double it.(they play it double-time) Get your music. “Irene” only for Set 1. Rhythm section out first. Tanner, the kit is a tonal catastrophe. Get it in tune. Rhythm and soloists, we’re augmenting the dominant in measure 45. Everyone else sharp the nine at bar 106. Got it? (beat)Now remember. Lincoln Center and its ilk use these competitions to decide who they want. And I am not about to have my record in that department stained by a bunch of sour-note flexible-tempo flatter-than-their-girlfriends dipshits. And another thing...(he holds up a music folder)...if I ever see one of these lying about unattended to again, I swear to God I will stop being so polite. That alright with you, ladies? PLAYERSYes.A STAGEHAND approaches Fletcher, about to speak to him--FLETCHER(almost matter-of-fact)Get the fuck out of my sight before I demolish you. The STAGE HAND nods, slinks away. Fletcher addresses his band-- FLETCHER (CONT’D)Stage right. In order. Now. (turns to the STAGE HAND -- who’s short and plump)That means you too, Mini-Me.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DUNELLEN AUDITORIUM - STAGE - CONTINUOUS4141Studio Band goes on-stage. Carl hurries to the DRUMS, tunes them. CARLStick bag.Andrew hands Carl the stick bag. Raises the music stand, props the MUSIC FOLDER onto it--Pink (9/10/2013)41FLETCHER (CONT’D) CARL (CONT’D)Hurry up. ANNOUNCEMENT (V.O.)The Shaffer Conservatory Studio Band... CARLHurry up. --and opens it to OVERBROOK COMPETITION CHART.Fletcher appears. Raises his hand. Everyone raises their instruments. Sits still. Waiting...A cough is heard. Fletcher looks to his right. The players stay still. No sign of whom it came from...And then -- the slightest move of Fletcher’s index finger. So subtle you need absolute focus to even notice it. That’s the count-off. Miss it and you’ve blown it for everyone. The BAND LAUNCHES. Quiet at first, then a big brassy sound. Andrew watches Carl’s playing. Taps along on his knees. CARL (CONT’D)Page.(Andrew snaps to it, turns the page)Damnit...Still conducting, Fletcher approaches, whispers--FLETCHERGet it together, Tanner, I swear to God. Heads back to his position, glaring at Carl. Pissed at Andrew, Carl plays. The music BUILDS and we’re--",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DUNELLEN AUDITORIUM - GREEN ROOM - MOMENTS LATER4242The performance over, the PLAYERS trickle BACKSTAGE. CARL(handing Andrew the folder, still pissed)Hold onto this for the second set.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DUNELLEN AUDITORIUM - HALLWAY - MOMENTS LATER4343Andrew plugs in for a can of Coke at a vending machine. Sets his MUSIC FOLDER down on a chair. Keeps his eyes on it. Pink (9/10/2013)42 Then -- he overhears TALKING... TRUMPETER #1That’s what I heard... Andrew turns. Creeps around the corner. Sees a trio of fellow Studio Band PLAYERS, all core, chatting. They don’t see him... TRUMPETER #2Do you think he’ll make a complaint? SAXOPHONISTHe wants a career. Long as Fletcher stays, Fudd could get placed back in. Why would he jeopardize that? Andrew leans in to hear more, but before he can get a read--CARLI need to look at the music. Carl is inches from his face. Andrew turns to the chair -- but the folder is gone. His eyes go wide. No... CARL (CONT’D)Can I have it?ANDREWYeah, of course. I’m...CARLWhy isn’t it on you? ANDREWIt is, I--CARLI don’t see it. ANDREW(realizing he can’t hide this)Fuck... I -- I think I fucked up... CARLNo. You’re joking. ANDREWI swear to God, I had it on that chair--CARLOh my God. Oh my God. Oh my God. How could you be so fucking stupid?!? ANDREW(shaking, doesn’t know what to do)A... A janitor... Maybe a janitor took--Pink (9/10/2013)43 CARLFind the fucking chart!!(turns, grabs a passing player--)Neiman lost my folder. SAXOPHONISTSerious? Fletcher’s going to flip. And just like that -- a VOICE booms down the hall--FLETCHER (O.S.)Drums!! Where the hell is Tanner??",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DUNELLEN AUDITORIUM - GREEN ROOM - MOMENTS LATER 4444Carl, terrified, Andrew behind him, addresses Fletcher-- CARLWe have an issue.FLETCHERNow is not the time. CARLI gave Neiman the folder. Neiman lost it. Fletcher looks at Andrew. This is a joke, right? FLETCHERNeiman lost it. CARLYes. FLETCHERThe folder is YOUR fucking responsibility, Tanner! You should have known not to give Neiman your folder. You give a retard a calculator and he’ll try to turn his TV on with it. Now get your ass on-stage before I-- CARLI can’t...FLETCHERCan’t what? CARL(doesn’t want to have to say this--)I -- I can’t go on-stage... I don’t know the charts by heart... Pink (9/10/2013)44 FLETCHERCome again, darling?CARLYou know this... I have -- I need the music, my memory -- it’s, it needs visual cues--FLETCHERVisual cues??CARL--it’s a medical conditio-- FLETCHERA medical condition? What are you, Sanjay Gupta?? Play the fucking music!!CARLI can’t.ANDREWI can.Fletcher and Carl both look at him. Neither was expecting him to chime in. Andrew seems almost as surprised...FLETCHERYou know “Whiplash” by heart? ANDREWYes. Every measure. Every note. Quickly realizing this is now his only option-- FLETCHERYou’d better pray your memory doesn’t fail you, Neiman. And I hope you’ve improved since last month’s rehearsal. I am not about to start losing now. Then, to the rest of the band--FLETCHER (CONT’D)ON-FUCKING-STAGE!!",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DUNELLEN AUDITORIUM - STAGE - MOMENTS LATER4545The PLAYERS in their places. And there, on the set, overwhelmed, trying to make this one shot count -- is Andrew. ANNOUNCEMENT With their second selection, the Shaffer Conservatory Studio Band. Pink (9/10/2013)45 Fletcher faces the band. Zeroes in on Andrew. The wild-card. Andrew rubs the sweat from his palms. This is it, this is it... Adjusts the drums, tightens the snares. Carl sitting behind him, burning holes with his eyes... ANDREWFive-two-two-six-two-two... Six-two-two... Fletcher raises his arm. Hand suspended in air, finger waiting to move... Andrew locks eyes on it. Heart pounding now... And -- the finger moves. The band begins WHIPLASH OVERBROOK. A surging 7/4. Andrew seems caught off-guard at first. Struggles to keep up. Then reaches the right speed -- and stays there. Fletcher keeps his eye on him, waiting for him to fuck up...But Andrew doesn’t. He gets the first hit. Awkward, but in time. Then the second hit -- also graceless, but on target. And here comes the key moment. Fletcher turns his attention to the trumpets -- and away from Andrew. Barely believing his luck, Andrew plays another bar. Still Fletcher doesn’t look at him. He’s focused on other players.The number builds some more. And--HEAD JUDGE (PRE-LAP)First place. Shaffer Conservatory.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DUNELLEN AUDITORIUM - STAGE - HOURS LATER 4646Applause. Fletcher summons his PLAYERS to the stage. The JUDGE hands him the microphone. Fletcher takes it, hesitantly. His band behind him -- including Andrew... FLETCHERI’m...supposed to say a few words but... it’s these kids who should be speaking...(turning to his band, earnestly)You earned this, gang.(beat, turns to the audience)You know... When I was a kid, I saw God. Or as some people know him, Charlie Parker. My dad snuck me out of school so we could make the drive into Chicago. It was a bar so he had to sneak me in, hidden under his coat. I didn’t know where in the hell I was. I was all of seven. But then, by the time I was on my third Shirley Temple, this nice-looking man went up on-stage and started playing. And I’ve never been the same since. Pink (9/10/2013)46 (MORE) (turning again to his band)You guys mean the world to me, you know... (back to the audience)I think of them like they were my own kids. Treat them that way, too. Treat ‘em like my dad treated me. Meaning I terrorize them. (laughter, and to the band,)But it’s true, gang. You’re my family... Something about how Fletcher says this suggests he means it... FLETCHER (CONT’D)Thank you. Thank you so much. He wavers. Then steps aside and exits with his band.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DUNELLEN AUDITORIUM - STAGE - WINGS - CONTINUOUS46A46AThe STAGE HAND appears, carrying a red folder. Going up to Carl and Andrew-- STAGE HANDThis yours? I think a janitor threw it in the trash by accident. Carl looks. It’s his MUSIC FOLDER. He looks behind at Andrew.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. STUDIO BAND ROOM - GEHRING HALL - DAY 4747A new day of rehearsal. Andrew enters the room, passes the piano-- PIANISTDon’t you go taking my folder...Andrew looks at him. Wary, he makes his way to the drums...and to Carl. Reaches in to help Carl adjust the cymbals when-- CARLDo not touch the set.Andrew stops. Just then -- the DOOR OPENS, and Fletcher enters.FLETCHER“Cherokee”. (looks at Carl)What are you doing? No answer. Carl, seated at the set, is visibly confused. FLETCHER (CONT’D)Core only today, I can’t waste time with alternates. Pink (9/10/2013)47FLETCHER (CONT'D) Carl stays still. What...? Andrew looks just as shocked. But Fletcher keeps on staring. He’s dead-serious. Finally, Carl slides off, stunned, as Andrew takes his place... And, calmly tossing this off even though he knows how much it hurts-- FLETCHER (CONT’D)Tanner, make sure to turn Neiman’s pages.Then he raises his hand. Andrew holds his sticks, still shocked. This is as clear a verdict of his playing at Overbrook as he’ll ever get. He’s the new core drummer. Fletcher CLAPS the band off, and before we hear any music we’re--",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROAD TO NEW JERSEY - BUS - DAY 4848Andrew watches a VIDEO on his iPhone... It’s 70’s footage and audio of a grey-haired DRUMMER, a face we’ve seen before... BUDDY RICH. Andrew smiles. Relaxed. Proud. A bubble pops up: “1 NEW VOICEMAIL, 1 NEW TEXT MESSAGE”. Andrew opens the t",FLASHBACK +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",ext. The name on it: “NICOLE”. It reads: “You free Thursday?” Andrew is about to answer. Hesitates. Plays the voicemail.CARL (O.S.)Neiman... You lost that folder on purpose. You knew I didn’t know the chart by heart... Answer me... I’ve been core for two years. I’ve been drumming since I was three. I earned my spot you asshol--Andrew hangs up. Looks back at the text message. Considering again... Then he just resumes watching the video.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. NEW JERSEY - JIM’S HOUSE - KITCHEN - EVENING4949Jim grabs a platter from the stove, Andrew by his side. JIMHow’s it going in Studio Band? Pink (9/10/2013)48 ANDREWGood. I think he likes me more now. JIMHis opinion means a lot to you, doesn’t it? Jim looks at Andrew. Almost accusatory. A moment...ANDREWYeah... JIMGrab the shakers please.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JIM’S HOUSE - DINING ROOM - NIGHT 5050 Seven people seated at the table: Jim and Andrew, Andrew’s uncle FRANK, aunt EMMA, and 18-year-old cousin DUSTIN. To Jim-- UNCLE FRANKJimbo -- overcooked!(to Emma, laughing re: the meat)I can barely chew this thing. Jim laughs along. Andrew watches. There’s an undercurrent to the joking. The power dynamic between the brothers is clear. UNCLE FRANK (CONT’D)He just laughs. Jim keeps laughing.AUNT EMMAAnd how’s your drumming going, Andy? Andrew, put on the spot, hesitates. But then, excited--ANDREWWell... Actually, it’s...it’s going really well. I’m now the core drum--The door OPENS. In steps TRAVIS, another cousin, 21, football player, real looker. All eyes swerve in an instant from Andrew to him. UNCLE FRANKWell, well, well -- Tom Brady! TRAVISSorry I’m late. Pink (9/10/2013)49 AUNT EMMADid you hear, Jimmy? UNCLE FRANKThey named Trav the season’s MVP. JIMThat’s incredible, Tra-- AUNT EMMA(interrupting)And Dustin heading up Model UN, soon-to-be-Rhodes-Scholar or who knows what, Jim “Teacher of the Year”... I mean, the talent at this table -- it’s stunning. Beat. Then--AUNT EMMA (CONT’D)And Andrew. With his drumming. UNCLE FRANKYeah, you said that was going ok, Andy? ANDREW(a little peeved,)It’s going spectacularly well, actually. I’m...I’m in Shaffer’s top jazz orchestra, it’s the best in the country -- and I was just made a core member.(there’s no reaction)...Which means I play in competitions. I’m one of the youngest they have. TRAVISHow do they know who wins in a music competition? Isn’t it subjective? ANDREW...No, not really. UNCLE FRANKDoes the studio help get you a job? ANDREWIt’s...it’s not a studio, that’s just the name of the ensemble... And yes, it’s a big step forward in my career. UNCLE FRANKI’m just curious how you make your money as a drummer. After graduating. Pink (9/10/2013)50 Andrew glances at his dad. Wondering if maybe he’ll chime in in defense... But no. His dad stays meek and quiet. AUNT EMMA I saw a TV commercial for credit reports where a young man was playing the drums. You could do that. ANDREWYes, or the Lincoln Center Jazz Orchestra. But the credit reports gig is a wonderful backup. UNCLE FRANK(missing Andrew’s sarcasm)Well I’m glad you have it figured out. It’s a nasty business, I’m sure. (to Travis)Oh, you gotta tell them about your game last week. I’d say you lived up to your title. TRAVIS43-yard touchdown to win it. UNCLE FRANKThat’s what I’m talking about! On your way to the pros. ANDREWIt’s Division III.Everyone at the table looks at Andrew -- including his dad. ANDREW (CONT’D)He plays for Carleton. It’s Division III. It’s not even Division II.(silence, shock around the table)The tilapia is delicious, by the way. UNCLE FRANK(I’ll get you back for that)You got a lot of friends, Andy?ANDREWNot really. UNCLE FRANKAnd why’s that? ANDREWI don’t see the use. Pink (9/10/2013)51 UNCLE FRANKWell who will you play with otherwise? Who’ll give you your break? Lennon and McCartney were school buddies, am I right?ANDREWCharlie Parker didn’t know anyone ‘til Jo Jones threw a cymbal at his head. UNCLE FRANKAnd that’s your idea of success, then? ANDREWBecoming the greatest musician of the twentieth century would be anyone’s idea of success. JIMDying broke, drunk, and full of heroin at 34 would not be my idea of success. Andrew turns and looks at his dad. Can’t believe he joined in. ANDREW(to his dad)I’d rather die broke and drunk at 34 and have people at a dinner table somewhere talk about it than die rich and sober at 90 and have no one remember me. UNCLE FRANKAh, but friends remember you. That’s the whole po",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int. ANDREWNo, none of us were Charlie Parker’s friends. That’s the whole po",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int. UNCLE FRANKWell there’s such a thing as feeling loved and included.ANDREWI prefer to feel hated and cast out. It gives me purpose. JIMThat’s ridiculous. You don’t mean that.UNCLE FRANKTravis and Dustin have plenty of friends, and I’d say they have plenty of purpose. Pink (9/10/2013)52 ANDREWYou’re right, they’ll make great School Board presidents. DUSTINOh -- so, that’s what this is all about -- you think you’re better than us?ANDREWYou catch on quick. You must be in Model UN. TRAVISWell I’ve got a reply for you, Andrew. You think Carleton football’s a joke?(Andrew only nods)Come play with us. ANDREWFour words you will never hear from the NFL. AUNT EMMAWho wants dessert? JIMAnd from Lincoln Center? A moment of silence. Andrew looks at his dad, and his dad just looks right back... A simmering anger in his eyes, Andrew turns to the others, and, slowly--ANDREWIn 1967 a scientist named Laszlo Polgar decides to prove talent isn’t about what you’re born with but about conditioning. Has three kids, Susan, Sophia and Judit, and gets them practicing chess for hours and hours before they can even talk. Fifteen years later Susan and Sophia are the two top female players in the world, and Judit’s on her way to entering the history books as the greatest female chess master of all time. Silence once again. Andrew glances at his dad, and delivers back that same accusatory look he saw in the kitchen... UNCLE FRANKSo not only do you want to die at 34, broke, drunk, and addicted to heroin, but you also wish you were a lab rat. Pink (9/10/2013)53 Andrew says nothing. Rises, plate in hand. Walks to the door-- DUSTINEnjoy band camp. ANDREWEnjoy pretending you’re an ambassador. --and swings it shut behind him.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COFFEE SHOP - DAY5151ANDREWOk, I’m going to just lay it out. This is why I don’t think we should be together. We’re back in the city, at a coffee shop. Andrew is seated across from Nicole, who just looks at him. Clearly she did not think this is how the conversation would begin. ANDREW (CONT’D)I’ve thought about this a lot. If we’re together this is what’s going to happen. I’m going to keep pursuing what I’m pursuing, and it’s going to take up more and more of my time. You’re going to see me less and less. When you do, I’ll be distracted, I’ll be upset, I’ll be playing things in my mind. And you’re going to just grow to resent me. At a certain point, you’ll tell me to ease up on the drumming, to spend more time with you. And I won’t be able to. And I’ll start to resent you for even asking me that. I’ll feel like you’re dragging me down, you’ll feel like you don’t matter -- and before long, we’ll hate each other. So I think we should just cut it off now, cleanly, for those reasons.A beat. Nicole is silent. Finally, Andrew adds--ANDREW (CONT’D)Because I want to be great. NICOLEAnd you��€™re not. ANDREWI want to be one of the greats. NICOLEAnd I would stop you from doing that. Pink (9/10/2013)54 ANDREWYes. NICOLEYou know I would stop you from doing that. You know that for a fact. ANDREWYes. NICOLEAnd I would barely see you anyway. ANDREWThat’s right. NICOLEAnd when I did see you, you would treat me like shit, because I’m some girl who doesn’t know what she wants, and you have a path, and you’re going to be great, and I’m going to be forgotten, and therefore you won’t be able to give me the time of day because you have bigger things to pursue.ANDREW That’s right. That’s exactly my po",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int. Beat. NICOLEYou’re right. We should not be dating. She gets up. ANDREWI’m glad we had this talk. NICOLEMe too. With that, she turns and leaves. We linger on Andrew, the look on his face... Did I just fuck up...? No, I’m good.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GEHRING HALL - STUDIO BAND ROOM - DAY 5252A BLAST of music. Horns squealing, cymbals swelling. It’s another Studio Band rehearsal. Andrew’s at the drums, playing well. Fletcher cues a fermata, and the band finishes STUDIO BAND REHEARSAL AFTER-BREAKUP CHART. Pink (9/10/2013)55 FLETCHERAlright, gang. Pick up the new chart by the door. Rehearsal tonight starts at 9. You have ‘til then to learn it. PLAYERS head out. Andrew grabs his copy of the chart -- it’s called “CARAVAN” -- when--FLETCHER (CONT’D)Neiman. Stay a bit, ok? Andrew nods. Carl, at the door, glares at him. Then slinks off. FLETCHER (CONT’D)(approaching, pointing to the chart)Look at this. See the tempo?ANDREWQuarter note 330... FLETCHERThat’s a double-time swing. That’s what got you in here, isn’t it? ANDREWI guess so...Fletcher grins. Then -- the smile fades.FLETCHERNow, just as was the case with you, I stumbled on a kid practicing his double-time swing the other night. I’d like to give him a shot. Before Andrew can register, let alone ask “Who?”--RYAN (O.S.)Am I late?Fletcher and Andrew turn to the door. RYAN CONNOLLY is here. FLETCHERPerfect timing! Join us, Connolly. (Ryan heads over, smiling)You two know each other, don’t you? RYANYep, Nassau Band. ‘Sup, Andrew... Ryan is all smiles. But Andrew is mortified. Can barely conceal his anxiety -- and his anger.Pink (9/10/2013)56 FLETCHERNow, Connolly, I’ve made Andrew a temporary core--(Andrew’s eyes shoot up at the word “temporary”)--but we’ve got the competition this weekend and I want to make sure the new chart’s in good shape. Ryan nods, reaches into his backpack. And, to Andrew’s shock, pulls out the “new chart”. CARAVAN. RYANThis one, right? Andrew’s wide-eyed. When did he get the chart? FLETCHER(as though he can read his mind)I gave it to him this morning, Neiman. Now, all I want to do is test out the part. Neiman, if you wouldn’t mind, could we take it from the top with just you? Andrew tries to keep calm. Goes to the drums, lays out the chart. FLETCHER (CONT’D)Don’t worry, I don’t care about hits. That’ll be tonight. For now, just tempo. Andrew nods. Takes a deep breath. Looks at the tempo notation. “330”. Another breath. Ok... I’ve got this... Fletcher CLAPS. Andrew BEGINS. FLETCHER (CONT’D)No... That’s not quite my tempo...ANDREWI’m -- I’m sorry -- I’ll--FLETCHERLet’s see if Connolly can do it, ok? Beat. Andrew looks at Ryan. Heart pounding, he switches with him. Fletcher CLAPS. Ryan BEGINS. And he plays perfectly. FLETCHER (CONT’D)Connolly -- that was excellent. See, this is the beauty of Studio Band. You come in an alternate -- but a minute later, you could be the new core. Andrew’s eyes widen again. Pink (9/10/2013)57 ANDREWYou’re not serious. Fletcher looks at Andrew -- as though shocked Andrew talked back. A moment of silence. Then -- BZZZZZ. Fletcher’s cell. FLETCHERConnolly, the chart’s yours. See you both tonight at 9.(answering the phone)Hi, this is Terence... He heads to his OFFICE. Andrew is still. What just happened...? RYANHow you been, bro?(Andrew looks at Ryan)I think it was the injury that kept me out last time. But I’m fuckin’ stoked to be joining you guys now. Andrew just stares. Ryan seems earnest -- but Andrew is incensed. RYAN (CONT’D)(mistaking Andrew’s look for anxiety)Don’t worry about Fletch, either. My granddad knew his dad from the Philharmonic when Fletcher was trying to break in. He’s more bark than bite.Andrew’s eyes really widen now: What the fuck is going on? He gets up, marches to Fletcher’s door, and--",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GEHRING HALL - FLETCHER’S OFFICE - CONTINUOUS5353--BURSTS in. Fletcher’s just finished his call. FLETCHERWhat are--?ANDREWI need to talk to you.FLETCHERNow is not the time, I swear to God--ANDREWI can play that part, you know I can--FLETCHERI said NOT NOW!!! There’s more desperation in Fletcher’s voice than anger. And Andrew notices something else: Fletcher’s eyes are watering... Andrew is silent. He’s never seen Fletcher like this. Pink (9/10/2013)58 FLETCHER (CONT’D)(softly, as though close to crying)You want the part? Then...earn it.A moment passes.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. GEHRING HALL - STUDIO BAND ROOM - CONTINUOUS 5454Andrew busts back through the STUDIO BAND ROOM. Eyes burning. One thought and one thought only: Get that part back. RYANBro! Wanna grab lunch? But Andrew doesn’t answer. Just keeps walking.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. DORMITORY - BASEMENT BATHROOM - DAY54A54AAndrew pours ice into a sink. Turns on the faucet. Dips a big glass jug in and collects ice water.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ANDREW’S PRACTICE ROOM - DAY5555Andrew practices the part... He’s pushing, giving it his all... “CARAVAN” on his stand, scribbled over with pencil markings: “forte”, “triplets!”, “hemiola 1-3”, “don’t slow down!” ANDREWCome on... Come on...He stops. His hand throbbing from blisters. He dips it by his side -- into the jug of ICE WATER. Clenches. Blood clouds the water. He resumes playing -- frenzied, exhausted. Fucks up, screams out--ANDREW (CONT’D)Fuck!!!!Starts pounding his stick against the drum-head. Then his hand. Pounding harder and harder, once, twice, three times, four times. Hand bleeding more, the drum-skin giving way, finally tearing and breaking. He STARTS PLAYING again, fed up, enraged, SHOUTING at himself--ANDREW (CONT’D)Come on you fucking piece of shit... Come on!!! COME ON!!!! Pink (9/10/2013)59",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SUBWAY - NIGHT 5656A crowded subway car. Andrew is seated, poring over his sheet music, running through the beats in his head...",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GEHRING HALL - STUDIO BAND ROOM - NIGHT 5757The PLAYERS sit silently. Ryan on the drum throne, Carl and Andrew behind him -- Carl still humiliated, Andrew 100% focused. The clock reads: 9:00. Not a word in the room. Fletcher emerges. A CD PLAYER in his hand. He plugs it in. FLETCHEROk... Um... For the first time ever, he seems uneasy, unsure what to say. FLETCHER (CONT’D)We...we have a new player. Ryan Connolly. Ryan nods, waves to the other PLAYERS. Chipper--RYANSup, dudes. Andrew glares at him. Seething now. But, continuing, softly--FLETCHERBut I...if you could just...put your instruments down... Just for a second... He turns to the CD player. Turns it on. A big-band ballad swells. A muted trumpet takes the lead. It’s CASEY’S SONG, and it’s a tender sound, full of melancholy... For a few seconds, Fletcher doesn’t say a word. His thoughts seem to be drifting. Then, hesitant, as the music plays... FLETCHER (CONT’D)Six years ago...I saw a kid practicing scales in a band room here. He’d started at Shaffer with a lot of hope, but the truth was he’d barely squeaked in and he was struggling. Everyone on the faculty told him: “This isn’t for you.” But they didn’t see what I saw...(his voice croaking again, emotional,)...this...this scared, skinny kid cursing himself ‘cause he couldn’t get his scales right... I saw a drive in him... Pink (9/10/2013)60 (MORE) And I put him in Studio Band, and we worked together for three years, and when he graduated, Marsalis made him third trumpet at Lincoln Center. A year later, he was first. That’s who you’re hearing now. (then,)His name was Sean Casey. The name catches Andrew’s attention. The trumpeter Fletcher mentioned to him... And the word “was”... FLETCHER (CONT’D)I found out this morning...that Sean died. He died in a car accident yesterday...(takes a moment, is having trouble speaking)I just wanted you guys to know that... He was... Sean was a...(and, almost dissolving into tears on these next words)...beautiful player... (breathes in, collects himself)I just thought you all should know. Beat. He leans back down and turns off the CD. Silence. FLETCHER (CONT’D)(another moment; then, still shaky--)“Caravan”. From bar 142, please. The PLAYERS open their folders, pick up their instruments. Fletcher waits. Hesitates again... Then -- CLAPS. Just drums, bass and trombone play the trombone solo section of CARAVAN STUDIO BAND REHEARSAL. Fast, precise -- but Fletcher waves to Ryan to stop. FLETCHER (CONT’D)No, that’s...that’s not quite right, Connolly... Sorry... Andrew’s eyes instantly fill with hope. Is this his chance?FLETCHER (CONT’D)I... I want to try Neiman on this... Ok? Ryan nods, slowly slides off -- as Andrew quickly gets on. Clutches his sticks tight. This is it... Fletcher’s still shaky-- FLETCHER (CONT’D)Maybe...maybe now’s the time for Neiman to earn the part... Beat. He CLAPS off, Andrew starts, and, only ONE SECOND later-- Pink (9/10/2013)61FLETCHER (CONT’D) FLETCHER (CONT’D)No, I guess not. Tanner. An anger is creeping into Fletcher’s voice now. The stammering fading away, bit by bit. Dismayed, Andrew gets off, Carl gets on, Fletcher CLAPS him off -- and then, SLAMMING his fist down on his table, the barely suppressed grief giving way now to terrifying, full-out rage--FLETCHER (CONT’D)Mother-FUCKER!!! Carl JUMPS. The band goes silent. Fletcher glares at his drummers, eyes so heated they could burn holes into you. FLETCHER (CONT’D)Get your ass back on the kit, Connolly. Ryan does. The other players are still. Real fear in the room... FLETCHER (CONT’D)I will find my tempo out of one of you faggots if it takes me all goddamned night. His tone is vicious, his eyes still watery. He CLAPS, stops--FLETCHER (CONT’D)Which it just might. Neiman. Andrew gets on. His hands are shaking. Fletcher CLAPS, stops--FLETCHER (CONT’D)Not my tempo. Switch. Carl gets back on. Fletcher CLAPS, stops yet again-- FLETCHER (CONT’D)Not my FUCKING tempo!!!! He turns to the rest of the band. Rubs his eyes, breathes, and then, trying to keep calm but his face already beet-red...FLETCHER (CONT’D)Ok... Sorry about this, gang, hate to put you through it. But rest your arms, put aside your instruments, if you need to take a dump do it now, ‘cause I am going to go for as long as it takes until I find a drummer who can play in time.(to the drummers--)You hear me talking, cocksuckers? You’d better start shitting me perfect 400’s. Connolly. You first. Get on the kit. Pink (9/10/2013)62",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GEHRING HALL - BASEMENT HALLWAY - LATER5858PLAYERS mull through the hall, stretching. A few yawns. You can tell these guys have been here for hours already... And through the wall, the kind of screaming that shakes you to your core: FLETCHER (O.S.)Motherfucking COCKSUCKER!!! Is--",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GEHRING HALL - STUDIO BAND ROOM - NIGHT5959FLETCHER--that the fastest you can go?? It is no fucking wonder Mommy ran out on you, you worthless acne-scarred fetal-position Hymie fuck. GET OFF!!! Andrew -- whole body shaking, had been playing for half an hour straight -- gets off the kit, struggling for breath, hands coated with torn blisters and blood. Fletcher’s rage is unlike anything we’ve seen from him: pained, vengeful... Carl gets on the kit. Fletcher CLAPS. The clock: 11:06. FLETCHER (CONT’D)Well what do we have here? Gay Pride himself. This is not a Sinead O’Connor concert, Tanner. I am sorry to inform you we will not be serving Baked Alaska and Cosmopolitans tonight. Now why don’t you try playing faster than you give fucking hand jobs?? One! One! One! One! OFF THE FUCKING KIT!!! Carl stops. Staggers back, dazed, as Ryan moves up and begins.FLETCHER (CONT’D)Now we got ourselves our mick fucking paddy-cracker. Did you know you look like a fucking leprechaun? I think I’ll call you Flannery.",FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GEHRING HALL - BATHROOM - NIGHT6060PLAYERS rinse their faces. One looks at his watch, dead-tired. It’s very late...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GEHRING HALL - STUDIO BAND ROOM - NIGHT6161Some players have now returned to their seats.Pink (9/10/2013)63 FLETCHERSwitch! Carl stops playing. Almost falls as he gets off the kit. Ryan takes his place -- just as worn out. As soon as he sits down at the set he has to bend down to catch his breath. FLETCHER (CONT’D)It is not Saint fucking Patrick’s Day, Flannery, there is not a pot of gold under your fucking seat. Play.Fletcher CLAPS. Ryan plays, muscles cramping, can’t keep up-- FLETCHER (CONT’D)Switch!Ryan stops, gasping. Fletcher’s eyes land......ON ANDREW. Face awash in sweat, hair dripping, muscles throbbing, wrists red, hands caked in blood, T-shirt clinging to his chest. This is it... ANDREW(muttering to himself as he gets on the kit)Come on... Come on you fuck... FLETCHERLet’s see if we can finally bring this home.He CLAPS. Andrew begins. FLETCHER (CONT’D)Don’t slow down. Andrew tries, the tempo slips... So fast, so loud... FLETCHER (CONT’D)Speed up! God-fucking-damnit I said SPEED UP!!! Andrew’s arms are moving as fast as they possibly can, his feet like triggers -- and his ears start RINGING now, the RINGING cutting and almost drowning out the other sounds... Fletcher, fire-eyed, turns around and goes into the nearest CLOSET. Emerges with a COWBELL and a STICK. Comes closer and BANGS ON IT in time. The SOUND slices through the RINGING, startles Andrew, this stick whacking down inches from his head--FLETCHER (CONT’D)Don’t stop!!Pink (9/10/2013)64 Andrew doesn’t stop. Manages to glare forward, with what almost seems like hatred in his tired, blood-shot eyes... FLETCHER (CONT’D)Faster!... Faster!!(Andrew speeds up)Do it! Do it! Do it! Do it! Do it! Do it! One! One! One! One! One! One! One! One! Andrew slips, almost loses the beat. Fletcher GRABS the FLOOR TOM DRUM and HURLS it through the air, against the nearest wall. It RAMS into the concrete, handles buckling. But Andrew stays focused. Doesn’t cry.FLETCHER (CONT’D)KEEP PLAYING!!Andrew does. Fletcher raises the COWBELL now, about to STRIKE Andrew across the head, looks like a fucking madman -- but still Andrew does not cry -- as Fletcher BELLOWS--FLETCHER (CONT’D)KEEP PLAYING!!!Andrew keeps playing. Fletcher stands still. Stares at him. Circles the drum set like a predatory beast, ready to strike at any instant. Then -- he steps back. Drops the cowbell and stick. Andrew is still playing, going like an automaton. No tears. Finally, Fletcher silently raises his hand, and, with just a slight wave, gestures for Andrew to stop. Andrew does. Nearly collapses over the set. FLETCHER (CONT’D)Congratulations, Neiman. You earned the part. He turns to the rest of the band.FLETCHER (CONT’D)Ok. Now we can begin. The clock: 2:00.",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. GEHRING HALL - SIDE DOOR - NIGHT6262It’s 3:30am. The PLAYERS stagger out of the building. Zombies. Andrew appears, red-eyed, past exhaustion. Fletcher emerges last. Pink (9/10/2013)65 FLETCHER5pm call tomorrow. Leave at least two hours from New York this time. Save your travel receipts. Or don’t, I don’t give a fuck. He then walks off. Andrew watches him leave. And, as we zero in on Andrew’s eyes......we see that something fundamental has changed. He looks like a completely different person now. 100% hollowed out. BUS DRIVER (PRE-LAP)Next stop Dunellen. Two hours.OMITTED6363",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROAD TO DUNELLEN - GREYHOUND BUS - DAY 6464We’re on a Greyhound, packed. Another VOICE in the back...ANDREWBop-ba-d-d-da-bop... Bada-bop-bop-bop... Pink (9/10/2013)66 It’s Andrew. Hunched over sheet music, earphones on, counting aloud through “CARAVAN”. And, by his side -- a Zip-lock bag of PILLS. Just like the ones we saw exchanged at the party outside his dorm...PASSENGERS look at him. Who is this lunatic...? ANDREW (CONT’D)Bop-bada-bop... Ba-da-bop-ba-d-d-d-da-bop... And suddenly -- A JOLT. The bus ROCKS to the side, lights go out, the wheels SCREECH to an abrupt stop. Andrew removes his earphones.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ROAD TO DUNELLEN - GREYHOUND BUS - DAY6565The side of the road. Andrew and the other PASSENGERS stand outside, waiting, the BUS’s right tire blown, a rod lodged into its side. Andrew checks his phone for the time. Fuck...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DUNELLEN - BUS STOP - DAY6666A nondescript Jersey town. A NEW BUS comes to a stop, setting down passengers on Dunellen’s Main Street. Andrew bolts off, carrying his stick bag and music folder. Looks around. Perplexed. Grabs a PASSERBY--ANDREWDo you know where all the cabs are? They said there were cabs here, that’s what I-- PASSERBYNo, you gotta call the cabs. Takes half an hour notice. ANDREWWhat? Well is there a -- another bus or--PASSERBYThey got a car rental down on Pine.ANDREWWhich way??The Passerby points -- and Andrew starts RUNNING.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CAR RENTAL AGENCY - MOMENTS LATER6767Five blocks later -- Andrew dashes across a patch of grass, reaches a door, grabs the handle. The door won’t open. He goes white. Sees the HOURS sign. Eyes scroll down. Starts POUNDING--Pink (9/10/2013)67 ANDREWYou’re still open! You’re still open!A MAN appears. Gestures for Andrew to calm down. Opens up.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAR RENTAL AGENCY - MOMENTS LATER6868Andrew finishes signing paperwork. Grabs his MUSIC FOLDER and BACKPACK from the nearest chair, hurries off. WE DRIFT back......to the STICK BAG left on the chair. EXT/",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAR RENTAL AGENCY - RENTAL CAR - MOMENTS LATER6969Andrew RUNS like mad across a small LOT. Reaches a CAR, opens up and jumps in. Plugs an address into the GPS. The estimated time: 9 minutes. The clock: 3:02... He floors it.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DUNELLEN STREET - RENTAL CAR - CONTINUOUS69A69AAndrew drives fast. His cell rings-- ANDREWHello??PIANIST (O.S.)Neiman, where the fuck are you? Call-time was 5. ANDREWI’m sorry -- I’m on my way. I’m almost--PIANIST (O.S.)We’re on stage in twenty-- ANDREWI know, I’m almost ther--PIANIST (O.S.)--and Fletcher’s got Connolly warming up in case you don’t show. ANDREWGod-fucking-damnit, I SAID I was on my way, you tell the redhead I’m ON MY FUCKING WAY!! He throws the phone against his seat.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. DUNELLEN AUDITORIUM - MOMENTS LATER69B69BAndrew pulls up.Pink (9/10/2013)68,SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DUNELLEN AUDITORIUM - GREEN ROOM - DAY7070Andrew arrives, panting. Fletcher glares, the band behind him--FLETCHERGlad you could work us into your schedule, darling. ANDREWI’m here. I’m ready to play. FLETCHERToo late. Connolly’s playing. Andrew looks over to his left -- to Ryan. ANDREWLike fucking hell he is. Fletcher looks at him. Stunned. The PLAYERS also look shocked. FLETCHERCome again? ANDREWIt’s my part. FLETCHERActually it’s my part. I decide who I lend it to. ANDREWI have the folder--FLETCHERI see the folder for a change, but I don’t see the sticks. Andrew is about to counter -- when he looks down. Looks back. Thinks. Realizes... Skin paling, his heart racing...ANDREWThey’re -- they’re in the car, I just have to grab them--FLETCHERNope. I’m warming the band up now. ANDREWI’ll use Ryan’s sticks. FLETCHERYou lost the part, Neiman. Pink (9/10/2013)69 ANDREWNo I didn’t!! You can’t do this!FLETCHERI CAN’T?!?He marches toward Andrew. Looms over him, seems about to hit him. FLETCHER (CONT’D)When did you become an authority on what I can or cannot do you weepy-willow shitsack? ANDREWWhen I earned that part. FLETCHEREarned? You’ve never earned a thing. The only reason you’re a fucking core is because you misplaced a folder. The only reason you’re in Studio Band is because I told you what I’d be asking for in Nassau.ANDREWBullshit. I’m in Studio Band because-- RYANWhy don’t you back off, bro? ANDREWFuck you, Johnny Utah. Turn my pages. FLETCHERYou realize I can cut you anytime I feel. ANDREWYou would’ve cut me by now. FLETCHERTry me you weasel. At 5:30, that’s in eleven minutes, my band is on-stage. You’re not there with your own sticks, or you show up and make a single mistake -- a single one -- and I’ll send you back to Nassau Band to turn pages until you graduate or drop out. For extra kicks, I’ll spread the word on just how you became a Studio Band core, and by the time my sewing circle is done you’ll make your dad look like a success story.(lets that linger, then,)Or I can give “Johnny Utah” the part and we’ll leave it at that. Your choice. Pink (9/10/2013)70 Beat. Andrew catches sight of Carl, standing in the back, watching -- and almost smiling. He turns back to Fletcher--ANDREWIt’s my part. I’ll be on the stage. FLETCHERThat’s 10 minutes 50 seconds left, you pathetic pansy-ass fruit-fuck. Andrew turns. Bumps into Ryan, PUSHES him out of the way, RUNS. EXT/",FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. DUNELLEN AUDITORIUM - RENTAL CAR - MOMENTS LATER70A70AAndrew drives away. The clock changes from 5:20 to 5:21. EXT/,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. CAR RENTAL AGENCY - RENTAL CAR - DAY70B70BAndrew pulls up at the rental agency. The clock changes from 5:27 to 5:28.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. CAR RENTAL AGENCY - MOMENTS LATER7171Andrew races into the rental agency. They’re still open... Grabs the STICK BAG...,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. CAR RENTAL AGENCY - MOMENTS LATER71A71AAndrew runs to his car and peels off.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DUNELLEN STREET - CAR - MOMENTS LATER7272Andrew on the road, speeding like a demon, the GPS on. Looks at the clock. 5:30. Then 5:31. Whips out his cell. Dials... ANDREWIt’s Neiman... Tell Fletcher I’m coming. PIANIST (O.S.)What the fuck is taking so long?? They’re moving on-stage now. ANDREWThere was -- there was a problem with the lock on my car. It’s solved and I’m coming. GPS VOICELeft turn up ahead. Pink (9/10/2013)71 Andrew looks at the GPS. Fuck. Tries to switch it off. PIANIST (O.S.)Are you driving? ANDREWNo.. The GPS BEEPS for the turn. PIANIST (O.S.)What was that? ANDREWTell Fletcher I’m coming or I’ll rip out your fucking eyes. He hangs up. Enraged. Slams down on the gas, engine roaring... PICKING UP SPEED... The GPS says “2 minutes” left... The clock turns 5:32... The speedometer SHOOTING UP... UP... UP... The car reaching a STOP SIGN...but Andrew keeps going, not looking... His car SPEEDING UP and SPEEDING UP until it’s----SLAMMED INTO.Glass flying everywhere, everything going so fast, as though the vehicle had just been whipped up by a tornado... The car FLIPS, 180, the top crunching down like paper, Andrew spun around and shoved up against it -- bleeding, battered--INT/",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DUNELLEN STREET - CRASHED RENTAL CAR - CONTINUOUS72A72A--until the car comes to a stop, upside down. Glass and blood. Silence. Andrew takes a moment to understand what has just happened. Gasping for breath, he yanks himself up -- but finds his LEFT HAND is caught under the steering wheel. He yanks, pulls at it. It won’t budge. Smoke and exhaust fumes billow up... He tugs and tugs and pulls and -- finally -- CRAAAACK -- the bone of his index finger SNAPS. The most painful sound you can imagine. He SCREAMS in agony. YANKS back, staggering...Pink (9/10/2013)72 His hand is free. Bone broken, bleeding profusely.Andrew crawls out of the car... Rises to his feet... Dizzy, the world spinning... The TRUCK DRIVER who rammed into him is running over-- TRUCK DRIVER Are you ok???ANDREWI -- I need -- I -- my -- my sticks...He turns back to the car. Bends down to reach back in... TRUCK DRIVERNo -- stay away from the car, it’s not sa--Andrew blocks him out. Reaches with his right hand -- the working one -- and goes for the STICK BAG, sandwiched between the caved-in top and the seat. Groaning in pain as he reaches... Gets it. TRUCK DRIVER (CONT’D)I’m calling 9-1-1, you’re going to be ok-- ANDREWI -- I have to -- I have to go, it’s -- it’s three more blocks--TRUCK DRIVER(holding him back)Sir, you don’t have to go anywhere--ANDREWGet your hands off me!!! He yanks free from the Driver’s grasp and starts RUNNING...I/E. DUNELLEN AUDITORIUM - LOBBY - MOMENTS LATER7373Still running, has been running for three blocks... Out of breath, even dizzier than before... Reaches the front green, face coated in sweat, and hand drenched in blood... Almost collapses... A couple of PASSERSBY see him, shocked--PASSERBYJesus Christ... --but he either doesn’t notice or doesn’t care. He’s dead-set, tunnel vision, only cares about the goal: Get on-stage... Andrew busts inside. Eyes scanning. Hears the sound of TUNING... Pink (9/10/2013)73 OMITTED73A73A",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DUNELLEN AUDITORIUM - STAGE - MOMENTS LATER7474Dashes in from backstage. The PLAYERS have taken their places, finished tuning, are about to perform. Andrew sees Fletcher. Fletcher sees him. Hiding his arm behind his stick bag--ANDREWI’m here. I’m here. I’m here. Doesn’t even wait for Fletcher’s answer, goes straight to the set where Ryan is seated. Nothing is going to stop him now--ANDREW (CONT’D)Get off. Get off the fucking set. Ryan looks at Fletcher. Fletcher waits -- then nods, almost smiling. Seems he’s having fun with this. Ryan slides off, pissed, and takes a seat next to Carl. Andrew takes his place.His left hand still hidden, Andrew props up his music and pulls out a pair of sticks. Tries to hold his left stick properly -- but it keeps giving way. With his index finger broken, it’s impossible to keep the stick steady...He looks at the music: “Caravan”... Looks back at his hand... Tries to move his left fingers, mimicking the stick patterns... Just up ahead -- Fletcher. Animal intensity... Andrew closes his eyes... Tries to block out the anxiety... The pain... The stress that just keeps mounting and mounting... Gropes inside his STICK BAG. Pulls out his bag of pills. Drops it. Pills scatter. Picks a pill up, pops it, out of sight. ANNOUNCEMENT (V.O.)The Shaffer Conservatory Studio Band...Fletcher raises his hand, ready to cue... Andrew tries to get his breathing under control... Ryan and Carl lean forward... Ryan catches a glimpse of Andrew’s left hand, just as......Fletcher’s finger MOVES. THE BAND IS OFF. It explodes into CARAVAN DUNELLEN at lightning-speed.But Andrew is already in trouble... Blood getting on the snare... Ears starting to RING... Left hand barely keeping up... The whole thing slowly slipping away from him... He closes his eyes. Mouths: “Come on come on come on...”Pink (9/10/2013)74 A big FILL coming up. He needs both his hands. Launches into it -- and his left stick CATCHES the edge of a stand... ...AND GOES FLYING. Falling and sliding under the hi-hat pedal.ANDREW(still riding with his right hand)Stick...Carl stays still. Andrew looks at him. But Carl won’t move. Panicked, Andrew turns, eyes his old Nassau Band peer -- Ryan.ANDREW (CONT’D)Ryan... Stick... Ryan hesitates. Doesn’t want to think of himself as a saboteur. But he looks at Carl, Carl looks back at him...and right then and there he makes his choice. ANDREW (CONT’D)Please... Neither Carl nor Ryan moves. Andrew, thinking fast, eyes the fallen stick. Trying as hard as he can to keep that tempo going with his right hand, he slides down the left side of his body, stretching his arm as far as it can go... His broken finger grazing the stick... Grabbing hold...Pulls up -- and -- another CRAAAAAACK as his finger is caught against the hi-hat pedal and the bone is bent 90 degrees. He GASPS, almost cries out in pain. Has to hold it in. Pulls himself back up to the set -- and there, looming over him already, is Fletcher. Eyes fiery--FLETCHERThe fuck are you doing...???Andrew keeps playing. But the PAIN is harder and harder to ignore. His snare drum completely smeared in red now, his stick stained, his whole arm shaking. And that RINGING -- just growing and growing, drowning out everything else... He looks at the SHEET MUSIC, suddenly lost... The horns blast out a hit -- but Andrew isn’t on it. Fuck. Launches into another fill -- and hits the crash at the wrong time. Fletcher stares at him. The look says it all: it’s over. But Andrew keeps fighting. Another missed hit, then a missed time-signature change, the beat falling apart beneath his feet. Total chaos, and then, finally, the sign of death -- Andrew STOPS. Pink (9/10/2013)75 Almost immediately, the rest of the band grinds to a halt. It’s a horrible sound, like a car screeching, nails on a chalkboard.Fletcher stands in place, eyes on Andrew. In fact, all eyes are on Andrew. The theater is dead-silent. Disbelief everywhere. Calmly, Fletcher approaches Andrew and whispers one last thing: FLETCHER (CONT’D)You’re done. Then he turns around. Andrew start shaking, his eyes brimming -- and, suddenly, something takes over inside. Almost despite himself, he RISES -- and KICKS OVER THE DRUMS. Cymbals CRASH to the wooden stage-floor like bombs. Andrew CHARGES forward -- and, just as Fletcher turns to him, TACKLES the man to the ground... Andrew goes absolutely batshit crazy on Fletcher, murder in his eyes... Raises his fists, about to POUND into Fletcher’s face, when SECURITY GUARDS yank him off, pulling him away in a flash... Torn from his target, Andrew breaks down into TEARS. Every-thing inside him spilling out like water. Fletcher, stunned but uninjured, gets back on his feet. His shirt drips with blood -- not his own, but Andrew’s. A SECURITY GUARD rushes onto the scene, and Andrew, kicking and screaming, is DRAGGED OFF... We linger inside the theater. A hush over the audience, the players and their instruments. And then, a card: Final Competition of the Winter SeasonOMITTED7575OMITTED7676",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ANDREW’S DORMITORY - DAY7878Andrew stands alone in his dorm. Staring into space. A bandage on his hand. Time has passed...Lets his eyes take in one item at a time: A drum pad on the floor. A metronome. A DISMISSAL LETTER... He’s been expelled from Shaffer. A DVD. He slides that into his laptop, sits down slowly... Pink (9/10/2013)76 A HOME VIDEO begins: a smiling EIGHT-YEAR-OLD BOY at a DRUM... It’s ANDREW... Innocent, bright-eyed, having a blast... EIGHT-YEAR-OLD ANDREW...and this is my pa-ra-did-dle... He plays a paradiddle on the drum: left-right-left-left. A CHEER off-camera, a voice we recognize -- his father, JIM--JIM (O.S.)Woooo-hoooo!!! EIGHT-YEAR-OLD ANDREW glows. And our Andrew, hurting, tearing up, watches... Pulls the DVD out. SNAPS it in half. Tosses the halves in the trash. Slides the drum pad and metronome into the trash as well. Ties the trash bag and pulls it out.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ANDREW’S PRACTICE ROOM - DAY8383Andrew busts in, starts breaking his drums down. First the cymbals come off, then the pedals, then the toms... A look of resolution on his face -- and, bubbling up, anger... He tears at the drums as though attacking them, pulls them apart almost viciously, one part after another... Then the Buddy Rich POSTER -- which he rips to shreds...",FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HALLWAY - ANDREW’S PRACTICE ROOM - MOMENTS LATER8484Andrew THROWS trash bags into a garbage can... Heads back and eyes his PRACTICE ROOM -- now empty. He takes a moment. Sits down on the hallway floor, the drum parts stacked to the side. Leans back, closes his eyes, and takes a deep breath out... It’s done. He pulls out his cell. A beat. Then-- ANDREWOk... Where do you want me to meet you? Pink (9/10/2013)76A OMITTED7777",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOTEL LOBBY - BAR - LATER THAT DAY 77A77ARACHEL BORNHOLDT -- lawyer, elegantly dressed -- sits across from Andrew, Jim to the side. There’s a glass of white wine for Jim, a club soda for Rachel, and an untouched water for Andrew. A moment of silence. Finally-- RACHEL BORNHOLDTAndrew...?Andrew remains silent for a moment. Then-- ANDREWWhen did you contact my dad? Pink (9/10/2013)77 JIM They just called me this week, Andr-- RACHEL BORNHOLDT(interrupting)Does the name Sean Casey mean anything to you?Andrew looks back at Rachel. A moment. Warily, he nods. RACHEL BORNHOLDT (CONT’D)So you know of his death? Last month he hung himself in his apartment. Andrew takes this in. Fletcher had said it was a car accident...ANDREWWhat does that have to do with me? RACHEL BORNHOLDTSean suffered from anxiety and depression. His mother claims this started during his time as Fletcher’s student. Andrew looks at her. Rachel can tell he’s surprised. A moment passes. RACHEL BORNHOLDT (CONT’D)Now, the Caseys aren’t wealthy. They don’t want to file suit. ANDREWThen what do they want? RACHEL BORNHOLDTTo make sure Terence Fletcher is never allowed to do this to another student. ANDREWHe didn’t do anything. RACHEL BORNHOLDTSo President Kohn and Dean Pence will tell you. To them, Fletcher is Shaffer. Pink (9/10/2013)78 (MORE) But if they think we have a case like this and can win in court, they’ll have no choice but to let him go before we do. Beat. Andrew looks at her. Then at his dad. ANDREWWell, I have nothing to say. Jim leans forward now, taking the initiative-- JIMAndrew... It’s over, ok...? He’s out of your life. Why let him get away with what he did to you?He eyes Rachel. Ok...? Was that the right thing to say...? Andrew stays silent. RACHEL BORNHOLDTWould you characterize his conduct as extreme, Andrew? Did he ever intentionally inflict emotional distress? Still Andrew doesn’t respond. Feels his dad’s stare on him as well now. RACHEL BORNHOLDT (CONT’D)(trying to persuade--)This would not be a public hearing, you know... Fletcher would never know it was you who spoke up. Andrew looks at the glass of water in front of him. Untouched.ANDREW...What would happen to him? RACHEL BORNHOLDTShaffer will do anything to prevent this from going to court. Yours won’t be the first complaint, but I think it’ll tip the balance. You’re recent. ANDREWYou tried other students? RACHEL BORNHOLDTSome -- but you guys are walls. ANDREWAnd you thought I’d talk. Pink (9/10/2013)79RACHEL BORNHOLDT (CONT'D) RACHEL BORNHOLDTYou have nothing to gain from Fletcher anymore. A beat. Andrew turns his eyes to his dad. Anger in his gaze-- ANDREWWhy did you do this...?Jim seems taken aback. Flustered for a second. Then-- JIMYou think I was going to let him put my son through hell and walk off scot-free?Andrew turns away. Jim can see the hurt on his son’s face. The sense of betrayal. Worried, trying to reach out--JIM (CONT’D)Don’t you know I would never let that happen, Andrew? That there’s nothing in the world more important to me than you? (beat; Andrew evades his gaze)Don’t you know that? A moment. Andrew looks at his dad again. Then he stares ahead. WE PUSH in on him, slowly -- as he drifts deeper into thought, trying to sort through it all... RACHEL BORNHOLDT (O.S.)...Andrew? Andrew can barely hear her...Defeated, his soul split in two... Finally -- he gives up. ANDREWJust tell me what to say. WE FADE OUT.Pink (9/10/2013)79A OMITTED 7979OMITTED8080OMITTED 8181Pink (9/10/2013)80 OMITTED8282Pink (9/10/2013)81 OMITTED 8585",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. NEW YORK STREET - BILLBOARD STREET - LATE AFTERNOON8686Summer in New York. Tube tops, street performers, sunshine. Andrew, hand healed, carries laundry. Looks up and sees a huge sign: “BACK IN NYC! JVC JAZZ FESTIVAL June 21-29”. We’re in the Lower East Side -- far, far away from Shaffer...",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ANDREW’S APARTMENT - LIVING ROOM - LATE AFTERNOON8787A new apartment. Andrew’s dad is already inside, sliding groceries into the fridge when Andrew enters. JIM Hey, buddy. You ready?",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ANDREW’S APARTMENT - LIVING ROOM - LATE AFTERNOON8888Blinds closed, as Andrew and Jim sit and watch “North by Northwest” on TV. We PAN from a few college applications on a table, past the walls -- no decorations at all -- to Andrew and Jim seated. We linger on Andrew’s face. There’s a sadness in his eyes. He looks tired, even after months, and resigned. Pink (9/10/2013)82 Jim laughs at a line in the movie. Glances over at his son, wants to see if he’s enjoying himself. Hands him some popcorn. A beat.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ANDREW’S APARTMENT - LIVING ROOM - EVENING8989Father and son stand by the doorway, Jim about to exit--JIM“Dr. No” next week. Or whatever’s playing on 86th...? ANDREW...I’d rather do it here. JIMOk. I stacked your pantry with Gushers.Andrew manages a smile. A moment passes between them. ANDREWThanks, Dad... Jim exits. Andrew hangs back. A moment... Then, Andrew glances down at his phone. Scrolls to a specific number: “NICOLE”. He looks at it. Thinking. Finger hovering over it... Then, too scared, he pulls back. Pockets the phone.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SANDWICH SHOP - DAY9090Andrew makes a ham sandwich, employee’s apron on. Hands it silently to a CUSTOMER.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JIM’S HOUSE - LIVING ROOM - DAY 9191Uncle Frank, Jim, and Travis sit on the couch watching a hockey game on TV. They laugh and cheer, as Andrew sits off to the side, also watching -- his mind far away.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. NEW YORK STREET - JAZZ CLUB - NIGHT9292Andrew walks alone, eating a slice of pizza. Crosses by a STREET PERFORMER -- a man drumming away on a row of buckets. Doesn’t watch, just keeps walking. Pink (9/10/2013)83 We follow, as Andrew passes a JAZZ CLUB on the next block. Suddenly -- he stops. There, on the club’s main sign, below the featured names, are these words: “Guest Performer: TERENCE FLETCHER”. Andrew stays put for a second. Completely taken aback. Then he starts walking away. Then stops. Nope. Turns around...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JAZZ CLUB - MOMENTS LATER9393...and steps inside. It’s a genteel venue. On the stage, BASS, DRUMS, BONGOS -- and, at the piano, FLETCHER.The mere sight gets Andrew’s pulse racing. But he stays put. Watches... The quartet is pacing its way through FLETCHER’S SONG IN CLUB, and Fletcher is playing the final head. He’s exceedingly delicate, gentle with each keystroke, his fingers moving like ballerinas. His playing is soft, subtle, and exquisite. He plays the melody as though moved by it. Andrew is surprised by this... Stays in the back, behind the last table. The song comes to a close. Fletcher smiles, looks -- and then freezes. His eyes locked on Andrew. He has seen him. Andrew blanches, takes a step back, hurries for the exit. But there’s a PERSON blocking the way. Tries to squeeze through-- DRUMMER (O.S.)That was Terence Fletcher, on the keys...More applause. Andrew, hemmed in, keeps trying to get out--FLETCHERNeiman.Andrew stops. Turns. Fletcher is standing right there. A moment of silence. Andrew is pale. But Fletcher’s face is a blank. ANDREW...Hi...SMASH CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JAZZ CLUB - NIGHT93A93AA table in the corner. Fletcher and Andrew seated. They seem to have been sitting here in silence for some time. Two drinks stand between them. Untouched. The other band members on-stage play JAZZ CLUB BLUES, a new PIANIST on the keys and a SAXOPHONIST added as well. Finally--Pink (9/10/2013)84 FLETCHERSo what are you up to these days, Andrew? ANDREW...Oh, just...you know...various...things...Fletcher nods. Ok. Andrew eyes him. Then, nervous--ANDREW (CONT’D)...I--I’m sorry about what happened.(then, should I clarify?--)At Dunellen. FLETCHERYou shouldn’t be. A player’s got to be willing to fight.Andrew looks at him. FLETCHER (CONT’D)You played with a broken bone. After crashing a car. That’s insane. ANDREWI was in a different place. FLETCHERGood thing you’re not in that place anymore. A beat. Then -- Fletcher seems distracted. By people CLAPPING ALONG to the band... FLETCHER (CONT’D)Have you ever noticed it’s never the people with rhythm who clap along? He starts CLAPPING loudly, in the proper tempo. Leans over to the table next to his, where a COUPLE is clapping off-beat, and starts CLAPPING in their faces. Then sits back down. FLETCHER (CONT’D)I don’t know if you know... I don’t teach anymore. ANDREWI... I heard about that... You quit? FLETCHER...No, not exactly. He looks at Andrew. A moment of tension. Does he know...? Pink (9/10/2013)85 FLETCHER (CONT’D)A couple parents got a kid from Sean Casey’s year... I don’t know who, I think maybe a bassist... They got him to say a few things about me... That much I know...(Andrew tries to hide his relief) Though why anyone would have anything but honey and sugar to say about me is a mystery. Andrew laughs. Seems the mood has lightened. FLETCHER (CONT’D)That’s a good laugh, huh? ANDREWOh, no... I...I just--FLETCHERNo, it’s ok -- I know I’ve made some enemies. Maybe I seem to think my style is normal, but believe me, I don’t. A moment. Fletcher finally takes a sip of his drink. FLETCHER (CONT’D)I’m conducting some, though. They’re bringing back the JVC Fest this year, got me opening with a pro band in two weeks.ANDREW(genuinely impressed)That’s amazing. FLETCHER(shrugs)It’s ok... Then, looking off for a moment--FLETCHER (CONT’D)The truth is I don’t think people understand what it is I did at Shaffer. I wasn’t there to conduct. Any idiot can move his hands and keep people in tempo. No, it’s about pushing people beyond what’s expected of them. And I believe that is a necessity. Because without it you’re depriving the world of its next Armstrong. Its next Parker.(pause)Why did Charlie Parker become Charlie Parker, Andrew?Pink (9/10/2013)86 Beat. Andrew is surprised. He’s told this story himself. ANDREWBecause Jo Jones threw a cymbal at him.FLETCHERExactly. Young kid, pretty good on the sax, goes up to play his solo in a cutting session, fucks up -- and Jones comes this close to slicing his head off for it. He’s laughed off-stage. Cries himself to sleep that night. But the next morning, what does he do? He practices. And practices and practices. With one goal in mind: that he never ever be laughed off-stage again. A year later he goes back to the Reno, and he plays the best motherfucking solo the world had ever heard.Andrew smiles. Nods. Finally -- unlike his uncles, his cousins, even his father -- someone who gets it. FLETCHER (CONT’D)Now imagine if Jones had just patted young Charlie on the head and said “Good job.” Charlie would’ve said to himself, “Well, shit, I did do a good job,” and that’d be that. No Bird. Tragedy, right? Except that’s just what people today want. The Shaffer Conservatories of the world, they want sugar. You don’t even say “cutting session” anymore, do you? No, you say “jam session”. What the fuck kind of word is that? Jam session? It’s a cutting session, Andrew, this isn’t fucking Smucker’s. It’s about weeding out the best from the worst so that the worst become better than the best. (beat)I mean look around you. $25 drinks, mood lighting, a little shrimp cocktail to go with your Coltrane. And people wonder why jazz is dying.(then,)Take it from me, and every Starbucks jazz album only proves my po",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int. There are no two words more harmful in the entire English language than “good job”. Beat. He leans back. Lets his words linger. Andrew thinks... Pink (9/10/2013)87 ANDREWBut do you think there’s a line? You know -- where you discourage the next Charlie Parker from becoming Charlie Parker? FLETCHERNo. Because the next Charlie Parker would never be discouraged.Andrew takes this in. A moment...ANDREW...And you? Are you back to playing now?FLETCHERNot really. Here and there... The playing never interested me. I never wanted to be Charlie Parker. I wanted to be the man who made Charlie Parker. The man who discovered some scrawny kid, pushed him, prodded him, shaped him into something great -- and then said to the world, “Check this out. The best motherfucking solo you’ve ever heard.” ANDREWWho’s your Charlie Parker, then?(hesitant)Sean Casey...? The name hits Fletcher. Fletcher looks at Andrew -- who immediately regrets bringing that name up. Why? Because, even after everything, the sight of Fletcher hurting affects him... FLETCHER Sean... Sean was a sweet kid... And with all those idiots saying “This isn’t for you”, Sean did something great. Very few people ever get that chance... He pauses. Looks off. Looks at the musicians on-stage...FLETCHER (CONT’D)But no... Not Sean Casey.(then, as he thinks about this,)The truth is I don’t know if I ever had a Charlie Parker... (and then,)But I tried. And that’s more than most people can say, Andrew. I tried. And even if I never find one, I will never apologize for trying. Pink (9/10/2013)88 He’s silent. A look of disappointment. Then, he points to the PIANIST on-stage... FLETCHER (CONT’D)He’s a beautiful player, isn’t he? ANDREWYeah...Fletcher nods. His thoughts drifting again. A moment passes.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. JAZZ CLUB - NIGHT9494Andrew and Fletcher exit. They stand for a second. Look at one another. An awkward silence. ANDREWNice seeing you... Fletcher nods. Beat. Andrew turns, about to head off, when-- FLETCHERLook. I don’t know how you’ll take this. That band I’m leading for JVC -- our drummer isn’t cutting it.(Andrew looks at him blankly...)Do you understand...? ANDREWNo...FLETCHERI’m using the Studio Band playlist. “Whiplash”, “Caravan”. I need a replacement who already knows those charts inside out. Andrew looks at him. You can’t be serious...ANDREW(trying to gather his thoughts)Wh-- what -- what about Ryan Connolly...? FLETCHERWhat about him? All he was was your incentive. ANDREW...And...and Tanner?? Pink (9/10/2013)89 FLETCHERHe switched to pre-med. (and with a hint of a smile)I think he got discouraged. Andrew is speechless now. Is this really happening? FLETCHER (CONT’D)We’re rehearsing next Tuesday. Why don’t you take the weekend to think about it? Andrew takes it all in. WE PUSH in on him, processing... And, slowly but surely, his shock and uncertainty harden before our eyes -- into resolution... This is something to seize on. ANDREWI don’t need to.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ANDREW’S APARTMENT - BEDROOM - DAY9595BLACK -- then light floods in. Andrew has just opened his closet doors. In a stack, gathering dust, are his OLD DRUMS... Andrew looks at them -- heart swelling, nerves racing...CUT TO:",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ANDREW’S APARTMENT - LIVING ROOM - MOMENTS LATER95A95AAndrew setting the DRUMS up... Newly energized, a speed in his movements we haven’t seen since Dunellen... CUT TO:",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ANDREW’S APARTMENT - LIVING ROOM - EVENING95B95BAndrew practicing. You can tell he’s been here for hours already. Sweat runs in rivulets down his cheeks, wetting the drum heads. His eyes are wide, glowing, focused... He’s back to the life...",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JUDY AND ARTHUR ZANKEL HALL - NIGHT9696An empty theater. It’s one of Carnegie Hall’s theaters -- bigger and far sleeker than any of the theaters Studio Band played. Ceiling decked with lights, capacity 1200. On the stage, rehearsing, is a JAZZ ORCHESTRA. Similar set-up to Studio Band, the PLAYERS all young pros -- except, of course, Andrew, the youngest of all.Pink (9/10/2013)90 The chart is WHIPLASH JVC REHEARSAL, and the band sounds tight. The players reach the end -- and Fletcher looks at his watch. Composed, even mild. FLETCHERRest up, gang. Call-time Sunday is 6.(and, as he heads off,)Andrew.(Andrew turns)Good job. Andrew takes this in. The latest in a long line of surprises...The PLAYERS pack up. Andrew, trying to work past his shyness-- ANDREWHope that was ok. BASSISTYeah. You sounded good. ANDREWThanks. You too. (then,)Is there...anything you worked out with the previous guy that I should know? BASSISTPrevious guy? ANDREWThe previous drummer. The BASSIST looks at him: What? BASSISTLast week we rehearsed without drums. You’re the only drummer we’ve ever had. Beat. He walks off. Andrew stands there. Confused... OMITTED9797",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ANDREW’S APARTMENT - LIVING ROOM - HOURS LATER 9898Andrew enters. Eyes his drums. Then -- he has a thought. Pink (9/10/2013)91 He pulls out his phone. Hesitates. Nervous -- but excited now. He dials. We hear ringing, he feels his heart thumping, he nods to himself, starts walking forward, breathes in, and then, after a few seconds -- Pink (9/10/2013)91A NICOLE (O.S.)Hello? ANDREW(pacing, stomach clenching, it’s been so long--)Hey... It’s...it’s Andrew.Silence on the other end. Then-- NICOLE (O.S.) Oh. Hey.ANDREWI -- I just figured I’d call -- it’s been forever, and I... I’m really sorry about how I... I’m just so sorry... How I acted... You know... (a beat; she doesn’t respond; he sits down, trying to get the words out--)And I -- I didn’t know if you knew -- I’m playing JVC this weekend... Maybe you’d like to come? We could grab pizza afterward and complain about our schools again... He chuckles. Then waits. Beat. NICOLE (O.S.)JV? ANDREWUh -- no, JVC. It’s a jazz festival. NICOLE (O.S.)Oh. Yeah. Another beat. Then-- NICOLE (O.S.) (CONT’D)When is it? ANDREWIt’s next Friday. NICOLE (O.S.)Ok... I don’t know, I’ll check with my boyfriend. Beat. WE CUT to a CLOSE-UP of Andrew as he takes this in. You can tell -- the word hits him hard. Pink (9/10/2013)92 ANDREW...Got it.(silence; then--)Well... Cool. Maybe I’ll see you there. NICOLE (O.S.)Yeah, I’ll check. I don’t think he likes jazz though. I’ll check. ANDREWCool... Thanks. Nicole hangs up. You can see it in Andrew’s eyes -- real disappointment. Real hurt. And surprise at how hurt he feels. He eyes his drums again. Sits down at them -- -- and STARTS PRACTICING LIKE MAD. Pouring his anger, his hurt, into his playing. The SOUNDS of FURIOUS DRUMMING build, continuing through the following--OMITTED9999OMITTED100100OMITTED100A100A",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. ANDREW’S APARTMENT - BEDROOM - DAY100B100BAndrew sliding into his slacks. Buttons his white button-down. Slides on his black jacket. Ties his tie... Pink (9/10/2013)93,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FLETCHER’S APARTMENT - BEDROOM - DAY101101Fletcher slipping into his own suit. Elegant, fastidious. Looks like an old-school bandleader. But there’s something melancholy about the sight of him -- going through his pre-concert rituals all alone... He straightens his tie. De-lints the suit. He’s tidy, über-careful. He passes by his piano, pauses to play a melody on the keys. Grabs his music folder and heads to the door... OMITTED102102",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ANDREW’S APARTMENT - BATHROOM - DAY102A102AAndrew clips his nails, applies ointment to his hands, then wraps each finger in a Band-Aid.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. NEW YORK STREET - FLETCHER’S SUBWAY ENTRANCE - 103103EVENINGFletcher ignoring several passing CABS, enters a SUBWAY STATION...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. NEW YORK STREET - CARNEGIE HALL - DUSK104104Andrew emerging from a SUBWAY STATION. Murmuring to himself, tapping on his knees. The clock’s ticking... He checks his phone, picks up speed, almost breaks into a jog... The DRUMMING BUILDS, he goes FASTER and FASTER, until, finally -- -- as the DRUMMING CUTS OUT -- -- he comes to a sudden stop. He’s standing right in front of CARNEGIE HALL. A giant banner hangs above the main steps: “JVC IN NYC: JAZZ!” And, keeping out of sight -- -- Fletcher. Strolling up the side-steps around the corner, hidden from the crowd. Andrew sees him. Follows. Pink (9/10/2013)94",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ZANKEL HALL - GREEN ROOM - NIGHT105105The scene is more or less what we saw before Studio Band competitions -- only taken to eleven. A rush of MUSICIANS, STAGE HANDS and TECHNICIANS backstage, a swell of TUNING as TRUMPETERS, TROMBONISTS and SAXOPHONISTS join in. Andrew stands back. Checks his phone. 7:28. It’s almost time. He gazes around.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ZANKEL HALL - GREEN ROOM STAIRCASE - MOMENTS LATER105A105AAndrew peers out through a door, catching a glimpse of the MAIN HALL.",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ZANKEL HALL - LOBBY - CONTINUOUS105B105BAndrew sees the AUDIENCE milling. Sees a face he recognizes in the crowd, small in the distance. JIM.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ZANKEL HALL - GREEN ROOM STAIRCASE - CONTINUOUS105C105CAndrew smiles at the sight. Feeling confident, ready to prove himself at last. He walks back down the stairs toward the green room.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ZANKEL HALL - GREEN ROOM - MOMENTS LATER105D105DAndrew and the Studio Band listen to Fletcher’s speech.FLETCHERAlright, gang, listen up! 15 seconds to get into places. For those of you who are new to this, it’s very simple: do well tonight, and the world will open up for you. The folks out there, they make a phone call and you’re a Lincoln Center core. Or a Blue Note signee. Or an EMC client. Drop the ball, and I’d suggest switching careers -- because the other thing about those cats is they never forget. Andrew takes this in. Beat. A STAGE HAND appears, waves. Time. FLETCHER (CONT’D)On that note -- break a leg. The PLAYERS proceed on-stage. Andrew takes a deep breath, tries to keep his cool, and, counting in his head, walks forward -- Pink (9/10/2013)95",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ZANKEL HALL - STAGE - CONTINUOUS106106The stage is decked in blue lights. The instruments gleam. Beyond it, a yawning expanse of black. The audience... And a hush, an undercurrent of murmurs and whispers gathering steam, as each PLAYER takes to the stage, one by one... Then -- APPLAUSE. 1200 people’s worth of applause. Fletcher appears, taking his spot, smiling. The applause swells up. And then -- Fletcher turns around to face Andrew. He stares at him for what seems like a full minute. Comes up to him, making as though helping him position a microphone over the drum kit, and, leaning in, quietly, discreetly, menacingly-- FLETCHERIt was you. The lights shift. Blue to bright, harsh, near-blinding yellow. It’s showtime. Andrew is completely still. ANDREW...Was...was me what...? FLETCHER(then, leaning in even closer,)Why do you think I invited you here? I’ve known it was you all along. Beat. He lets it sink in. Retreats to his spot, smiling at Andrew. Then, off Andrew’s paralyzed stare, he turns to the audience. They APPLAUD. A few seconds later...silence. Then-- FLETCHER (CONT’D)Good evening, ladies and gentlemen. We’re going to start things off with an old favorite of mine. Andrew, his heart in his throat, looks at his sheet music. “WHIPLASH”. Holds his sticks tight, but his hands are now slippery with sweat... Fletcher waits. More silence... FLETCHER (CONT’D) It’s called “Upswingin’”. ON ANDREW. What? Andrew turns to his left and catches a glimpse of the SAXOPHONISTS’ sheet music. Written on the top: “UPSWINGIN’”. He turns right, sees the BASSIST’s music. Ditto. He looks ahead. And there’s Fletcher -- staring right back at him. And smiling. Pink (9/10/2013)96 Andrew turns around. Has to stop this. Can’t ruin it for the other PLAYERS -- but Fletcher has already raised his hand for the cue. Andrew rises from his seat -- when the BASSIST glares at him: What are you doing? And just then -- within that same split-second -- -- Fletcher’s index finger bends down. The cue. The BAND EXPLODES into UPSWINGIN’. Horns blasting, saxes wailing -- fast, furious, half-Latin and half-swing. Andrew doesn’t even play at first -- doesn’t want to destroy this. But glares quickly follow, and he has no choice... He plays. Trains his ears to try to stay on target... But the time signature is impossible to get a firm grip on... He misses a fill... Then the time signature changes... He can’t keep up... Then the band gives way to rubato piano... He stops late... Then the band surges back in... He comes in late... He’s driving completely blind. BASSIST(clenched teeth to Andrew)The fuck?! Come on... Andrew, desperate, tries to fix things -- but he can’t. Sliding further and further behind. PLAYERS eying him. You can almost hear MURMURS in the audience, rising in volume... And, through it all, Fletcher seems serene. Andrew misses yet another break, and--BASSIST (CONT’D)Are you fucking kidding me? This hits Andrew like a knife. Tears well up in his eyes. This performance is already so far beyond saving... Another missed hit. More MURMURS in the audience, louder and louder now, as the number veers, swerves, and sloppily staggers to its close... A swell of horns, a misplaced crash of cymbals, what seems like a fermata... Andrew stops -- just as the band RESUMES. And just as Andrew resumes -- the band STOPS. Andrew’s playing alone. He quickly moves to silence his drums. The chart is done. And now -- the deafening silence. No applause. Just the sound softly rippling and settling from Andrew’s last cymbal hit... Pink (9/10/2013)97 Andrew sits at his set, in tears. Fletcher stays still. Looks at Andrew. On Fletcher’s face, the look of a victor... As he turns back to the audience we hear... ...a smattering of polite, muted applause trickling throughout the theater. Quiet, half-hearted, pitiful. No one here has ever seen a disaster quite like that before. IN THE AUDIENCEWe see Jim, standing in the very back, by the doors... Mortified, heading for the hall...ON STAGEFletcher sashays back to the drum set. To Andrew, with a grin-- FLETCHERI guess you don’t have it. Andrew is still in his seat. Tears stinging his cheeks... BASSISTDidn’t you get the fucking chart? Andrew looks at the Bassist. Realizes what Fletcher did... Sees the other MUSICIANS glaring at him, infuriated...IN THE AUDIENCEAndrew feels the AUDIENCE staring at him -- can almost make out their faces as the stage lights begin to DIM... Seated in one of the front rows -- is NICOLE. We see that next to her, holding her hand, is a YOUNG MAN... ON STAGEFeeling CRUSHED, HUMILIATED, NAUSEATED, Andrew staggers up......and RETREATS to the back of the stage. Out of the audience’s view -- about to leave this all behind once and for all...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. ZANKEL HALL - LOBBY - CONTINUOUS107107Jim running... Down the hall... Toward the entrance to backstage... Pink (9/10/2013)98,SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ZANKEL HALL - STAGE - CONTINUOUS 108108Back to Andrew... Retreating BACKSTAGE... ...when he sees -- around the corner of the backstage entrance ---- his father.IN THE WINGSJim has just arrived at the entryway. Looks at Andrew. Hurries toward him. Is going to put an end to this. Andrew looks at his dad for a moment, approaching. Jim reaches him -- -- and HUGS him. JIM I love you. I’m so sorry this is happening to you. Andrew looks at his dad. Something seems to click inside him at that instant. He pulls back. The desperation in his eyes giving way to something else. Jim watches Andrew as Andrew steps backward, before... ...a pair of STAGE HANDS arrive. STAGE HANDSir, you can’t be here-- JIM Yes I can, I’m taking him with me-- STAGE HAND(to Andrew)You know each other? Andrew is silent for a moment. Still. As though it has just dawned on him. He takes in the sight -- his dad, dwarfed by the Stage Hands, reaching out to him. Jim has never looked quite so small to his son, quite so pathetic, as at this moment. A beat. More silence. And then --ANDREWNo. Jim goes wide-eyed. Utterly shocked. Andrew steps further back, as the STAGE HANDS move to pull Jim away-- Pink (9/10/2013)99 STAGE HANDAlright, sir, that’s enough-- JIMMy -- my son -- I need to get my son--STAGE HANDLet’s calm down-- JIM(frantic now--)Andrew!! Andrew calmly turns his back to his father and coldly heads to the stage. JIM (CONT’D)Andrew!!!ON STAGEAndrew grabs new sticks, makes as though he was just switching pairs and never leaving, and, ignoring his father’s calls from behind -- trains his eyes back on Fletcher.Fletcher looks at Andrew. Seems pleased: This will be fun... But Andrew doesn’t look scared anymore. Instead, his eyes are glassy, hollowed out -- and hungry... There’s a rage in them that we haven’t seen before... This will not be the end... FLETCHER(to the audience)Thank you... For our final number we’re bringing it back to Ellington. This is “Caravan”. But then, before Fletcher can even turn back around -- let alone cue the band -- Andrew launches into a double-time Latin. Alone, his stick beating away at the ride cymbal, setting the tempo for the rest of the band. Everyone looks at him. What the fuck...? He has started on his own, before any cue, beating the drums as though vengefully. Fletcher glares at him. Who the fuck do you think you are? But Andrew just keeps playing. Knows exactly what he’s doing and is not about to be stopped. Building in his eyes -- that same coiled rage... To the BASSIST--ANDREWFollow me on four. Pink (9/10/2013)100 The BASSIST has no choice. Andrew nods in time as a count-off, and the BASSIST joins in. Now we’ve got the bass and drums playing, laying out the beat. Andrew looks back at Fletcher. Drills into him with his eyes -- the kind of look Fletcher has so often given him. And, subtly, so that only Fletcher can see it, Andrew mouths out two words: ANDREW (CONT’D)Fuck. You. It hits Fletcher. Realizing he too has no choice, Fletcher eyes the rest of the band. Raises his hands, re-assuming control -- or trying to make as though he has control -- and cues them in. The BAND begins CARAVAN PLUS DRUM SOLO CARNEGIE HALL, plays the opening patterns, Andrew matching them beat for beat. Fletcher then edges toward Andrew. His back turned to the audience, only Andrew can see his face, he leans in and--FLETCHERI will gouge out your eyes you motherfucker.--but Andrew promptly DROWNS HIM OUT with a crash cymbal hit. Another “fuck you”. Fletcher’s words only seem to strengthen him.The band roars into overdrive, the brass blasting away, Andrew giving everything he’s got. Fletcher steps back. Andrew just keeps looking straight ahead at him. Unafraid now. A machine. SOLOS begin... TROMBONE is up first... WE MOVE IN CLOSE to Andrew... He looks at his right arm... It’s still going... He himself seems surprised. He takes a chance -- plays a tricky fill. Nails it. Goes again -- the off-beat hi-hat accent that tripped him up in his first Studio Band rehearsal. Nails it. The audience is silent... No murmurs this time... Back to Andrew... WE DRIFT DOWN TO HIS FEET... His right foot feathering the bass drum so fast all we can see is a blur...WE DRIFT BACK UP... His left hand... Notes popping on the snare, the toms... Both his arms battered but utterly determined, as though with minds of their own... He breathes, breathes, beating against his fears, his doubts... He’s in control, pouring himself into his drums -- and it’s a sight to behold. Like a master dancer, movements so fast yet precise, brash yet elegant... Violent, frenetic playing, but there’s something gorgeous about it... WE DRIFT TO FLETCHER... Still glaring at Andrew -- but his face now says one thing and one thing only: This is playing he has never seen before. Pink (9/10/2013)101 The brass starts giving way to drum breaks... And Andrew makes of each break a stunner... His double-stroke rolls rip-roaring across the toms, his feet and legs switching rhythms, meters, tempos, then careening back into place... All limbs moving in a sustained frenzy, sweat splashing, mouth open, eyes blazing, the whole set vibrating, then shaking, looks like it’s about to explode... Fletcher turns an inch toward the AUDIENCE... Sees them transfixed... AT THE LOBBY DOORS...Jim watches through the opened lobby doors...ON STAGEThe number is at a peak... And Fletcher, like so many, is now just watching Andrew... The band nears the coda... The melody, the rat-a-tat-tat patterns, the squealing horns and growling saxes... The drums pushing it all forward... Fletcher almost smiles. Was this his plan all along...? He moves his arms, conducting again... The band reaches the final bar... The final note... He raises his hands... Sustains the note... Swings his arm down... A BLAST of horns. And the band is finished.Except, that is, for the drums. Andrew’s still playing, launching into an extended solo... Fletcher looks at him. Confused now. Goes up to the drums--FLETCHER (CONT’D)Andrew -- Andrew--ANDREW(over his playing)I’ll cue the band... Wait for my cue...There’s nothing more Fletcher can do. Andrew’s playing grows louder, more involved, all four limbs joining in, the sound growing bigger and bigger... He has effectively taken over the stage -- and all the other PLAYERS can do is watch... He is the bandleader. Andrew looks ahead... Past Fletcher... To the darkness... To the audience... He leans forward, closes his eyes, dives in...Sticks whirling, arms and legs belting and hammering, his head bobbing up and down, his back arched... Keeps the rudiments going on his left hand... Adds one ingredient, then another... Then a third, then a fourth... Pink (9/10/2013)102 Keeps adding and building and piling on, beyond anything he’s ever attempted... Going absolutely batshit-insane on the kit, sweat flying, hands blurring, drums trembling... AT THE LOBBY DOORS Jim watches Andrew -- crazed, exhausted, looks like he’s pushing himself past what is safe -- and knows there is no longer anything he can do about it. He has lost. And then -- one of the USHERS steps forward from the edge of the stage. He looks at Jim -- and closes the doors, blocking Jim’s view. We linger on Jim for a moment -- behind the closed door, in silence. ON STAGE Back to Andrew -- at the height of intensity... Keeps his eyes closed... Feeling his way through this... Shooting back into the double-time... But trying to go even faster than before... Not 330... Not even 400... Trying, trying, trying to reach that mythical place, the place where only the greats live... 410... 420... Even 430... Fletcher stands still... His eyes widening... He’s no longer calculating... Not even thinking... He’s just awed. Murmurs throughout the AUDIENCE... Audible, even over the roar of the drum set... They can’t believe it... 435 now... 440... 443... Which means those sticks are moving faster than a tennis ball shot across a court... Faster than Andrew has ever moved... Faster...faster...and, finally... ...450. Andrew OPENS HIS EYES... He’s in disbelief. The stage is his. He owns it. He breaks back into snare-based patterns, rolling around the toms, the cymbals... Fletcher is floored. Turns, sees something extraordinary out there, just visible in the darkness of the theater...IN THE AUDIENCEAUDIENCE MEMBERS turning to each other... A line-up of suit-and-tie spectators whipping out phones or pads... Pink (9/10/2013)103 MANAGERS, JOURNALISTS, A&R EXECS, BANDLEADERS... A few hurrying out, as though in a mad rush, making frantic calls... More people peering INTO THE THEATER through glass doors... ON STAGEWe TURN BACK to Andrew -- his ears start RINGING... The NOISE grows with each hit, drowning out all the other noises... Andrew clenches his jaw, closes his eyes again, keeps playing, tries to ignore it... Plays harder, louder, pounding away... Andrew’s kick drum starts to slide from the power of his playing... His sheet music falls off its stand... His crash cymbal almost falls over -- but a HAND reaches in to steady it. It’s Fletcher. Leaning over the drum set now -- and, for almost the first time on-stage, not cursing or snarling at Andrew, but instead--FLETCHERTake it back to the snare... Andrew considers this. It’s a good idea. He moves back to the snare... FLETCHER (CONT’D)Slow... (Andrew does as suggested)Single-stroke... Andrew nods again... Slowly simmers the beat down... Lets his hi-hat hang open for a moment... Everything goes quiet... Silence for a second... You can feel the hush, the anticipation, that indescribable electricity in the air... Fletcher looks at Andrew, looks at his sticks, face brimming with hope now... Andrew begins a series of slow, clean snare hits... Right stroke, left stroke, right, left... FLETCHER (CONT’D)Up... Up... Andrew nods... Ever so gradually builds up the pace... Right, left, right, left... Builds up the pace some more... Right, left, right, left... Keeps going... Speeds up more, a hair at a time... Right, left... Speeds up more.. Right, left... Fletcher stands there, nodding, focused, like a coach at the critical moment. Waves his hand, pushing Andrew on...Pink (9/10/2013)104 Andrew builds the tempo more, right, left, right, left, the strokes blurring into each other, the whole thing sounding like the fire of a machine gun, like what we heard in the beginning... Right-left-right-left-right-left... And, before we know it, we can no longer make out the individual strokes. They’re so fast that all we can hear is a single SOUND, sustained and growing in volume... FLETCHER (CONT’D)Come on... Come on...Andrew, goaded on, builds the volume. His single-stroke roll swelling, taking over the entire theater... FLETCHER (CONT’D)Come on...!! Come on!!!Andrew builds it further... Going beyond what even he’d planned for himself -- his arms like machines, the single-stroke roll building steam and power and pinning the audience in their seats... Fletcher raising his hands, beckoning Andrew forward... He and the drummer working together, player and conductor, competitor and coach... Andrew moves to the toms, then back to the snare, then back. The bass drum and hi-hat next, every part of the set joining in, every limb, every component, everything building up, up, up... It’s unlike anything we’ve ever seen... Andrew tearing a hole through the stage, his heartbeat racing, the sweat pouring from him like a waterfall, blood gushing from his hands and staining the cymbals and drum-heads... Everything a BLUR... Then -- a BLAST OF SEPARATED SNARE HITS -- and then -- Andrew CHOKES the crash cymbal. A second of pure silence. Fletcher looks at Andrew. Andrew looks at Fletcher. And then -- Fletcher turns to the band, raises his hand......and CUES THE FINAL NOTE. The whole band roars it out, horns hitting their highest C’s, and Andrew rolling around his drum set like a madman, cymbals and snare and toms and the entire apparatus about to burst, as WE DIVE IN CLOSE TO HIM, his instrument, his sticks, his face, all sweat and eyes about to pop, the next Buddy Rich, the next Charlie Parker -- Fletcher’s only Charlie Parker -- decking the stage with a climactic crash of cymbals right as, on that very last hit of hits, we--SMASH CUT TO BLACK.THE ENDPink (9/10/2013)105",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. WORKSHOP - MORNING 1 An impressive room serving as an ARTIST’S WORKSHOP. It’s empty, but evidence of frantic creative activity abounds. We PAN across the wall, crossing a series of meticulously hand-crafted DOLLHOUSES, mostly works in progress. As we drift past these unfinished dioramas, our trajectory becomes clearer... We are moving in on an extraordinary sculpture of a beautiful, rustic CRAFTSMAN HOME, at 1:8 scale. Its front wall has been removed, exposing its rooms in graphic tableaux. This huge miniature is painstakingly detailed. It’s adorned with shrunken props/decorations (flashlights, pill bottles, shoes, etc.) and teensy furniture, all flawlessly rendered and distinguishable ONLY IN SIZE from their full- scale models. We continue to pan/track across the miniature, edging CLOSER AND CLOSER as we drift along its tiny rooms. We finally arrive at a miniature replica of a TEENAGE BOY’S BEDROOM on the second floor. We push towards this until the ROOM FILLS THE FRAME. The bright morning sun beams in through its window. It becomes apparent that a handsome, skinny BOY is sleeping in the bed. This is PETER GRAHAM (17). We continue pushing gently in, remaining in a wide of the room (whose status as a miniature has now been confused). The door opens and STEVE GRAHAM (47) - tall, broad -shouldered, formal - pops his head in. He wears a black suit. STEVE All right, Petey. Wake up time. Peter stirs awake. Steve drops a folded -up BLACK SUIT AND TIE on the foot of the bed. STEVE (CONT’D) Here’s your suit. MAX, the family’s golden retriever, shuffles happily in through the door. STEVE (CONT’D) Did your sister sleep in her room last night? 2",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. GRAHAM HOUSE - SAME TIME 2 Wide on the house, revealing that it is IDENTICAL to the miniature that we saw in the workshop. The surrounding landscape is blanketed with SNOW. Green Rev. (mm/dd/yy) 2. Steve exits a back door to approach a very large TREEHOUSE. It is joined to a sturdy oak and hovers fifteen feet above the ground. We are subtly BOOMING DOWN from this wide view (as Steve begins to climb the tree) to arrive at a parked CAR - one of two family cars - in the foreground. Sitting in the passenger seat is a bereaved woman (45). She wears all black, and is beautiful in a worn way. This is ANNIE GRAHAM, and she looks emotionally exhausted. She wears a delicate NECKLACE bearing an ORNATE SIGIL, which she compulsively fingers. 3",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. TREEHOUSE - SAME TIME 3 Steve pokes his head into the treehouse, where he finds: CHARLIE - a plump, androgynous fourteen year old girl - lying asleep on the floor. She wears a parka and pajama bottoms. Beside her is a DRAWING PAD and an open SHOEBOX. STEVE Oh my God, Charlie. Are you crazy? Charlie wakes up, her nose pink and runny. When she notices Steve, she frantically reaches to SHUT the shoebox. STEVE (CONT’D) This is how you get pneumonia! CHARLIE (getting up) It’s okay. STEVE Your mom’s in the car already, we’re late. 4",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FUNERAL HOME - CHAPEL - MORNING 4 A moderately attended FUNERAL. (A large group of MEN AND WOMEN observe from the back.) Before the altar, an OPEN CASKET rests beside a blown up photo of the deceased ELLEN LEIGH, Annie’s 75 year old mother. Annie, Steve, Charlie (now wearing an oversized black dress over her pajama bottoms) and Peter sit in the first row of chairs. They listen as a LARGE WOMAN (60s) speaks in remembrance of Ellen. LARGE WOMAN Ellen was a tough one. She didn't mince words, she abhorred the sentimental, and she was honest. And I know that's how she raised her children, Annie and Charles - (MORE) Green Rev. (mm/dd/yy) 3. LARGE WOMAN (CONT'D) (uncomfortably) - may he rest in peace... To always be honest... Half-listening (half- wincing), Annie’s attention is drawn to CHARLIE, who makes a quiet CLICKING noise with her tongue. This is a tic. Suddenly, a bird FLAPS out from the rafters, startling the congregation. The bird settles on a ceiling perch. It is a WHIPPOORWILL. It looks down, fixing its gaze on Annie. Annie looks very disturbed. Off- screen, the Large Woman continues. MINUTES LATER Annie is now on the PLATFORM. ANNIE I just wanna say first...it’s very heartening to see so many strange new faces here today. I know my mom would be very touched (and probably a little suspicious) if she could see this turn- out, so... Annie looks down to now read from a heavily edited loose-leaf page. This is her eulogy. (Not used to reading in public, she rarely looks up from the paper.) ANNIE (CONT’D) My mother was an intensely secretive and private woman. She had private rituals, private friends, private anxieties... It honestly feels like a betrayal just to be standing here talking about her... Annie pauses. She looks at the paragraph. It’s very long, and begins with the sentence “My mother was a chameleon .” She decides to skip ahead to the next paragraph. ANNIE (CONT’D) She was a very difficult woman to read. If you ever thought you knew what was going on with her - and God forbid you tried to confront that...! (stops...pauses...skips ahead) ...But when her life was unpolluted, she could easily be the sweetest, warmest, most loving person in the world... Green Rev. (mm/dd/yy) 4. Charlie is DRAWING a weepy caricature of Annie at the platform. Steve watches this in the corner of his eye. ANNIE (CONT’D) (pauses, skips again to the next paragraph) ...She was also incredibly stubborn. Which maybe explains me. Scattered, knowing laughter. ANNIE (CONT’D) You could always count on her to always have the answer.... She stops short, eyes on the paper. The sentence would continue “and if she ever WAS mistaken - well, that was YOUR opinion and you were WRONG.” Suddenly remorseful, Annie (off-book) asserts: ANNIE (CONT’D) I did love her. Charlie is still drawing. Steve closes the notepad. He points to Annie: “ Listen to your mother.” Charlie grudgingly obliges. LATER ANNIE (CONT’D) She was especially strong about food. When I was a girl and I had to eat my veggies... The mourners have been invited up to view the deceased and say goodbye. Organ music plays as Annie, Steve, Peter (who doesn’t look) and Charlie shuffle by. Charlie peers into the open casket to see her grandmother’s CORPSE. It wears a NECKLACE with a delicate SIGIL ORNAMENT (identical to Annie’s). The seams in the corpse’s make- up are eerily apparent and the lips are slightly twisted. Unnerved, Charlie looks away. She meets eyes with a smiling MIDDLE-AGED BLONDE MAN standing in the queue behind her. He’s STARING at her - an overly sentime ntal look in his eyes. Disturbed, Charlie averts her eyes. “Yeesh.” SECONDS LATER An older WOMAN arrives at the open casket. Her finger is dipped into a small bottle of OIL. She quickly and covertly STREAKS the oil along the corpse’s lips. Seeing this, a following mourner squints with bewilderment. Green Rev. (mm/dd/yy) 5. 5",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAR (MOVING) - LATE AFTERNOON 5 Steve is at the wheel, driving back home. Annie sits passenger, and Peter and Charlie sit in the back. They drive past a gathering of DEER. ANNIE (to Steve) How did you keep from screaming during Judy’s speech? STEVE Ha. Well, if you could...! Peter EYES the back of Annie’s head. She seems to grate on his nerves. Meanwhile, Charlie is back to making clicking noises with her tongue. She does this while unwrapping a CHOCOLATE BAR. ANNIE (to Steve) How about that bird flying in? STEVE Yeah, that was weird. ANNIE That was too weird. The timing? It felt like it was my mom. Steve nods, betraying a look of CONCERN. Annie self - consciously backtracks: ANNIE (CONT’D) Not actually, obviously. Just - it struck me. Annie notices Charlie eating the chocolate bar. ANNIE (CONT’D) Hey! Are there nuts in that? CHARLIE No! ANNIE Better not be. Annie returns her attention to the road. Steve lovingly takes her hand. She smiles at him. Charlie, irritated, looks very tense. CHARLIE (quietly) I don’t like going back without grandma. 6. STEVE (carefully) Well, sweetie...do you understand why we have to? Charlie just tenses up, eyes narrowing onto the floor. 6",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GRAHAM HOUSE - FOYER - EVENING 6 The house is unlit and seemingly vacant. Off-screen, we hear FEET SCURRYING and a DOOR CLOSING. Max, the golden retriever, BARKS in reaction to this. A moment later, the front door opens and the Graham family enters. They stamp the snow off their boots and remove their coats. Max runs up, desperate to greet them. Steve bends down to happily receive him. Charlie moves toward the stairs, still wearing her boots. STEVE Hey hey -- shoes off. Charlie pulls off her boots. She and Peter start separately up the stairs. Steve, looking down, notices dried FOOT- PRINTS around the foyer. STEVE (CONT’D) (calling out) See? What’s with all these footprints? I’m tired of reminding everybody. 7",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. WORKSHOP - EVENING 7 Annie is at her work desk. It’s a mess of paints, props, wood pieces, etc. She wears magnifying eye- glasses as she carefully paints eyes onto a SMALL DOCTOR FIGURINE for a MINIATURE HOSPICE. A figurine of an old woman - presumably Annie’s mother - lies in a miniature hospital bed. Steve enters, disrupting Annie’s focus. STEVE How’s it going? ANNIE Just working. Steve casually rests a glass of water and a PILL on the table. She downs it without question. STEVE Still toiling on the hospice? Green Rev. (mm/dd/yy) 7. ANNIE Between that and the pre-school. There is a half-finished MINIATURE PRE-SCHOOL in the corner. STEVE How far are we now? Seven months? ANNIE Six and a half. STEVE Yow. Comin’ up. Her eyes widen with stress. STEVE (CONT’D) Any title ideas yet? Annie grabs her laptop and pulls up a PDF for a poster promoting an upcoming EXHIBITION of her artwork. It features a photo of a magnificent living room miniature. Below this are the words “TITLE HERE” in bold, followed by “The Work of Annie Leigh.” ANNIE This is the photo they wanna use. ANNIE STEVE (CONT'D) Ooh, I love that one. The gallery owner keeps suggesting Your Life in Miniature for the title. STEVE What do you think of that? Annie looks at him, incredulous. “ Are you serious?” STEVE (CONT’D) No good? ANNIE It’s horrible! STEVE (conceding) Yeah. A little trite. ANNIE A lot trite! Are you kidding? She won’t stop suggesting it! Steve looks to a stack of LARGE MOVING BOXES in the corner. They’re marked “Mom’s Things ” in Annie’s handwriting. Green Rev. (mm/dd/yy) 8. STEVE You want me to put that stuff in the attic? ANNIE ...Yeah. Maybe not just yet. 8",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PETER’S BEDROOM - NIGHT 8 Peter sits up in bed, holding a guitar. He improvises a clunky tune as a muted TV plays cartoons. His eyes are on the TV. The door cracks open and Steve pokes his head in. STEVE Goodnight, kiddo. PETER ‘Night, dad. STEVE ...What you playing? PETER Just plucking random strings. STEVE (nods, then) You feeling okay about everything? PETER (shrugs) Yeah. Fine. Little sad? STEVE Peter shrugs again. He clearly wasn’t fond of Ellen. STEVE (CONT’D) Yeah. I know. (pause) Okay, buddy. Love you. Steve KISSES in Peter’s direction. Peter kisses back. Steve walks off, leaving the door open. A moment later, Annie walks up to the doorway, still wearing her magnifying eye- glasses. She’s holding a prop in one hand, a fine paintbrush in the other. ANNIE ‘Night sweetheart. PETER Goodnight. I’m sorry about your mom. Green Rev. (mm/dd/yy) 9. ANNIE (pause) Thank you. I’m sorry about your grandma. PETER ...Thank you. Annie smiles, hesitates, and walks off. There’s a very loaded tension between these two. After Annie is gone, Peter climbs out of bed to shut the door. He LOCKS it. 9",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CHARLIE’S BEDROOM - NIGHT 9 Charlie’s room is that of a young artist. The walls are covered in drawings, and the desks and other surfaces are littered with different HANDMADE HUMAN MANIKINS and SMALL STATUES (all made of disparate parts - mostly found objects). Annie sits on the edge of Charlie’s bed. Charlie is under the covers. Annie has opened Charlie’s drawing pad to see a CARICATURE of Annie’s mother’s corpse in its casket. ANNIE That’s grandma? CHARLIE I dunno. ANNIE You know you were her favorite? CHARLIE (looking away) No I wasn’t. ANNIE (pouncing) Oh yes you absolutely were! Even when you were a little baby, she wouldn’t let me feed you because she needed to feed you. It drove me crazy. CHARLIE She said I was supposed to be a boy. Annie knows this. She hesitates, wanting to say the right thing. ANNIE How do you feel about that? Charlie shrugs. Green Rev. (mm/dd/yy) 10. ANNIE (CONT’D) You know I was a tomboy growing up? I hated dresses and dolls and pink. Charlie’s heard this before. She has tensed up. CHARLIE (looking away, quietly) Who’s gonna take care of me? ANNIE (mock offended) Ummm, excuse me? You don’t think I’m gonna take care of you?! CHARLIE But when you die... ANNIE ...Then dad will take care of you. Or Peter. Charlie’s head remains turned. Discouraged, Annie turns back the page of the drawing pad. She now sees the caricature of her, crying at the pulpit. ANNIE (CONT’D) Who’s this one? No answer. Annie takes it personally, but pretends not to. She closes the book with a smile. ANNIE (CONT’D) You never even cried as a baby - you know that? Not even when you were born. Charlie ignores this. ANNIE (CONT’D) Did you feel like you wanted to cry today? Without looking at Annie, Charlie shrugs a tense “I don’t know.” ANNIE (CONT’D) Do you think that might feel like a relief? Charlie remains miles away. Annie looks up to notice that a difficult- to-read WORD (looks like “Satony”) has been CARVED into the wall behind Charlie’s bed. Annie pauses, lets it go, and then bends down to KISS Charlie’s forehead. Green Rev. (mm/dd/yy) 11. ANNIE (CONT’D) Goodnight, sweetie. 10",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. WORKSHOP - NIGHT 10 Annie enters. Outside the window: peaceful snowfall. Annie hesitates before walking over to the box labeled “Mom’s Things.” She reluctantly opens it... The box is filled with bottled oils and herbs. At the top of the box is a PHOTO ALBUM titled “Memories.” Annie opens it to sift through photos of her mother. She lays the album back into the box, and then notices a stack of worn HARDBACKS. She pulls one out. “ NOTES ON SPIRITUALISM.” This calls back unwelcome memories. Annie dumps the book back into the box, and PUSHES the box away. Annie walks to the door and flips off the light, leaving the room in darkness (save for the moonlight). She’s about to leave, but something makes her FREEZE. Standing motionless in a dark corner (almost too dark to make out) is ANNIE’S MOTHER, ELLEN - wearing the same outfit as the funeral. She’s staring at Annie. SMILING. Annie, nearly paralyzed with fear, reaches for the light switch. Without looking away, she turns the light back ON. Her mother is gone. Annie remains motionless. ANNIE (a whisper) Mom? Annie’s eyes are now drawn to... A dusty older MINIATURE in the corner. It's a replica of Annie's bedroom. A figurine of Annie (in her early thirties) BREASTFEEDS a baby. Standing beside her is a figurine of an OLDER WOMAN (Annie’s mother) holding her naked BREAST out of her nightgown. She leans over, offering it to the baby. Competing with Annie. Troubled by this, Annie walks briskly to the miniature and TURNS it away. It’s now facing the wall as Annie returns to the door, flicks off the light, and leaves. 11",FLASHBACK +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ANNIE & STEVE’S BEDROOM - MINUTES LATER 11 Annie climbs into bed with Steve. ANNIE I just scared myself in the workshop. Green Rev. (mm/dd/yy) 12. STEVE Oh no. With what? Annie pauses. Thinks about telling him. Steve looks interested/slightly worried. Annie thinks better of it. STEVE (CONT’D) ...No? She smiles “nah.” Goodnight. ANNIE Annie turns off the bedside lamp and gives Steve a blunt kiss. STEVE (before she can pull away) Mm, mm - no you don’t. He EXTENDS the kiss, making it last. Then: STEVE (CONT’D) Goodnight. 12",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HIGH SCHOOL CLASSROOM - NEXT MORNING 12 Charlie’s “special needs” class. Scrawled on the blackboard are the words “Quiet means Silence!” and all the students are indeed silent as they take a quiz. The TEACHER (40s) walks along the rows of desks, overlooking the quiz-takers. He comes to CHARLIE, whose quiz is upside- down. In her lap, she is assembling a small manikin’s body with disparate found objects (wood, metal, cardboard, etc). TEACHER Are you done? ...Almost. CHARLIE (looking up, startled) * What? CHARLIE (CONT’D) TEACHER (warmly) So maybe we finish the toy after the quiz? What do you think? CHARLIE ...Okay. The teacher gently turns the quiz right-side-up. Charlie is extremely tense through this. 13. Suddenly a PIGEON flies into the window, slamming its head. The impact breaks its neck. The classroom erupts with excitement - “Oh my God!” “Did you see that?!” - but not Charlie. She stares tensely at her desk, still disturbed by the teacher’s interference. Charlie’s EYES scan up. They alight on a pair of SCISSORS on the Teacher’s desk. 13",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HIGH SCHOOL CLASSROOM - DAY 13 Peter’s English class. The chalkboard reads: Themes - Escaping Fate. - Relationship between knowledge and responsibility. - ""No man considered fortunate until he is dead."" The teacher, MR. DAVIES (30s), tries to facilitate a group discussion. He holds a copy of Sophocles’ The Women of Trachis. MR. DAVIES So if we're going by the rule that a hero is undone by his fatal flaw, what was Heracles’ flaw? SMART-ASS STUDENT Fucking his mom. Some laughter from the class. MR. DAVIES Wrong play, Sam. And watch your language. Meanwhile, Peter is being hypnotized by BRIDGET (17), the attractive girl sitting in front of him. Peter’s rapt attention is glued to the butt of her jeans. MR. DAVIES (CONT’D) Come on, guys: What was Heracles’ flaw? Bridget now speaks up: Arrogance. BRIDGET This piques Peter’s interest. MR. DAVIES Okay - why? Green Rev. (mm/dd/yy) 14. BRIDGET Because he literally refuses to look at all the signs that are being literally handed to him the entire play. Peter’s in love. MR. DAVIES Okay, interesting! So he thinks he has control. SMART-ASS STUDENT Plus he fucked his mom. More laughs. MR. DAVIES (to the smart-ass) That’s two strikes, Sam. (back to the class) But also, don’t forget: Sophocles writes it so the oracle is unconditional. Meaning Heracles never had any choice. Right? Peter’s smartphone VIBRATES with a t",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","ext. MR. DAVIES (CONT’D) So, does this make it more tragic or less tragic than if he did have a choice? Less! STUDENT #2 Peter checks his t",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","ext. It’s from Brendan. It reads: “Wanna smoke a bowl at break?” This came from the BOY behind him. MR. DAVIES Okay: Why? STUDENT #2 (already giving up) Because! Mr. Davies turns to Peter, who’s now composing a text in his lap. MR. DAVIES Care to weigh in, Peter? Peter looks up, a deer in headlights. PETER About which part? Green Rev. (mm/dd/yy) 15. MR. DAVIES Is it more tragic if it’s inevitable than if the characters had agency? Peter is not following. PETER Yes? Why? MR. DAVIES PETER ...Because he had sex with his mom? Dead air. Mr. Davies gives Peter an unencouraging look. Another student picks up the slack: STUDENT #3 I think it's more tragic - because if it’s all just inevitable, that means the characters have no hope and that they never had hope, because they’re just like pawns in this horrible, hopeless machine. Peter has now noticed BRIDGET looking at him. She gives him a sardonic “nice try” smile. Peter smiles back, embarrassed. She turns away. Peter’s smile turns to a longing stare. 14",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SCHOOLYARD - DAY 14 Recess. The DEAD PIGEON lies pathetically in the bushes below Charlie’s classroom window. Charlie stands nearby, staring at the pigeon. After some time, she fishes a pair of SCISSORS from her parka pocket. (These are the scissors from her teacher’s desk.) Charlie extends the scissors, fits the blades around the pigeon’s neck, and SNIPS OFF ITS HEAD. Charlie quickly POCKETS the pigeon head, and looks up to notice: An OLDER WOMAN (60s) sitting on a bench, just beyond the schoolyard fence. She is gazing at Charlie, sentimental. Charlie gawks at the woman, unnerved. Without breaking eye contact, she pulls a chocolate bar from her pocket. In the b.g., PETER walks past, joined by Brendan. Seeing the chocolate, Peter casually asserts: Green Rev. (mm/dd/yy) 16. PETER No nuts, Charlie. This makes Charlie freeze up with tension. 15",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PSYCHIATRIST’S OFFICE - AFTERNOON 15 Steve’s office is large and sparsely decorated. Steve sits in a leather chair with a notepad resting on his lap. Sitting opposite him is an extremely agitated, depressed female PATIENT (40s). Steve studies her non-judgmentally. STEVE And how’s the anger? PATIENT Same. I just don’t care as much. STEVE (optimistic) So not as consuming? PATIENT (gritted teeth) It’s just as consuming, I just don’t care as much. Steve, stifling frustration, affects superhuman patience. STEVE And how’s your appetite been? With the Serafem...versus the Lexapro. 16",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ANNIE’S WORKSHOP - DAY 16 Annie’s laptop is open to a website: “Discernment of Presumed Apparitions.” Annie, sitting at the Graham house model, is carefully painting a MINIATURE LAPTOP, featuring the very same website. 17",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ANNIE’S MOTHER’S BEDROOM - DAY 17 We are looking through the open door into the HALL. Downstairs, the front door is heard opening. STEVE (O.S.) Hello! Hi! ANNIE (O.S.) Annie steps out into the hall and walks past the doorway. A moment later, we hear her footsteps FREEZE. She soon returns into view, now looking very unsettled. She stares past us, into the room... Green Rev. (mm/dd/yy) 17. ANNIE’S POV: The room is mostly EMPTY, save for the bed (stripped of sheets), a bookshelf, and various FRAMED PHOTOS featuring members of the family. One photo: a portrait of Annie and her mother, standing side by side. There is also a LARGE TRIANGLE (pointed northwest) that has been CARVED violently into the floorboards. Annie doesn’t react to the triangle. It was clearly already there. Annie leaves. 18",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TV ROOM - MOMENTS LATER 18 Steve sits on the couch, having just turned on the news. He’s still wearing his coat. Annie enters. ANNIE Were you in my mom’s room? STEVE What? No. ANNIE The door was open. Steve makes a “hmm ” face. The front door is heard opening, and Annie goes to the FOYER, where Peter and Charlie are entering. ANNIE (CONT’D) Hey guys. How was school? PETER Okay. ANNIE Did either of you go into Grandma’s room recently? They both squ",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",int. “Why would we go in there?” PETER I don’t think you need to worry about me ever being in that room. 19,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HALLWAY - EVENING 19 Steve is at Annie’s Mother’s door. He LOCKS IT (by key) from the outside. ANNIE Sorry. I know it’s irrational. Green Rev. (mm/dd/yy) 18. Not at all. STEVE Illustrating that it’s locked, Steve tries turning the knob. Annie smiles. Thank you. ANNIE She kisses Steve, feeling dopey. Peter walks up to them, holding the PHONE. PETER Dad? (extending phone) It’s the cemetery. ANNIE About what? STEVE I’ll see. (into phone) Hi... Yeah... Steve walks down the hall to create distance between him and Annie. Now irked, Annie walks off. STEVE (CONT’D) (into phone, warily) Okay.... And what does “desecrated” mean? (listens, then - shocked) What? It's only been a week. ANNIE steps back into the hall, now wearing a coat. Steve nervously accelerates: STEVE (CONT’D) (into phone) Okay. All right. Can I actually call you back?... Okay, fine. Steve hangs up. What was it? ANNIE STEVE (CONT'D) Nothing. Just billing crap. Annie looks skeptical. Steve notices Annie’s COAT. He gives her an inquiring look. ANNIE I’m gonna go see a movie. Green Rev. (mm/dd/yy) 19. STEVE Okay. Right now? ANNIE I think I just need to get out of the house for a second. STEVE ...Want me to join? ANNIE (hesitates) I think I might just need like an hour to myself. I’m really tense. STEVE Okay...great. I think you should. Annie smiles “thanks.” ANNIE Do you know where Charlie is? STEVE Where else? Annie knows what that means. She immediately looks frustrated. STEVE (CONT’D) Let it go. It’s wasted energy. ANNIE It’s below 30 outside! 20",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TREEHOUSE - EVENING STEVE (CONT'D) * So let her catch a cold. * Maybe she needs one. * 20 Charlie sits in her treehouse. She lays the severed pigeon head into her SHOEBOX. Inside this box are three other SEVERED ANIMAL HEADS. One belongs to a rabbit, one to a rat, one to a squirrel. (The heads are in different stages of decomposition; flies buzz about.) Down below, Annie is heard: ANNIE (O.S.) Charlie? Charlie shuts the box, SHOVES it into a corner, and peers down to see ANNIE at the tree’s base. ANNIE (CONT’D) Come on, sweetie. It’s freezing out here. No response from Charlie. Annie doesn’t push it. Green Rev. (mm/dd/yy) 20. ANNIE (CONT’D) Okay, well, I’m running out for a sec. Is there anything I can bring you back? Why?? CHARLIE (defensively) 21",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAR (MOVING) - NIGHT 21 Annie idles into the parking lot of a Catholic high school. She parks, turns off the engine, and sits in silence for a moment. Bracing herself. 22",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CATHOLIC SCHOOL GYMNASIUM - NIGHT 22 A SUPPORT GROUP held in the high school’s gymnasium. A sign on an easel reads “LOSING A LOVED ONE, Grief Recovery.” The session hasn’t yet started. Twenty empty chairs form a CIRCLE in the space’s center. Mourners of varying affect are scattered about, mingling. Annie ENTERS, very ill-at-ease. THIRTY MINUTES LATER All the chairs are now filled. A middle -aged MEXICAN WOMAN speaks (in Spanish) through coursing tears. A YOUNG MAN translates for her as the rest of the group listens. YOUNG MAN (translating between her sentences) Sometimes I even get so relieved... Because he was in so much pain, and by the end he just hated himself. Always saying “I’m a burden, I’m a burden, I’m a burden”... Annie’s eyes are wide. She’s empathizing with this, but it seems to also be agitating her. FIVE MINUTES LATER The GROUP LEADER addresses the group. LEADER We’ve set aside some time for any newcomers who might like to speak... Silence. 21. LEADER (CONT’D) So, anybody new - if it’s your first or second time with us: the floor is open. Annie looks very torn. She starts to lift up her hand, but stops short. Yes? LEADER (CONT’D) (gesturing to Annie) Annie looks panicked. LEADER (CONT’D) Would you like to...? ANNIE ...Maybe not. LEADER Okay. No pressure. Annie nods, takes a long moment, and then forces herself: ANNIE My name’s Annie. THE GROUP Hi Annie. Annie strains a smile. She continues tensely, as if against her will: ANNIE My mom died a week ago, so I’m just here for - trying it. I have a lot of resistance to things like this, but I went to these a couple years ago - I was pressured to come - but it did help, so... (long pause) My mom was old and she wasn’t all together at the end - and we were pretty much estranged before that - so it wasn’t a huge blow. But I did love her. And she didn’t have an easy life... She had D.I.D., which became extreme in the last year, and dementia ...! My dad died of starvation when I was a baby. He had psychotic depression and he starved himself. Which I’m sure was as pleasant as it sounds. And then my older brother - he was schizophrenic - and when he was sixteen, he hanged himself in my mom’s bedroom. (MORE) Green Rev. (mm/dd/yy) 22. ANNIE (CONT'D) Of course his suicide note blamed her. Accusing her of putting people inside of him. (throws hands up) So that was my mom’s life! Annie looks to the group. They allow her time to continue. She reluctantly proceeds. ANNIE (CONT’D) ...She finally lived in our house at the end. Before hospice. We weren’t talking before that -- or we were and then we weren’t and then we were - she was completely manipulative - until finally my husband enforced a No Contact rule, which lasted until I was pregnant with my daughter. I didn't let her near me when I had my first - my son - which is why I gave her my daughter, who she immediately stabbed her hooks into. And of course I felt guilty again when she got sick... Not that she was even my mom at the end. And not that she ever felt guilty. About anything . Annie has worked herself up. A charged pause as she calms back down. ANNIE (CONT’D) And I don’t wanna put any more stress on my family. Not even sure if they could give me that support. She gets stuck here. Tears begin to well. She struggles to squeeze out the following: ANNIE (CONT’D) It just all sometimes feels ruined. And then I realize I'm to blame. Or not that I'm to blame, but that I'm...blamed. Beat. LEADER And what do you think you feel blamed for? Annie looks to the leader. Pauses. ANNIE I apparently acted a certain way - according to them - I did things, in my sleep, a couple years ago. Or almost did them... Green Rev. (mm/dd/yy) 23. Annie looks like she’s going to continue, but then she abruptly cuts herself off. That’s it. We reveal the mystified GROUP. They struggle to remain sympathetic, despite their confusion. ANNIE (CONT’D) So anyway. Everything’s disappointing. So here I am. She forces a laugh, but also cries a bit. She wipes away the tears and makes an embarrassed “bah” face. She then motions to the group: “ Who’s next?” 23",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HALLWAY - NIGHT 23 At the end of the hall, a very depleted Annie has just finished scaling the stairs. In the f.g., Peter’s door eases shut. 24",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PETER’S BEDROOM - SAME TIME 24 Peter’s laptop is open. The browser displays BRIDGET’S FACEBOOK PAGE. (Peter has been going through her photos.) Behind that, another page displays “POPULAR CAREER INTERESTS.” Peter walks from the door (which he just closed) to his desk. He grabs a small water pipe, packed with marijuana, and walks to the window. As Peter takes a hit from his pipe, his smartphone vibrates with a T",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. He checks it. From “Brendan”: Holy shit. Huge party tomorrow at Aaron’s house. Bring your dick! 25,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. GRAHAM HOUSE - CONTINUOUS 25 A WIDE of the house. In the foreground seems to be someone’s SHOULDER. Pot smoke is blown out of Peter’s window, followed by a brief fit of COUGHING. 26",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CHARLIE’S BEDROOM - THE NEXT DAY 26 Charlie, dressed in her pajamas and munching on M&Ms, sits at her desk. She’s is finishing the torso for another small human manikin. The limbs are made of different scraps. To the side of Charlie’s sculpture -in-progress is the SEVERED PIGEON HEAD. Beside that is Charlie’s drawing pad, open to an unfinished STILL LIFE of the pigeon head. And on the far side of the desk: a crude, bare stage for an unfinished DIORAMA. Green Rev. (mm/dd/yy) 24. As she works, Charlie makes the CLICKING SOUND with her tongue. Suddenly, a GLINT of light sweeps the room in a quick FLASH. Charlie ceases drawing. Her clicking STOPS. Disturbed by the flash, she raises her head and HOLDS. Listening for something? After a beat, Charlie rises from her seat and walks to the WINDOW. It’s snowing outside. She stands there for a long time, her back to us. She’s STARING at something... 27",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. KITCHEN - SAME TIME 27 Annie is preparing dinner. Her smartphone DINGS with an INCOMING EMAIL. It’s from The Asher Gallery. She opens it. It reads: Hi Annie! Don't want to bother you, but we’d love to see where we are (progress- wise). Could you possibly send us pics of your work in its current stage? I promise we won't judge!! ;) Annie looks suddenly overwhelmed. 28",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. WOODS - MINUTES LATER 28 The vast WOODED AREA behind the Graham house. It is still snowing. Charlie, wearing regular shoes and no coat (and still dressed in her pajamas), takes wide steps as she slogs through the snow. She gazes listlessly ahead, as if in a TRANCE. She’s being drawn toward something. Like she’s sleepwalking with open eyes. Max, the family dog, follows happily behind. A FIRE is heard crackling in the distance. Is this what she’s walking toward? We cut to an EXTREME HIGH ANGLE - almost bird’s eye. This reveals that Charlie seems to be following a FRESH PATH OF FOOTPRINTS (source unknown) leading off -screen. 29",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ANNIE’S WORKSHOP - SAME TIME 29 Annie is now WORKING INTENSELY on one of her miniatures. She looks very anxious. Peter appears at the door. PETER Hey, uh... Annie looks up, visibly annoyed by the disturbance. 25. PETER (CONT’D) ...do you think I could borrow one of the cars tonight? ANNIE Why? Where are you going? PETER Oh, just like a school BBQ thing. Annie continue working on the miniature, breaking intermittently as they speak: ANNIE Does that mean you’re not having dinner with us? PETER Oh, no, I was still gonna eat here. ANNIE PETER (CONT'D) Well - you can eat there if * you want. I just didn’t realize. No, I’ll eat here. I’d just be going there to hang out. Annie pauses. Her mind is not quite on this right now. She takes a moment (pulling herself from her work) to assess the questions that need to be asked. ANNIE No drinking? PETER Nobody’s old enough to even get drinks if they wanted to. ANNIE Well, that’s a crock. I’m just asking if you’re drinking. PETER Well, I just answered no. Annie looks him hard in the eye before accepting that. ANNIE ...You gonna take your sister? PETER Uh - does she want to go? ANNIE (mimicking his tone) Uh - have you asked her? 30",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. HALLWAY - MOMENTS LATER 30 Peter goes to Charlie’s room. She’s not there. He calls out: Green Rev. (mm/dd/yy) 26. Charlie?! PETER 31,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. WORKSHOP - MOMENTS LATER 31 Peter returns to the workshop. PETER She’s not in the house. Frustrated, Annie throws down her paintbrush: ANNIE What? Yes she is. 32",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. WOODS - SAME TIME 32 Charlie is still walking through the snow. She sees in the DISTANCE, almost too far away to distinguish... A ring of BURNING TORCHES has been set up. Within this ring, an OLD WOMAN’S INANIMATE BODY (dead?) stands erect - tied to a pole, with her arms strapped to outstretched planks. The body is dressed in FINE WHITE SILK. It looks like Ellen Leigh (Charlie’s grandmother), but it’s too far away to quite tell. Charlie squints at this, barely reacting, when-- ANNIE (O.S.) CHARLIE! Charlie looks to ANNIE, who is running in her direction. Charlie steps toward Annie. ANNIE (CONT’D) What are you doing?! It’s below freezing out here! Annie arrives at Charlie, not seeing the distant torches . She seizes Charlie’s arm and starts leading her back to the house. ANNIE (CONT’D) Are you an idiot? You can’t just roam around - no coat, no boots! Charlie YANKS her arm away from Annie. ANNIE (CONT’D) Oh - what? You’re angry with me? Annie GRABS Charlie’s arm and PULLS her back toward the house. CHARLIE (under her breath) I want grandma. 27. ANNIE Yeah. That makes one of us. 33",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FOYER - MOMENTS LATER 33 Annie and Charlie return. Annie aggressively stamps the snow off her boots. ANNIE You’re going to this party with your brother. CHARLIE What party? ANNIE (trying to be softer) A school hang-out with other kids. CHARLIE (evasive) That’s okay. ANNIE No, it’s not okay. You’re going. CHARLIE Why? ANNIE Because it’ll be fun. You can hang out. With who? CHARLIE ANNIE (CONT'D) With your brother! With other kids! Peter has stepped into the hall. He nods, as if to say “ yeah, come along,” but his eyes are very uninviting. CHARLIE (as if to challenge Peter) ...Fine. ANNIE Great. You’re going. (to Peter) She’s going with you. PETER Great. ANNIE And that really means no drinking. PETER Yeah: I really wasn’t going to. 28. 34",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. HIGHWAY - EVENING 34 The sun has set. A FULL MOON glows pale -blue over a lonely highway. The Graham family car (the green one) FLASHES past. 35,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GRAHAM FAMILY CAR - CONTINUOUS 35 Peter is tense at the wheel. He drives the speed limit. Peter’s eyes drift to the REAR VIEW MIRROR... Charlie, sitting in the back, CLICKS her tongue. Peter’s eyes narrow resentfully back onto the road. The car passes a TELEPHONE POLE. Just an average telephone pole. But we HOLD on it for a second longer than feels necessary. Hyper-attentive viewers might notice that a small SIGIL has been carved into it. 36",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PARTY HOUSE - NIGHT 36 A large, modern house. The windows feature glimpses of a big party, filled with circulating kids. Peter and Charlie walk up the driveway. Charlie, suddenly very nervous, starts slowing down. CHARLIE Maybe I don’t have to go in... Peter stops. PETER Why? What’s wrong? CHARLIE It’s okay. I can just stay out here. PETER Charlie, you’re the one who wanted to come. CHARLIE (not looking at him) So you just go. I’ll be out here. PETER Charlie: If you don’t come in, I have to take you back home, and that’ll take an hour. 29. 37",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARTY HOUSE - MOMENTS LATER 37 The house is bustling. In the KITCHEN, two girls pull a CAKE from the oven. Another girl (working on the frosting) CHOPS up loads of WALNUTS on a chopping board. ECU of the nuts being brutalized. In the LIVING ROOM, Peter stands awkwardly with Charlie. Charlie grips her drawing pad. AARON (17), a preppy- looking kid, walks suspiciously over to Peter. This is Aaron’s house. Hey. AARON AARON PETER Hey. Nice house. How did you hear about this? PETER T",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","ext. Aaron nods, annoyed. He takes an aggressive sip of his drink. Peter is uncomfortable. PETER (CONT’D) (forcing conversation) Your parents are out of town? Peter suddenly spots BRIDGET across the room. She sits on the COUCH, obviously inebriated, nursing a beer. Completely alone. AARON You didn’t bring beers or anything, did you? Peter turns back to Aaron, very impatient now. PETER What? No. (first thing that comes to mind) I actually have to go to the bathroom. Aaron nods “yeah, whatever.” Peter, already backing away, turns to Charlie. PETER (CONT’D) Stay here one second, okay? I’m just going to the bathroom. Peter starts walking. Charlie immediately follows. Peter feigns a trajectory toward the bathroom just behind Bridget. As he walks, he pretends to notice her. He affects a surprised face. Green Rev. (mm/dd/yy) 30. PETER (CONT’D) Whoa, hey! What’s up? BRIDGET Oh. Hey. Peter steps toward her. A brief pause. PETER How’s the party? BRIDGET (sarcastic) Why? You wanna know if you should come? PETER Uh - yeah. What do you think? BRIDGET (shrugs) Whatever. PETER Okay, maybe I will. BRIDGET Okay, I’ll see you here. Another awkward pause. PETER Do you happen to smoke at all? BRIDGET Smoke what? Peter pinches into his pocket. He reveals the top of a rolled- up BAG OF MARIJUANA. BRIDGET (CONT’D) (not seeing) Is that tobacco or weed? PETER Really awesome weed. Bridget considers, and then: BRIDGET (”why not?”) I could get more high. She stands up. BRIDGET (CONT’D) The other room has a bong. 31. Bridget gestures for him to follow her. Peter starts to walk, but then notices Charlie following him. PETER Hey. You wanna stay out here for a second? Nope. CHARLIE PETER Charlie: please: Only for two minutes and then we can hang out. You can draw. Bridget is already at the DOOR to the other room. She looks expectantly at Peter, who turns again (desperately) to Charlie. PETER (CONT’D) Please Charlie, I promise. I just need to do something really quick. Peter then SEES something. PETER (CONT’D) Oh shit. Look: He’s pointing at the KITCHEN. The teen girls are now cutting into a fresh CHOCOLATE CAKE. They hand slices around. PETER (CONT’D) They’re giving out chocolate cake. CHARLIE Not to everyone. CHARLIE PETER (CONT'D) Yes they are. It’s a party. I don’t know anyone. PETER Nobody does. Just walk over, stand there, and they’ll give you one. Peter starts walking off, still facing Charlie: PETER (CONT’D) You should hurry, they’re gonna run out, I’ll be right back! Hurry! Peter rushes over to Bridget as she OPENS the door to the other room. Charlie looks nervously to the kitchen. 38",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. OTHER ROOM - CONTINUOUS 38 Two BOYS - one Hispanic and one blonde - are in the room, watching videos on a tablet. Bridget enters, addressing them: 32. BRIDGET Hey guys, Peter has weed. The boys turn to Peter. Peter immediately deflates. HISPANIC BOY (O.S.) Sativa or indica? 39",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. KITCHEN - SAME TIME 39 Charlie steps into the doorway. Extremely shy. Her eyes are magnetized to the CHOCOLATE CAKE as the girls continue handing out slices. One GIRL notices Charlie’s fixed eyes. She warmly offers Charlie a slice. Charlie accepts without looking her in the eye. Thanks. CHARLIE Charlie turns, digging into the cake. (Nuts are visibly a key ingredient.) 40",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. OTHER ROOM - SAME TIME 40 Peter sits on the bed, beside Bridget. He packs marijuana into the bowl of a large bong. BRIDGET That was your sister, right? PETER Yeah. Charlie. Peter’s cell phone VIBRATES. HISPANIC BOY (to Peter) Is your sister hot? Peter checks the cell. It’s ANNIE calling. Tense, he tucks the phone back into his pocket. BRIDGET I actually saw her drawing me last week. Oh yeah? PETER BRIDGET Yeah, she made me look crazy. PETER That’s Charlie. 33. Peter’s phone VIBRATES again. A yellow “Message Waiting ” light blinks. Annie has left a VOICEMAIL. 41",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LIVING ROOM - SAME TIME 41 Charlie walks around, holding an empty plate, her lips covered in chocolate. She stops for a moment to SWALLOW. She pauses, then swallows again. She looks slightly concerned. Charlie goes to a stack of RED CUPS and pulls one. She goes to the kitchen faucet and draws herself a cup of water. 42",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ANNIE’S WORKSHOP - NIGHT 42 Annie is working on the miniature of the Graham house. She plants a freshly- painted FIGURINE of a ghostly old woman in a bathrobe (clearly Annie’s MOTHER) in the upstairs hall. The figurine looms outside the open door of the master bedroom replica, where figurines of Annie and Steve are asleep in bed. 43",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARTY HOUSE - LIVING ROOM - NIGHT 43 The party is still in full swing. Charlie has found her way onto the COUCH and is now assembling a small manikin from disparate parts (from her pocket). Her cheeks look pink and slightly INFLAMED. An allergic reaction to the cake? It looks like she’s on the verge of throwing up, but she keeps her concentration on the manikin. A concerned BOY (16) approaches Charlie. Not recognizing that she’s a girl: CONCERNED BOY (O.S.) Hey dude, you okay? You want some water? Charlie doesn’t even look up. CHARLIE I’m okay. You sure? Mm-hmm. CONCERNED BOY CHARLIE The Boy hesitantly walks off. Charlie does NOT look good. 34. 44",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. OTHER ROOM - MOMENTS LATER 44 Peter is drawing an impressive bong hit. The door is OPENED by Charlie. CHARLIE Peter? This is just as Peter finishes inhaling. He COUGHS up smoke. PETER (like a chimney) Charlie! Peter immediately hides the bong behind his legs and looks to Charlie, affecting casualness. PETER (CONT’D) (still spouting smoke) What’s up? Charlie looks scared. PETER (CONT’D) Are you okay? CHARLIE It’s hard to breathe. Charlie’s voice is cracked and strange. PETER What do you mean? CHARLIE (tearing up) My tongue is getting bigger. HARD CUT TO: 45",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CAR - NIGHT 45 A distraught Peter pulls Charlie to the car. Charlie’s eyes bulge and her face is pitch- red. She seems UNABLE TO BREATHE. Peter desperately opens the back door, guides Charlie in, slams the door, and runs to the driver side of the car. 46",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAR (MOVING) - NIGHT 46 Peter speeds down the empty HIGHWAY. In the back seat, Charlie GASPS and gurgles for breath. She KICKS at the door and GRASPS at her throat. Tears of pain stream down her face. Peter ACCELERATES. Speeding from 60 MPH to 65. 35. PETER You’re okay, Charlie! We’re going to the hospital! Charlie frantically rolls down her window. Desperate for air. Peter continues accelerating. 70 MPH. Charlie forces her head through the BACK PASSENGER WINDOW. She GASPS for breath, but her throat is swollen shut. She can’t even scream. Peter continues accelerating. 75 MPH. Charlie sticks her squealing head even farther out the window. Peter continues accelerating. 80... 85... But THEN-- A grisly DEER CARCASS, smeared across the road, appears in the car’s headlights. Peter SWERVES out of the way. CHARLIE’S HEAD, flailing out of the window, COLLIDES FACE- FIRST WITH A TELEPHONE POLE. The impact is so great that Charlie’s head is RIPPED OFF its shoulders. The decapitated head SAILS silently in the car’s wake. Peter STOMPS on the brakes. The car SQUEALS to an ear- splitting halt. The frozen car chugs quietly. Suspended in time. Peter sits motionless. Paralyzed. His eyes are fixed on the road in front of him. In the SIDE-VEW MIRROR, the dead deer (thirty feet back) is faintly visible in the car’s brake lights. Bathed in red. Peter doesn’t dare look back. His foot is jammed into the brake. In the back seat, Charlie sits headless. A torso. Peter’s EYES begin to stray toward the REAR-VIEW MIRROR, but they STOP before they get there. Peter can’t look. Peter reaches for the rear- view mirror and subtly turns it AWAY. The “Voicemail Waiting ” light (from Peter’s cell) blinks through the fabric of his jeans pocket. A long moment of silence, and then... 36. Peter’s foot slowly eases OFF the brake pedal. The car begins to slowly idle forward. Peter, eyes locked on the road ahead, allows the car to slowly pick up speed. His demeanor suggests that he’s in great denial. As if he’s saying to himself “it’s okay, nothing happened.” The car drives onward. The headless torso rattles gently in the back seat. 47",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. GRAHAM HO USE - NIGHT 47 The car idles quietly into the driveway. It PARKS beside the other family car, but the engine continues humming. The driver door opens, setting off the dull DING-DING-DING of the “door open/engine on” alarm. After a long pause, the engine is turned off. Peter steps out, as if in a dream state. He walks stiffly away from the car and into the house. 48",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HALLWAY - CONTINUOUS 48 Peter stalks woodenly through the hall. He walks into his bedroom, leaving Annie and Steve to their sleep. Peter climbs into bed, his door left open. 49",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BEDROOM - THE NEXT MORNING 49 The next morning. CLOSE-UP on Peter’s face, turned halfway into his pillow. His eyes are wide open. Downstairs, we hear Annie pulling on her coat. ANNIE (V.O.) I’m running out for some balsa wood. You want anything? STEVE (V.O.) I’m good, baby. Drive safe. ANNIE (V.O.) Okay! Back in twenty! The front door is heard opening and shutting. We then hear: Annie walking to the car... The car door opening... Annie beginning to climb in. And then... Silence. Followed by... A horrible SCREAM, shrill and almost inhuman- sounding, issues from outside. Peter’s eyes WIDEN. 37. Annie is heard staggering backwards and falling down, muttering (almost inaudibly) “ No, no, no, no...” Downstairs (in the house) Steve is heard reacting and running to the front door. Before he makes it outside, Annie lets out another blood- curdling SHRIEK, which prompts a HARD CUT TO: 50",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. HIGHWAY - MORNING 50 CHARLIE’S HEAD rests by the side of the road. The nose is completely smashed in. One eye is pitch red and the other is milky and opaque. The head is completely covered in ANTS. The halted shriek (from the last shot) ECHOES OFF into the wretched silence of this shot. The sound of THUNDER bridges our cut to: 51,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GRAHAM HALLWAY - NIGHT 51 A STORM rages outside. Annie and Steve’s bedroom door is cracked open. We barely see ANNIE lying in bed, WEEPING and MOANING. Steve, sitting on the bed, consoles her. He tries to feed her a pill. ANNIE NO! I can't! I can't! I just wanna die!... I can't. Steve rubs her head as she sinks into a more placid despair. ANNIE (CONT’D) ...It hurts too much. I just need to die. And then more feelings come SURGING up. She MOANS an anguished moan. We reveal PETER, standing paralyzed on the stairs, LISTENING. His mother’s cries shred at his nerves. ANNIE (O.S.) (CONT’D) CHARLIE!!! 52",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CEMETERY - DAY 52 An overcast day. A sad gathering of mourners. Annie, Peter and Steve stand lost among them. We are at a distance. The COFFIN (in profile) is being lowered into the ground. We are booming down to FOLLOW the sinking casket (keeping it centered), and as the coffin descends into the earth, so do we. We slowly creep down, losing sight of the cemetery and the mourners. We continue tracking down along the DIRT and the EARTHWORMS and the WEEDS, sinking deeper and deeper into the dark, wet soil. Soon we are swallowed up again in BLACK. 38. 53",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOUSE - LIVING ROOM - LATE AFTERNOON 53 THE WAKE. Everything seems slightly opaque, as if seen through glass. Glossed over by grief. People stand uneasily and talk in hushed tones. STEVE stands in a daze, politely (but absently) accepting condolences. 54",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ANNIE & STEVE’S BEDROOM - SAME TIME 54 Annie lies in bed, facing the wall. Her back is to us. 55",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LIBRARY - SAME TIME 55 Peter stands (hiding?) in the family library, anxiously massaging his CELL PHONE with his thumb. He looks completely battered by trauma and self-loathing. He observes the wake in the adjacent living room through the distortion of the library’s textured glass door. He watches Steve shake someone’s hand. A MAN (40s) steps into the library, not expecting to find Peter. MAN (surprised) Peter. How are you? Peter smiles politely, but can’t answer. His eyes look almost deranged. MAN (CONT’D) Can I get you anything? PETER I’m just gonna use the bathroom. MAN Okay. As Peter walks stiffly past, smiling his forced smile, the Man awkwardly adds: MAN (CONT’D) I’m so sorry for your loss. 56",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BATHROOM - CONTINUOUS (exiting) Thank you. PETER 56 Peter hastily enters the bathroom and LOCKS the door. He stands frozen for a moment, battling panic. The sounds of the wake persist in the other room. Peter turns on the SINK to create white noise. 39. 57",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LIVING ROOM - EVENING 57 The remaining mourners are slowly filtering out. Steve politely ushers them, thanking them for coming. Soon, everyone’s gone. Steve just stands there, in the middle of the room. Lost. 58",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HALLWAY - MOMENTS LATER 58 Steve goes to the bathroom door. Tries to open it. It’s LOCKED. The running sink is faintly heard. Steve pauses, then knocks gently. STEVE Peter? No answer. 59",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BATHROOM - SAME TIME 59 Peter sits on the edge of the tub. The sink is still running. He holds his cell to his ear, listening to VOICEMAIL. ROBOTIC FEMALE VOICE (V.O.) You have one saved message. First saved message: ANNIE (V.O.) Hi sweetheart, it’s mom. Just calling to make sure that you and Charlie are okay and having a good time at the BBQ. All right. Have lots of fun and be safe. Love you both! Click. ROBOTIC FEMALE VOICE (V.O.) To listen to this message again, press four. 60",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ANNIE & STEVE’S BEDROOM - MOMENTS LATER 60 Steve approaches his bedroom, but STOPS at the open door. Annie is no longer in bed. The sheets have been dragged halfway off the mattress (presumably by Annie’s feet when she left). 61",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CHARLIE’S BEDROOM - MOMENTS LATER 61 Charlie’s lonely bedroom. Everything is as it was. The door OPENS. It’s Steve. He stands at the door, taking the room in. After a moment, he steps inside. 40. MOMENTS LATER Steve sits on Charlie’s bed. He has pulled up Charlie’s DRAWING PAD. Steve opens the pad. He flips slowly through the pages. He takes care to really look at the drawings. As if appreciating them for the first time. Steve passes several drawings of severed animal heads (including those of the rabbit, the rat and the cat, which we saw in Charlie’s shoebox). Steve then comes to Charlie’s half- finished drawing of the pigeon head (which now dons a CROWN). Steve studies it, and then turns the page to discover...a BLANK PAGE. There are no more drawings. The floodgates open. Steve WEEPS. 62",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CHARLIE’S BEDROOM - NIGHT 62 Charlie’s bedroom is EMPTY again. It’s snowing outside. The door is open, and the hallway’s lights are off. Framed by the doorway, Peter walks past, determinedly not looking into the room. 63",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PETER’S BEDROOM - NIGHT 63 Peter enters. Without changing out of his clothes, he climbs into bed. Th e ALARM CLOCK reads 10:10 PM. He turns to his side and gazes out the WINDOW. The imposing TREEHOUSE looms just outside. He stares at it. LATER Peter rolls huffily from his stomach to his back, unable to sleep. He turns to the ALARM CLOCK. It now reads 1:32 AM. A beat, and then Peter climbs out of bed, gathers his blanket and pillow, and leaves the room. 64",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. GRAHAM HOUSE - MOMENTS LATER 64 Peter, wearing his parka and an Elmer Fudd hat, emerges from the back door of the house. He carries his blanket and pillow through the light snowfall, heading for the TREEHOUSE. He notes Charlie’s SHOEBOX near the base of the tree (having been dropped from the treehouse?). Flies are audible inside. Peter grips the tree’s climbing handles and scales the tree. Green Rev. (mm/dd/yy) 41. 65",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TREEHOUSE - CONTINUOUS 65 Peter climbs in. He lays out his blanket and lies down, positioning his pillow under his head. Now situated, he begins to close his eyes, but before they can shut, he SENSES something behind him. He slowly look back to SEE: ANNIE IS SLEEPING IN THE CORNER, bundled up in blankets. Startled, Peter STAGGERS out of his blanket, GRABS his things, and rushes frantically out of the treehouse. In his haste, his foot SLIPS OFF one of the wet climbing handles. He falls to land HARD on his back. In pain, Peter rises and limps back toward the house. WE SLOWLY DISSOLVE FROM THIS TO... 66",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CLASSROOM - DAY 66 Peter sits in the back of class as a teacher drones on at the blackboard. The teacher’s voice is distant and vague, as if heard from UNDER WATER. Peter’s EYES are busy with nagging, obsessive thoughts. They narrow upward to his right. We flash briefly to an INSERT of the family car’s REAR VIEW MIRROR (from Peter’s POV) on the night of the accident. The mirror is in focus, but whatever’s in the BACK SEAT (Charlie’s headless body) is blurry and just out of the mirror’s view. We return to the CLASS. Peter snaps out of his reverie to see BRIDGET looking at him. Their eyes briefly MEET before s he quickly turns back to the teacher. Peter’s eyes HARDEN. 67",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. GRAHAM HOUSE = DAY 67 Annie draws the MAIL out of the mailbox. Among the letters is a BROCHURE. It reads “Calling All Skeptics!” Below that: “A PUBLIC SEANCE to be conducted by famed spiritual medium, Suzanne Marlowe!” Annie goes PALE at the sight of this. She looks around, suddenly paranoid - as if nervous that she’s being watched. 68",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. WORKSHOP - DAY 68 Annie is at work, trying to make progress on the HOSPICE MINIATURE. Her eyes are numb. She looks exhausted. She turns in her swivel-chair to face the miniature of the GRAHAM HOUSE. She stares at it. Off-screen, the front door is heard UNLOCKING. Annie looks in the direction of the noise. Green Rev. (mm/dd/yy) 42. 69",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FOYER - SAME TIME 69 The front door opens and Steve enters. STEVE Annie?! Max runs up to greet Steve, his tail wagging excitedly. 70",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. WORKSHOP - SAME TIME 70 Annie goes to the door. Steve is heard scaling the stairs. Before he can reach the top, Annie silently eases the door shut. 71",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HALLWAY - CONTINUOUS 71 The workshop door quietly CLOSES just before Steve appears at the top of the stairs. He approaches the workshop. He knocks on the door. No answer. He eases the door open. Annie “works” with her back to the door. She’s now wearing HEADPHONES, “listening” to classical music. Steve smiles sadly and closes the door, leaving Annie to her work. 72",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. KITCHEN - MOMENTS LATER 72 Steve enters the kitchen. Mail waits on the kitchen island. He finds the BROCHURE for the public seance, and DUMPS it in the trash. In the b.g., Annie CROSSES the doorway. Steve doesn’t see. 73",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. GRAHAM HOUSE - LATE AFTERNOON 73 Annie sits in the blue family car, parked in the driveway. (The green car - the “accident” car - is now permanently gone.) Annie is trying to work up the nerve to start the engine. Then, in the SIDE-VIEW MIRROR, she sees: Peter rides his BICYCLE up the driveway. He arrives at the front porch, but stays on the bike. He doesn’t see Annie. Annie has TENSED UP. She sits motionless for fear of being seen, eyes LOCKED on Peter. He stands for a long time at the front door, preparing to face his family. Annie watches as Peter continues to gather himself. He finally takes a decisive breath, gets off the bike, and quietly enters the house. 43. Annie remains tense. She turns on the car’s IGNITION. 74",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CATHOLIC HIGH SCHOOL GYMNASIUM - EVENING 74 Annie idles into the parking lot of the HIGH SCHOOL GYMNASIUM (from earlier). Outside, the same SUPPORT GROUP is gathering. Annie pulls into a spot. Turns off the ignition. She stares at the gymnasium door. Watches tensely as people solemnly enter. She doesn’t move. After a long internal debate, Annie finally STARTS the car back up, and begins to drive off. As she approaches the exit, an OLDER WOMAN (late 60s) runs suddenly - and merrily - into the HEADLIGHTS, flagging Annie down. Annie BRAKES. The woman circles over to Annie’s window. Annie hesitantly rolls it down. OLDER WOMAN Hi! Hello. Sorry to chase you down. (awkwardly) Were you not coming in? ANNIE (cornered) I, no, I just - forgot something. OLDER WOMAN Okay, sorry, I just - I recognized you from a few months ago. You were here because your mother? ANNIE Oh... OLDER WOMAN I feel crazy now. Sorry! I’m Joan. ANNIE (feeling trapped) Hi. JOAN Are you doing any better? ANNIE What? JOAN With your mother...? ANNIE (still confused) What? (and then) No. That’s not... My daughter was killed. 44. JOAN Oh. My God. I’m so, so sorry. Brief, heavy silence. Joan stammeringly offers: JOAN (CONT’D) Would you like to come in with me? Or we can even just get a coffee. There’s a place down the street. ANNIE I’m sorry. Really. Thank you. (gesturing to leave) I really did forget something. Joan bluntly offers: OLDER WOMAN My son died. ANNIE Oh...! I’m so sorry. Joan smiles tightly, heartbroken. JOAN How old was yours? Annie looks like she’s being held hostage. ANNIE (pained to say it) Fourteen. JOAN Oh God, that’s awful! (matter of fact) My son and my grandson drowned. Four months ago. The little one was seven. ANNIE (horrified) Oh my God. JOAN I’ve been coming here for a month now and it has helped. I just wanted to say. It has. It doesn’t make it easier - obviously. But sometimes it just, makes it less lonely. ANNIE (awkwardly) Okay... 45. JOAN And I’m gonna embarrass myself now, but if you ever need someone to talk to... Joan writes her PHONE NUMBER onto a piece of paper. JOAN (CONT’D) ’Cause we all do. She hands Annie the phone number. JOAN (CONT’D) Just if you need it. ANNIE Okay. Thank you. Really. Annie is moved, despite her discomfort. Joan walks off, giving Annie a warm little wave. 75",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. FOYER - NIGHT 75 Annie lumbers in. She pulls off her snow boots. 76,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LIVING ROOM - MOMENTS LATER 76 Steve is asleep in an armchair, bathed in the dim glow of the muted TV. Annie appears in the doorway. ANNIE Hey. STEVE (waking up) Oh! Hey. ANNIE I’m going to bed. ANNIE STEVE (CONT'D) Where were you? At the movies. I’m going to bed. STEVE I’ll come with you. ANNIE (put off) ...Okay. Annie leaves the doorway. STEVE And can you please let me know when you’re going to the movies? I was worried. 46. 77",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ANNIE & STEVE’S BEDROOM - NIGHT 77 Annie and Steve are in bed. Annie’s back is to Steve. Neither is asleep. Steve gently SNUGGLES UP to Annie, but she is like stone. He self-consciously touches her hip. She recoils. Steve backs off. There is a long moment of tension, and then Annie RISES from bed. ANNIE I’m gonna be right back. She gathers a blanket, which is bundled on the room’s armchair. STEVE You’re not coming right back. You’re taking the blanket. ANNIE I can’t sleep. STEVE Annie: it’s freezing outside. ANNIE The heater’s up there. Steve wants to fight this, but Annie is clearly anxious to avoid a conversation. ...Okay. STEVE ANNIE Is that okay? STEVE (”what am I supposed to say?”) Yeah. Fine. Come back if you get cold. ANNIE I just need to sleep. Annie leaves. 78",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. TREEHOUSE - NIGHT 78 We push in on an ominous WIDE of Annie lying asleep in Charlie’s treehouse. Two LARGE HEATERS have been set up on either side of her. They burn a BRIGHT ORANGE. Green Rev. (mm/dd/yy) 47. 79,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PETER’S BEDROOM - SAME TIME 79 Peter lies in bed, awake. Outside his window, Charlie’s treehouse emits an orange glow. A CLICKING SOUND (like Charlie’s tongue -clicking) is suddenly heard in the room. Peter FREEZES, now listening for it. After a moment, there’s another CLICK. Peter BOLTS up in bed. His eyes frenziedly scan the room. He fixes on a DARK CORNER. A HOODIE SWEATSHIRT hangs on the wall, and for a brief moment, it looks almost like a standing person. Peter continues listening intently for another click... Silence. It has stopped. 80",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. WORKSHOP - THE NEXT DAY 80 Outside, a beautiful day. Inside, Annie is hard at work. Her eyes are intense - furious even - as she carefully works on the replica of Charlie’s bedroom. She scratches a tiny replica of the word-carving she saw earlier (”Satony”) into the wall behind the bed. As she does this, her attention is drawn to a looming POST -IT NOTE, which reads: Call gallery about extending? Annie disregards this. She goes for a new bottle of paint, but as she reaches, an open paint bottle is KNOCKED over. ANNIE Shit. It tipped over near Annie’s extending hand, but it didn’t look like Annie actually touched it. Annie grabs paper towels and quickly mops up the mess. She pulls a few drenched items out of the widening paint puddle. Among them: JOAN’S PHONE NUMBER. She looks at it. 81",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HIGH SCHOOL HALLWAY - DAY 81 Peter walks absent- mindedly down the hall. THREE STONER BOYS (including Brendan) are walking toward him, huddled and giggling. They notice Peter. BRENDAN Yo, Pete. PETER Hey. 48. BRENDAN (whispering) You wanna join us for a walk? On “walk,” he mimes pinching a joint with his thumb and forefinger. 82",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HIGH SCHOOL SOCCER FIELD - DAY 82 Peter sits under the BLEACHERS with the three stoners. They pass around a PIPE packed with weed. Brendan takes a hit. BRENDAN (looking at his phone) Am I the only one who’s Facebook friends with Becky? Brendan passes the pipe to Peter. STONER #2 You’re friends with Becky? Peter holds the pipe. Stares at it. BRENDAN Facebook friends, bitch! (back to his point) Oh my God, her statuses... BRENDAN Every ten seconds! STONER #3 Oh my God, dude, I know. Peter LIGHTS the bowl and takes a reluctant hit. BRENDAN (CONT’D) “I’m going to the bathroom now.” 5:45. “Just got back from the bathroom!” 5:46. Peter COUGHS OUT a lungful of pot smoke. He immediately looks regretful. STONER #2 What about Brian with his girlfriend? BRENDAN (CONT'D) Ha! His “princess”?! Stoner #2 nods his head, choking on laughter. Peter’s eyes are wide with a burgeoning panic. He does not look well. STONER #2 (O.S.) “Going to pick up my princess from the airport!” “Eating cous- cous with my p rincess!” Peter looks like he’s starting to have an ATTACK. The Stoners are oblivious. 49. STONER #3 Who’s his girlfriend? STONER #2 Some fuckin’ stupid college chick. STONER #3 What the fuck?! I want some stupid college princess chick. Stoner #2 notices that Peter is freaking out. STONER #2 Dude. Are you okay? PETER I feel like I can’t breathe. STONER #2 What? PETER I feel like I’m having a reaction. BRENDAN No, man, don’t freak out. You just smoked too much. Peter is crying now. PETER (CONT'D) No, I think I need a doctor. My tongue is getting bigger. STONER #2 Should we take you to the nurse?? PETER (scared) I dunno. BRENDAN Look, dude: you’re breathing. See? You’re just really high. Peter is trying to calm down. BRENDAN (CONT’D) See? You’re okay. You just got too high. (rubbing his back) You’re okay, dude. You’re breathing. Stoner #2 and Stoner #3 exchange “holy shit” looks. 83",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. STREET - DAY 83 Annie walks down an urban street, looking for an address. She pinches the paper with Joan’s number. On its other side is an ADDRESS in Annie’s handwriting. Green Rev. (mm/dd/yy) 50. Annie finds the address. A large, red- brick APARTMENT BUILDING. 84",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. APARMENT BUILDING - THIRD FLOOR HALLWAY - DAY 84 The elevator opens, depositing Annie onto the THIRD FLOOR. Annie proceeds down the well-lit hall, arriving at APARTMENT 316. She knocks. While waiting, Annie looks down. She’s standing on a HAND- MADE WELCOME MAT. The word “JOANIE” has been embroidered into it. After a moment, the door is opened by JOAN. JOAN Annie! You came! ANNIE It’s a little earlier than we said. JOAN (CONT'D) Ah, you’re perfect. Come in. 85",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JOAN’S APARTMENT - CONTINUOUS 85 Annie follows Joan in. Joan closes the door behind them. The apartment is cheerfully decorated in bright, homey colors. Joan rushes off to the KITCHEN, where a TEA KETTLE is whistling. Annie stays by the door. ANNIE Your welcome mat... JOAN Oh - it’s cute, right? Joan pulls the kettle off the stove and pours two cups. ANNIE My mother used to embroider ones just like that. JOAN Oh really? How funny! Joan sets the tea on the KITCHEN table. JOAN (CONT’D) Please. Sit. 86 MINUTES LATER 86 Joan and Annie sit at the table, nursing their tea. The conversation has become very heavy, and the spotlight is currently on a very fragile Annie. She speaks steadily, in fragments, as if to hold herself together. Her eyes are fixed on the floor. 51. ANNIE He left her in the back seat. Went straight to bed. Joan nods sympathetically. Her eyes locked attentively on Annie. ANNIE (CONT’D) And then I wake up. Went to my workshop. Needed some supplies. I go down to the car. Step inside. First the smell of something wrong. Then the - body. Slumped. Covered in black, blood, like tar... (fighting tears) And her head wasn’t there, so I couldn’t see her face. But they were her clothes. And her hands... her fingernails... Joan is pale as she listens. Annie is trembling, locked on the memory. Joan gently lays her hand over Annie’s. Beat. JOAN When they dragged up my son and grandson, they needed me to identify the bodies. But they didn’t warn me what bodies look like after they’ve been in the ocean. You can probably imagine - they swell up, get distended, turn grey. I didn’t know that. My son’s eyes were eaten out of his head by fish. And my grandson’s face - like a balloon. Annie is looking up at Joan now. They share in this. The grisly details are somehow (in their morbid way) comforting. Breaking the spell, Annie pulls a PILL from her purse. She downs it with a gulp of TEA. She catches something on her tongue, and pulls a BLACK HERB from her mouth. She pays it no mind. JOAN (CONT’D) I can sometimes swear I feel them in the room... Do you ever have that? ANNIE ...Small moments maybe. This hangs for a moment. JOAN How’s your relationship with your son? Green Rev. (mm/dd/yy) 52. ...Peter? ANNIE Joan brightens: “That’s his name?” Annie thinks about Joan’s question. Oh God... ANNIE (CONT’D) Her face DARKENS and she chuckles. She brushes it off, but then PAUSES. She decides to actually answer. ANNIE (CONT’D) I sleepwalk. (pause) I haven't in a long time, but two years ago I woke up - and I really don’t remember this because I was asleep - but I woke up standing next to Peter and Charlie’s bed (when they shared a room), and they were completely covered in paint thinner... And so was I. From head to toe... And I was standing there, and I was holding a box of matches. And I woke myself up by striking one. Which also woke up Peter. And he started screaming. And I immediately put out the match, immediately , but my husband came in... and I was just as shocked as he was, but I was the one with the matches. Joan is listening with no judgment. Annie, frustrated by the memory, takes a deep breath. ANNIE (CONT’D) And it was impossible to convince them that it was just sleepwalking - which of course it was - but the timing was awful, Peter and I had already fallen into this stupid quarrelling phase - arguing forever about nothing - such frivolous things - but that’s when the incident happened, so...! (throws her hands up) Over time, everyone affected casualness, “moving on.” But they never forgot and Peter’s always held it against me and there's nothing I can say and there’s nothing I can do because it happened . While I was asleep. JOAN Did your daughter hold it against you? 53. Beat. ANNIE Oh, she was off in the clouds somewhere. Probably didn’t even notice. JOAN (empathic) It’s impossible being a mother. Annie looks at Joan. “Yes it is.” 87",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GRAHAM HOUSE - KITCHEN - MOMENTS LATER 87 Steve is chopping carrots at the kitchen island. Peter is heard ENTERING in the foyer. STEVE Hey, that was fast. Did you bike all the way here? PETER (voice cracked) My friend dropped me. STEVE Oh - you should’ve invited him in. But Peter’s already going for the stairs. Steve tries to catch up with him. STEVE (CONT’D) Did you remember to sign up for that SAT prep course? Peter has made it to the top of stairs. Hiding his wrought face: PETER I will tomorrow. 88",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PETER’S ROOM - DAY STEVE (CONT'D) You need to, Peter! That’s coming up! 88 Peter lies in bed, on his side. He looks ready to burst back into tears. Steve knocks on the door. Pokes his head in. STEVE Peter? Peter turns to him, stifling tears. STEVE (CONT’D) Are you okay? Green Rev. (mm/dd/yy) 54. Pause. PETER (deflecting) Are you? STEVE Is there anything we can talk about, Peter? PETER Like what? STEVE Like anything. What’s going on? What are you feeling? PETER What are you feeling? STEVE I’m worried about you. Peter stares at Steve, eyes wide. Unable to communicate. STEVE (CONT’D) (careful) It doesn’t have to be with me, either. Maybe you’d like to talk with somebody else... PETER About what? STEVE About everything. You’re going through a lot, Peter. PETER So are you! STEVE Well - we all are. I think we could all use someone to talk to. PETER So why aren’t you , then? STEVE I probably will. I probably need to. A long, fraught pause. STEVE (CONT’D) You don’t have to choose now. I’m just letting you know that it’s there. (MORE) Green Rev. (mm/dd/yy) 55. STEVE (CONT’D) You could even see one of the guys in my building. I know a few guys. PETER (warming up to it?) ...And you think I need to go? STEVE (briefest pause) Well, that’s for you to say. I can’t tell you your experience. Peter suddenly deflates . Not the answer he needed. He chills over. PETER Maybe later. STEVE ...Okay. Let me know. PETER Okay. Steve nods for a long time. Trying to think of anything else. STEVE All right. Dinner in a bit. Steve smiles sensitively. Too sensitive. He leaves. 89",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. WORKSHOP - NIGHT 89 Annie is at work. Behind her, the door opens and Steve enters. He approaches to see... Annie is working on a new piece: a NEW MINIATURE of the HIGHWAY of Charlie’s accident, including the TELEPHONE POLE that took her head. This also features a tiny figurine of Charlie’s decapitated head and a figurine of Peter in the family car. STEVE Oh Jesus... Are you planning on letting him see that? ANNIE Who? STEVE (strong pause) How do you think Peter’s gonna feel about that? ANNIE What? It’s not about him. Green Rev. (mm/dd/yy) 56. Oh no? STEVE ANNIE ...It’s an objective view of the accident! Steve just eyes her. ANNIE (CONT’D) Okay, so what is it, then? STEVE It’s cruel, Annie. And ANNIE (CONT'D) unforgiving... And useless. STEVE ANNIE Oh my God! (incredulous) What do you think I’m trying to say with this?! You think I’d ever want to hurt my own son?! Are you crazy?! Steve almost responds, but bites his tongue. ANNIE (CONT’D) Oh Jesus you’re sanctimonious. I get it: you’re a good father, you’re a good husband - get off the stage. Steve boils. STEVE (through clenched teeth) Are you coming to dinner? ANNIE I’m making dinner! STEVE (snapping) I made dinner! I’m GETTING you for dinner! (storms away) Come down or stay here, I don’t give a shit. On “give”, he SLAMS the door behind him. 90",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DINING ROOM - NIGHT 90 Annie, Steve and Peter sit at the dinner table. A fourth chair divides Annie and Peter. Annie is fuming from her last interaction with Steve. Beside her glass: an unswallowed pill. 57. PETER This is really good, dad. Annie balks to herself. Peter tenses. STEVE Thanks buddy. Annie mouths the word “ buddy” to herself, incredulous. Peter catches this. PETER (with an edge) You okay, mom? Annie turns to Peter. What? ANNIE PETER Is there something on your mind? Annie can’t believe this. ANNIE Is there something on your mind? PETER It just looks like you might want to say something. STEVE (stepping in) Peter... ANNIE Like what? Why would I want to say something? So I can watch you can roll your eyes at me? PETER I have never rolled my eyes at you. PETER ANNIE (CONT'D) Oh sweetie - you don’t have to. You get the point across. (suddenly defiant) Okay. So say what you wanna say, then. Peter-- STEVE ANNIE (getting angry) I don’t want to say anything. I’ve tried saying things. 58. PETER So try again. Release yourself. ANNIE Release you, you mean! PETER So fine, so release me! What do you wanna say? Fuckin’ say it! Annie explodes out of her seat. ANNIE Don't you swear at me - you little shit! You don’t EVER raise your voice at me! I'm your Mother, you understand? I've given everything to you! All I ever DO is worry and slave and defend you, and all I get back is that fucking face on your face! So full of disdain and resentment and always so annoyed . Well, now your sister’s dead! And I know you miss her and I know it was an “accident” and I know you're in pain - and I wish I could take it all away! I wish I could shield you from the knowledge that you did what you did - but your sister is dead. She's gone forever. And what a waste. If it could’ve maybe brought us together - something! - if you could have just said “I’m sorry” or faced up to what happened: maybe then we could do something with this! But you can’t take responsibility for anything, so now I can’t accept. And I can’t forgive. Because nobody admits what they’ve done! She sits down. A heavy silence. Peter is looking away, fighting tears. But then, after a long silence... PETER And what about you, mom? (long pause, then) I didn’t want to take her...and she didn’t want to go... So why was she there? Annie looks at him. Incredulous. She is boiling with rage, but...this has also hit her somewhere deep. She’s desperately avoided facing this question since the accident. STEVE Okay, we’re stopping this. Green Rev. (mm/dd/yy) 59. He looks at Annie, who looks like she’s about to lose her mind. STEVE (CONT’D) We’re stopping this right now. Annie glowers at him. Adversarial. She finally relents. ANNIE Fine. She tensely RISES hesitates, but then hesitates, about to say something else. But then: ANNIE (CONT’D) Fine. She leaves. Steve turns to Peter: he’s doing everything in his power to keep from exploding into tears. Steve looks powerless to help. 91",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ANNIE AND STEVE’S BEDROOM - MINUTES LATER 91 Steve enters the bedroom, furious. Annie is sitting on the bed, a hardness in her eyes. STEVE What the hell are you doing? ANNIE What am I doing?! STEVE Try to stop and see what’s happening, Annie. For one second. Try to see where this could go. It’s not the right choice. ANNIE These are your choices, too! You choose to not see how he is. How cold he is with me. How dimissive. STEVE So we’ll deal with that! We can go to family therapy, whatever - but don’t make it about Charlie! ANNIE (CONT'D) Oh, family therapy! Right! ANNIE (CONT’D) So what, then? We just chalk it up to an act of God? STEVE (strongly) Yes. 60. ANNIE He just left her in the car! Went straight to bed! Not a word! ANNIE STEVE (CONT'D) You can’t even imagine he was in shock? He left us to be in shock, too! STEVE There was no way around that. You need to stop this. If he had warned us, we still would have run out there to find her in the same way. ANNIE (ignoring him) And it wasn’t a fucking BBQ either. He lied to us, through his teeth. He took her to some sleazy high school house party! STEVE You knew it wasn’t a BBQ! STEVE ANNIE (CONT'D) He just left her head in the road and kept driving. He went to sleep! Goddamn it -- He was in shock. He’s still in shock. ANNIE (acidly) He looks pretty gathered to me. Gathered?! STEVE STEVE ANNIE (CONT'D) You’re holding yourself together awfully well, too! Excuse me? And what the hell does that mean? (no answer) Someone has to keep things from unraveling completely, Annie. ANNIE (exploding) It HAS unraveled completely! Silence. Steve is frozen. ANNIE (CONT’D) ...Don’t worry. I blame myself, too. STEVE That’s worthless. 61. ANNIE I’m the one who made her go to the party. Oh, stop it! STEVE STEVE ANNIE (CONT'D) No! Don’t you dare! He’s right! I made Peter take her! She begged me not to go! I was happy she was going! Be around other kids instead of that fuckin’ treehouse for a change! I would have pushed her if you hadn't! ANNIE But you didn’t push her. I did. STEVE ...We have no control over anything, Annie. The ceiling could collapse on us right now and who would we blame? Brief pause. ANNIE You don’t understand anything, do you? 92",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PETER’S BEDROOM - NIGHT 92 Peter boils in bed, staring out the window. A gentle knock at the door. It cracks open and Steve sticks his head in. STEVE Goodnight, Petey. Peter looks at Steve. PETER Do you blame me, too? STEVE Goddamn it - Steve opens the door all the way. STEVE (CONT’D) - of course not. No one blames you. Steve approaches Peter. 62. STEVE (CONT’D) I don’t for one second imagine that you’re not going through the exact same thing we are. PETER Mom doesn’t think so. STEVE Stop it with mom. She’s blaming everyone. It’s part of grieving. She blames herself . Peter has started to cry. PETER She wasn’t driving the car. STEVE She could have. Anyone could have. PETER (through helpless tears) I didn’t even care about her...! That’s how it happened...! Steve is momentarily overwhelmed. STEVE (weakly) You love your sister. PETER (boiling with self- hatred) I should be dead. At least she could draw. She made things. I don’t do anything. STEVE Yes you do. Don’t ever say that. PETER (burying his face in his pillow) I’m nothing. I do nothing. Steve, looking helpless, rests his hand on Peter’s head. Peter WEEPS. Steve is also crying now. PETER (CONT’D) (into his pillow) I’m sorry! STEVE Shhh! I’m sorry. 63. 93",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ANNIE & STEVE’S BEDROOM - SAME TIME 93 Annie lies on the bed, her back to us. We hear Peter’s weeping, muffled through the walls. We then hear: ANNIE (barely audible) I’m sorry. Annie’s back begins to rise and fall in a fit of sobs. FADE TO BLACK 94",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. WORKSHOP - DAY - DAYS LATER 94 CLOSE-UP of Annie’s face. Lethargic. She’s lost a few pounds since we last saw her, and is wearing an old T-shirt and pajama bottoms. She stares at her unfinished miniatures. Her eyes then drift to a Post- It note above her desk. It reads “KEEP WORKING!” 95",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ART SUPPLY STORE - DAY 95 Annie pushes a cart down an aisle of miniature building materials. She looks farther down the aisle, and suddenly STOPS, having noticed... JOAN is pushing a cart toward Annie. She hasn’t yet noticed Annie. She wears an ECSTATIC SMILE as she giddily scans the chalk section. Confused by Joan’s demeanor (and her presence), Annie warily begins to push her cart toward her. ANNIE Joan? Joan looks up to see Annie. JOAN Oh my -- Annie?! ANNIE Hi...! Joan circles the carts to give Annie a big, warm, very sustained HUG. ANNIE (CONT’D) Are you okay? JOAN (beaming) Oh Annie. Yes. I’m really good. I’m really really... 64. Annie nods, forcing a smile. She looks concerned for Joan’s sanity. JOAN (CONT’D) Something happened, Annie. I feel completely - turned around. ANNIE What happened? JOAN (laughing) I don’t know if I should even say! ANNIE (laughing now, too) What do you mean? JOAN You’re gonna think I’m crazy! ANNIE Not at all...! JOAN I... Oh God. I... (confidentially) ...met a spiritual medium. Annie affects a patronizing “Oh Wow” expression. JOAN (CONT’D) (explaining) They were performing an open seance -- and I know: I know what you’re thinking, but they asked me to attend. They were bringing in skeptics and scientists so they wouldn’t be accused of fraud. But I went, fully skeptical, and what I experienced there was truly... Joan tries to think of a suitably ecstatic adjective. ANNIE An “open seance”? JOAN They brought back the spirit of a man from the 19th century! And not like as a smoke and mirrors thing. The man next to me was a deadly cynical neurologist , and he looked permanently changed by the end of it. Annie makes another “wow” face. 65. JOAN (CONT’D) And I do know what you’re thinking, Annie - of course - but I approached the medium and I asked her about my son and grandson, and she came to my apartment and she ended up performing a, uh - well - she...conjured my grandson! Annie, still forcing a smile, now looks frightened. JOAN (CONT’D) I know what you’re smiling at. I wouldn’t believe it myself. I didn’t! But I heard his voice, I felt him in the room. It’s real. Annie’s warped smile is plastered appeasingly to her face. JOAN (CONT’D) What are you doing right now? ANNIE I’m just - here, shopping. JOAN You wanna come over? Annie doesn’t know what to say. JOAN (CONT’D) I really think you should. Please. It would be everything if you came. 96",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JOAN’S APARTMENT - DAY 96 The front door opens and Joan enters, followed uneasily by Annie. Joan smiles widely. JOAN Hello! This “hello” was seemingly directed at the room in general. Joan hustles to the KITCHEN. She takes SWEETGRASS and smears it across the surface of the kitchen table. Also on the table is an UPTURNED DRINKING GLASS. JOAN (CONT’D) (to Annie) This is part of it. Annie is hovering outside the kitchen. JOAN (CONT’D) Come in. Come in. 66. Annie hesitantly enters. The WINDOW has been blacked out with duvateen. JOAN (CONT’D) Okay: a few things. First: you shouldn’t do this without a medium unless you are a medium. That’s what she told me. ANNIE Okay. JOAN But I told you: I’d been experiencing these...sensations a long time before the medium. I just didn’t know how to explain them! So I tried this last night. This was after the medium was here. ANNIE What’s “this”? JOAN Sit down. Annie is skeptical. Trust me. Annie sits down. JOAN (CONT’D) JOAN (CONT’D) I’m turning off the light. JOAN TURNS OFF THE LIGHTS. JOAN (CONT’D) You okay? ANNIE ...Yes. Joan lights a BLACK CANDLE. ANNIE (CONT’D) (forcing levity) Nice mood setter. JOAN Okay. Put your hand on the glass, but don’t add pressure. Annie lays her hand on the overturned glass. Joan does the same. 67. JOAN (CONT’D) I won’t add pressure, either. ANNIE (more to herself) What am I doing? After a moment of silence, Joan speaks to the room. JOAN Beat. Louie? JOAN (CONT’D) Louie, are you here? It’s grandma. A COLD DRAFT crosses the room. Annie gets a tingle. But the window is shut, as is the door. JOAN (CONT’D) Louie, if you’re here with us, please just try to slide the glass. (pause) Louie, if you’re here-- The glass SLIDES, barely. Annie jumps, retracting her hand. JOAN (CONT’D) (tears of happiness) Hi Louie! ANNIE (eyes wide) How did you do that? Annie looks under the table. There’s nothing there. JOAN (continuing) Louie, I’m gonna ask you some questions - okay, sweetie? If the answer’s yes, just slide the glass to the right. If it’s no, slide it this way - (demonstrating) - to the left. Do you understand? The glass SLIDES again, slightly to the right. ANNIE Oh my God. JOAN Louie, are you okay? The glass slides right again. 68. JOAN (CONT’D) Are you in pain? The glass slides to the left. Annie is gripping her chair. She stares unblinkingly at the glass. Suddenly ANNIE’S HAIR IS BRUSHED TO THE SIDE, as if by an invisible hand. She JUMPS. Joan calmly takes Annie’s hand. JOAN (CONT’D) It’s okay. ANNIE (frightened) What is? Joan pulls up a small CHALKBOARD from below the table. It’s unmarked. A tiny piece of chalk rests on the surface. JOAN Louie, I brought your chalkboard. Remember your chalkboard? The glass budges slightly to the right. JOAN (CONT’D) Can you write something? A long moment of inactivity, and THEN... The piece of chalk MOVES (as if by invisible fingers) to scrawl the words “I LOV YU GRANMA” in a young child’s handwriting! JOAN (CONT’D) Oh Louie, I love you, sweetheart! Joan is crying tears of joy. ANNIE I’m sorry, can we stop? JOAN What? ANNIE I’m sorry. Please. JOAN (to the room) Louie, we’re gonna stop for a second, but I’m coming right back! Joan jumps up and turns on the lights. Annie looks rattled. 69. JOAN (CONT’D) Are you okay? ANNIE (shaken) I’m sorry, I’m really... JOAN I understand. That’s how I reacted at first. ANNIE I think I need to go. JOAN That’s okay. ANNIE (CONT'D) Thank you. I’m sorry. Annie RISES. Joan blows out the candle, grabs it, and shuffles to the kitchen to fetch a sheet of paper. It features a Sanskrit prayer (transcribed in carefully handwritten English). Joan returns to Annie with the paper and the black candle. JOAN Here: (handing them to her) If you wanna try this yourself, light the candle and choose one item that belonged to your daughter - that’ll be your link to her. Mine was the chalkboard. That’s my link. And then, when you’re ready - (seriously, re: the paper) - read this out loud - every syllable - very carefully. ANNIE (overwhelmed) Why? What is it? JOAN I don’t know what language it is. The medium had me read it, too. It’s to make it start. But your whole family - everyone needs to be in the room. Your son. Everyone. Annie uneasily accepts the articles and then turns to leave. As she walks toward the door: JOAN (CONT’D) You didn’t kill her, Annie. Annie turns sharply to Joan. Green Rev. (mm/dd/yy) 70. What? ANNIE JOAN She isn’t gone. ANNIE I didn’t kill her! Joan smiles warmly. “I know.” ANNIE (CONT’D) Okay. Thank you. Annie leaves, trembling. 97",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAR (MOVING) - EVENING 97 A discombobulated Annie drives back home. Her eyes are buzzing and her movements are jerky and ill-possessed. She slows to a stop at a red light. As she sits waiting for the light to change, Annie hears a CLICKING SOUND in the back seat. She goes white. She slowly turns to look at the empty back seat. The clicking has ceased. Annie’s eyes are crazed. 98",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. GRAHAM HOUSE - NIGHT 98 A wide shot of the house. Bathed in the pale moonlight, it almost looks like one of Annie’s miniatures. All the lights are off, save for ONE window. 99",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ANNIE & STEVE’S BEDROOM - SAME TIME 99 Steve is fast asleep. Annie’s side of the bed is EMPTY. The door to the MASTER BATHROOM is closed, but a band of light is visible beneath the door. Behind the door, Annie is heard WHISPERING intensely - presumably on the phone. ANNIE (O.S.) Can it be anything?... Like her clothes? 100",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PETER’S BEDROOM - NIGHT CLOSE UP on Peter’s profile. He’s asleep. 100 Off-screen, the door is heard CREAKING OPEN. After a moment, Annie leans into frame, hovering over Peter. 71. Peter. ANNIE (whispering) Peter doesn’t stir. ANNIE (CONT’D) Sweetheart. Peter. Wake up. Peter inhales sharply. He wakes with a start. PETER What? ANNIE It’s okay, honey, it’s me. Peter is still getting oriented. Annie looks strangely hopeful. ANNIE (CONT’D) I’m so, so sorry for everything. Please, please forgive me. I can’t stand the things I said. PETER It’s okay. Annie bends over to envelop him in a hug. ANNIE Can you get up, sweetheart? We’re gonna try something. PETER I was just having a nightmare. ANNIE That’s okay, baby. We can do something. Do what? PETER ANNIE I’ve figured it out. 101",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ANNIE & STEVE’S BEDROOM - MOMENTS LATER Annie stands over Steve, who’s asleep in bed. ANNIE 101 Steve. Baby. She nudges him gently. ANNIE (CONT’D) Steve. Wake up. Green Rev. (mm/dd/yy) 72. Steve jolts awake. STEVE What’s going on? ANNIE Come downstairs with us. We’re gonna do something together. Steve looks to the door. Peter is standing nervously in the unlit hallway. 102",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. STAIRWAY - MOMENTS LATER Annie walks down the hall. Steve and Peter follow warily behind. 102 Dad? PETER (whispering) STEVE (whispering) It’s okay. Annie leads them to the unlit DINING ROOM... 103,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HOUSE - NIGHT 104 Steve has pulled Annie outside. He’s very aggressive. Annie has wiped the water off her face with a towel. In the b.g., Peter watches from a window. STEVE What the fuck did you just do? STEVE ANNIE I didn’t do anything! I swear to God, Annie-- ANNIE You were there. You saw what happened. That wasn’t me. A fraught beat. Steve stares daggers. STEVE What was that, Annie? ANNIE We communicated with Charlie. STEVE (meaning it) ANNIE (CONT'D) Stop it. STEVE You saw that we did! Did you happen to see your son in there? Did you even notice that he’s absolutely terrified?! ANNIE Are you sure you’re not terrified? STEVE I am terrified! I’m fuckin’ scared of you. (definitively) Tomorrow. We’re going to see Dr. Stetson. Annie’s eyes go cold with recognition. 81. ANNIE I don’t wanna see Dr. Stetson. STEVE Well, I don’t wanna be conducting seances in my fucking dining room! Steve storms inside. Annie follows him. She boils. ANNIE Goddamn it! Denial can be a crazy thing, too, Steve! To be so rigid! But Steve keeps walking off. ANNIE (CONT’D) HEY! Steve pauses, also boiling. ANNIE (CONT’D) What happened when I blacked out? Did something happen? Steve just looks at her. 105",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ANNIE AND STEVE’S BEDROOM - NIGHT The moonlight is an icy blue. 105 Annie and Steve are in bed. Steve is asleep with his back to Annie. Annie is too anxious to sleep. She turns her face into her pillow, only to notice TWO ANTS crawling on the pillowcase. She looks down to see THREE MORE ANTS on the bed. She then pulls ONE ANT off of her shoulder. Annie sits up. She looks down to see a TRAIL OF ANTS on the floor, leading into the hallway. The trail is coming from the WINDOW. Annie gets out of bed and checks the window. It’s locked. But the trail seems to be COMING IN through a small gap in the corner of the sill. Annie follows the trail of black ants out of the room and into the hallway... 106",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HALLWAY - CONTINUOUS 106 The trail of ants is leading clearly to door is open. (There is the faint sound if heard from a great distance.) PETER’S BEDROOM. His of Max’s barking, as 107",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PETER’S BEDROOM - CONTINUOUS 107 Annie enters Peter’s bedroom. The queue toward Peter’s bed. of ants continues Green Rev. (mm/dd/yy) 82. They crawl up the bed post and onto the mattress, continuing up Peter’s leg and across his body - all the way up to his neck. Annie draws closer. As she approaches, it becomes horribly apparent... THE BLACK ANTS HAVE COMPLETELY ENVELOPED PETER’S HEAD AND FACE. PETER (V.O.) Mom! What are you doing?! CLOSE-UP OF ANNIE’S FACE. Her expression goes from horrified to confused. She looks up, unnerved, and takes in her surroundings. We cut WIDE to reveal: Annie is standing in Peter’s dark room, but Peter is now sitting up in bed. There are no ants. It was all a dream? ANNIE What’s going on? PETER You were sleepwalking. There is no audible room tone and the dialogue is strangely CRISP, as though being spoken in a dreamy vacuum. The only other sound is Max’s distant BARKING. Annie looks extremely confused and afraid. ANNIE I’m sorry... Annie looks around. ANNIE (CONT’D) Is Charlie here? PETER Why are you scared of me? ANNIE (looking at him now) What? Annie’s expression pleads “ How could you ask me that?” But Peter just stares back at her. Annie’s attitude suddenly TURNS - from defensive to confessional. She admits: ANNIE (CONT’D) I never wanted to be your mother. Annie covers her mouth, as if in shock at her own words. She looks to Peter like a child who just accidentally broke something. Green Rev. (mm/dd/yy) 83. PETER (emotional) Why not? ANNIE (still covering mouth) I was scared. I didn’t feel like a mother. But she pressured me. PETER Then why did you have me? ANNIE It’s not my fault...! I tried to stop it. How? PETER ANNIE (barely able to say it) ...I tried to have a miscarriage. Peter starts tearing up. PETER How? ANNIE (also tearing up) However I could...! I did everything they told me not to. But it didn't work. I’m happy it didn’t work! Max’s muffled barking has become faintly more distinct. Peter is crying hard now. PETER You tried to kill me? Annie, also crying, shakes her head. ANNIE I love you. We cut back to Peter, but his hair and face are now inexplicably DRENCHED in liquid (presumably paint thinner). PETER Why did you try to kill me? We cut back to Annie, revealing that she's now drenched in paint thinner, too. ANNIE I didn’t. I was trying to save you. Green Rev. (mm/dd/yy) 84. An OFF-SCREEN FIRE IGNITES, illuminating Annie’s face in hellish orange. MAX’S OFF-SCREEN BARKING HAS NOW BECOME VERY LOUD, VERY PRESENT. It reaches an almost unbearable pitch before we CUT TO: 108",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ANNIE & STEVE’S BEDROOM - NIGHT ANNIE WAKES UP WITH A START. It was all a dream. Max is barking wildly in the hallway. 108 A FLY lands on Annie’s face. Brushing it away, she notices that Steve’s side of the bed is EMPTY. His pillow is also GONE. 109",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PETER’S BEDROOM - SAME TIME Max’s barking persists in the b.g. The lights are on. Peter, dressed in his pajamas, sits traumatized on the edge of his bed. 109 The composition of this shot (wide, high- angle) is MATCHED eerily on the CUT TO: 110",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CLASSROOM - NEXT DAY Peter sits tensely in the back corner of his classroom. The teacher stands at the blackboard, leading the class through an algebra lesson. Peter’s mind is a storm. He’s brought fiercely into the 110 present, however, when a strange, barely perceptible glint of LIGHT (we’ve seen this before) FLASHES across the room. The light ends at the WINDOW next to Peter. Peter looks around. Nobody else noticed it. Peter blinks a few times, concerned that he might be seeing things. He turns back to the window to see... Peter’s REFLECTION is staring pointedly back at him. The color drains from Peter’s face. He looks weakly back at his own reflection, whose eyes HARDEN bitterly against him. Overwhelmed, Peter abruptly STANDS UP, distracting the teacher. TEACHER Yes, Peter? PETER (confused) I - have to go to the bathroom. Green Rev. (mm/dd/yy) 85. Aware of Peter’s recent trauma, the Teacher is careful to be extra-sensitive. TEACHER That’s fine. Just take the pass. Peter leaves, tears in his eyes. 111",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. STEVE’S OFFICE - DAY Steve sits stiffly at the computer in his office. He has typed into his search engine “Paranormal evidence, voice 111 channeling,” but he pauses and then DELETES this. He instead writes “ Symptomatology and management of grief hallucinations.” He presses SEND. Steve looks over the results, and then clicks on a separate tab. It’s a half-composed EMAIL to a fellow psychiatrist. The email reads... Hi Bob, I hesitate to write, but I’m worried that Annie might be on the verge of (or in the MIDDLE of) He’s stuck on how to continue. Steve’s cell phone rings. It’s an unknown number. He hesitates before answering it. STEVE Hello? There’s a strange wave of STATIC and then... PETER (V.O.) (almost whispering) Dad? Peter? STEVE We can hear that Peter is crying, near hysteria. PETER (V.O.) Something’s at the school. What is? STEVE PETER (V.O.) It followed me here! 112",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ANNIE’S WORKSHOP - SAME TIME The cordless PHONE is ringing. Two FLIES crawl across it. Annie, still wearing her nightgown, nervously works on a 112 FUNERAL HOME model. The ringing STOPS, but then starts again. Annie now turns to ANSWER the phone. 86. Hello? ANNIE Steve is on the other end. We can hear that he is DRIVING. STEVE (V.O.) (furious) Can you guess who just called me from school in complete hysterics? Annie goes pale. ANNIE (gravely) Charlie? ...What? STEVE (V.O.) ANNIE I -- nothing. What happened? STEVE (V.O.) Peter just called me, Annie. Terrified. Crying in the halls. He’s convinced he’s being threatened by some vengeful spirit. ANNIE Why does he think he’s being threatened? STEVE (V.O.) (no patience) Listen to me, Annie: I have a son to protect. ANNIE What does that mean? STEVE (V.O.) It means that’s what I’m worried about right now. That’s how I’m proceeding. ANNIE Don’t talk to me like this. He’s my son, too. CLICK. He’s hung up. Infuriated, Annie calls Steve back. He answers. ANNIE (CONT’D) Don’t hang up on me again. I’m not sleepwalking anymore, you understand? She hangs up. Green Rev. (mm/dd/yy) 87. Annie returns to the miniature funeral home. She carefully (but tensely) presses a freshly GLUED piece of balsa wood against the beautifully rendered wall. She holds it in place. The phone RINGS. Annie doesn’t care. It rings until the ANSWERING MACHINE gets it. After the outgoing message, the machine BEEPS and a WOMAN leaves a message. WOMAN (V.O.) Hi Annie! It’s Margaret at the Asher Gallery. I’m just calling to see how things are with you and your family - I hope everything’s okay - and also, just wondering, uh, how the progress is going. Not that you need reminding - haha - but we are a little less than nine weeks away, so it would just be nice to get the vaguest sense of where we are. So yeah, call me back whenever, and again, I really hope everything’s okay and our thoughts are all very much with your family, so - Okay. Thanks so much. Click. BEEP. Annie has grown extremely TENSE over the course of that message. Still applying pressure to the glued-on piece, she pushes a little too hard, and her thumb BREAKS THROUGH the miniature’s wall. Annie FREEZES for a moment, shocked. Then, overcome by sheer frustration, she raises her FIST and SMASHES IT DOWN into the funeral home’s floor, SNAPPING it. Taken by a surge of destructive rage, she SWEEPS the miniature off the table and rises to STOMP her foot through its roof. DESTROYING IT. Without missing a beat, she grabs a HAMMER and proceeds to SMASH APART the rest of her miniatures. It’s a woeful, devastating fit. By the time Annie gets a grip on herself, it’s too late. All of the pieces have been destro yed. All except for one... The MINIATURE OF THE GRAHAM HOUSE. Annie drops the hammer. 113",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. FOYER - MOMENTS LATER Steve and Peter enter through the front door. A bad SMELL immediately hits them. 113 Whoa. Jesus. STEVE They proceed up the stairs. Steve swipes away a fly. Green Rev. (mm/dd/yy) 88. STEVE (CONT’D) Did something die in here? 114,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HALLWAY - CONTINUOUS Peter goes to his room, closing the door behind him. 114 Steve walks up to the WORKSHOP’s door. He opens it without knocking. STEVE (entering) Annie, what is that smell-- But he FREEZES when he sees the state of the demolished room. Annie sits in her chair, completely surrounded by smashed and splintered wood. STEVE (CONT’D) (stunned) ...What happened? He looks at Annie and almost immediately understands. She did this. His heart breaks. ANNIE I didn’t wanna look at it anymore. Steve stares at her for a very long time. He then grabs the PHONE and storms into the hallway, dialing a number. ANNIE (CONT’D) (rising) Hey! Who are you calling?!",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HALLWAY - LATER Through the upstairs hallway win dow, A CAR pulls up to park behind Steve’s car. A pleasant, well scrubbed man (50s) emerges to walk toward the house. This is DR. STETSON. There is a KNOCK at the door. It is heard OPENING. DR. STETSON (O.S.) Hi Steve. STEVE (O.S.) Thanks for coming, Bob. Yeah: forgive the smell. I think something died in the walls. Annie is standing in the upstairs hallway, listening. STEVE (O.S.) (CONT’D) (sighs) She’s upstairs right now. Green Rev. (mm/dd/yy) 89. Annie takes this as her cue. She walks defiantly down the stairs. She arrives at the bottom, in the FOYER. Dr. Stetson acknowledges her with a big smile. DR. STETSON (warmly) Hi Annie. ANNIE Dr. Stetson. DR. STETSON Can we all sit somewhere and talk? ANNIE (disdainful) Yeah, let’s make ourselves at home. Annie sits in a chair in the corner. Dr. Stetson takes a chair and brings it nearer. Stetson sits across from Annie, without crowding her. (A couple flies will be buzzing around throughout. ) DR. STETSON How’s it going? ANNIE Not amazing. DR. STETSON Can you talk about why? ANNIE (blunt) Uh - because my daughter was killed and now my psychiatrist husband is calling over his peers to investigate me. Steve glowers. DR. STETSON Nobody’s investigating you, Annie. Annie just stares at him. DR. STETSON (CONT’D) Can I ask how you are? ANNIE I’m fine. I’m lucid. I’m in mourning and I’m trying to cope, and he’s supposed to be my partner, so forgive me if I’m not bouncing off the walls to see you. 90. DR. STETSON Nobody’s trying to do anything against you right now, Annie. I promise you. ANNIE Then stop patronizing me please. Stetson takes a long pause. He levels with her: DR. STETSON What’s all this about ghosts? And seances? ANNIE (direct) I thought I felt a presence. I was hopeful, as you can imagine. It was fleeting, and now I’m back to grieving. DR. STETSON Okay... All right. (moving on) And why did you destroy your work? ANNIE (turning back to Stetson) Because it’s my work. Annie’s eyes are stone. Brief pause. DR. STETSON (relenting) Fair enough. So I’m gonna ask you some annoying questions now, Annie. (making sure to not patronize) I can see that you’re lucid. This is just simply what I have to do. Okay? (first question) What day is it? ANNIE Tuesday. DR. STETSON 115 LATER When in the month? 115 Through the foyer window, we see Steve and Dr. Stetson OUTSIDE. This is from Annie’s POV. Dr. Stetson seems to be explaining something to Steve. Steve nods, frustrated. 91. We see Dr. Stetson say “I’m sorry, I can’t” and then he walks off to his car. Steve sulks back toward the house. Steve enters. He looks at Annie. ANNIE What were you hoping? That I'd tell your psychiatrist friend that we brought back our dead daughter? You think I don’t know how that sounds? Steve nods, numb. He walks past her, toward the stairs. Annie pauses before following him up. 116",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ANNIE’S WORKSHOP - MOMENTS LATER 116 Steve has entered the workshop. He walks heavily around the ruins. Annie steps in. Watches him. STEVE You worked so hard for this show. ANNIE Jesus Christ - Fuck the show. You’re ignoring this! STEVE ANNIE (CONT'D) I’m not ignoring anything - * believe me. Long pause. You ignore everything! If you * can’t find it in one of your books! STEVE (tensely, measuredly) I won’t indulge this behavior anymore. STEVE I won’t. I can’t allow it. ANNIE (CONT'D) “Indulge”? ANNIE (CONT'D) “Allow” now! Jesus! Listen to how you’re just clinging! (pointing) You’re the one who’s gonna go crazy, Steve. If you keep just denying what’s in front of you. Steve stares at her, overwhelmed. He looks down to notice at his feet: the figurine of Annie’s Mother, holding out her breast. Steve lets out a defeated sigh. STEVE (tears building) You know, Annie... (MORE) Green Rev. (mm/dd/yy) 92. STEVE (CONT'D) You can still build a shrine to the terrible stuff. Doesn’t mean you have to destroy anything good. ANNIE Well, it’s not anything good. It’s nothing. It means nothing. This - (kicks a piece of wood) - is what I cared about. STEVE Except for that one. Steve is pointing out the pristine Graham House replica. He looks it over. Something makes him chuckle bitterly to himself. Nice touch. STEVE (CONT’D) Annie looks at Steve, not understanding. She walks over to the miniature. She sees that something has been ADDED to Peter’s bedroom. A HEADLESS FIGURINE (now wearing Peter’s clothes) is lying in Peter’s bed. The color drains from Annie’s face. STEVE (CONT’D) I was wondering when Peter would get switched with Charlie. Annie is covering her mouth with her hands. She is having a horrible revelation. Her eyes then SCAN UP to notice something else... The figurine of ANNIE (on her knees, face in her hands) is now in the ATTIC replica. The figurine is dressed in a NIGHTGOWN (the same one that Annie is wearing now), except its front is covered in blood. Defeated, Steve leaves the room. ANNIE Where are you going? STEVE (bitterly) I didn’t sleep at all last night. If you can believe it. 117",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LIVING ROOM - MINUTES LATER 117 Rattled and extremely tense, Steve sits at the couch, which is dressed with a blanket and pillow. He uncaps a PRESCRIPTION BOTTLE (sleeping pills). Green Rev. (mm/dd/yy) 93. STEVE (mumbling) Always you - right Steve? You hold it all together. He draws out TWO PILLS and knocks them back. He then hesitates before pulling out one more. He DOWNS it. 118",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. WORKSHOP - LATER THAT NIGHT 118 Through the open door of the workshop (whose lights are now off), Peter is seen TURNING OFF THE LIGHTS in his bedroom. He looks out into the hall, paranoid, and then shuts the door. Several FLIES adorn the hallway walls. This was seen from ANNIE’S POV. She’s sitting in the dark, among the wreckage of her work. She’s still in shock over the inexplic able additions to the Graham replica. Suddenly she HEARS the faint sound of a PENCIL VIGOROUSLY SCRATCHING PAPER. It’s coming from down the hall. She hesitates before rising and entering the HALLWAY... More and more flies have collected. They seem especially prominent around the ATTIC DOOR on the ceiling. Noting this, Annie continues to follow the sound of drawing to arrive at... 119",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CHARLIE’S BEDROOM - CONTINUOUS 119 The door is open. The lights are OFF. The sound of PENCIL FEVERISHLY SCRATCHING PAPER is heard, although the room is completely empty. Annie stands at the door. She hesitates before turning on the light. CHARLIE’S DRAWING PAD rests on Charlie’s bed. It’s open to a mostly blank page, but a DRAWING IS MATERIALIZING on it. It is then FLIPPED (as if by wind) to the next page, where a new drawing begins. We can’t yet see the content of the drawings. Annie approaches the drawing pad to investigate. Her eyes, already buzzing with fear, now widen with HORROR. 120",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PETER’S BEDROOM - NIGHT 120 The door is closed and the lights are off. Peter is in bed, trying to sleep. Silence, save for a buzzing fly. Then... A CLICKING of the tongue. Peter’s eyes OPEN. He slowly looks up, scanning past the bed, to SEE... CHARLIE is standing in the dark corner of the room (where Peter mistook his hoodie for a person). Charlie stares at Peter with unblinking eyes. It’s almost too dark to make her out. Another CLICK. Green Rev. (mm/dd/yy) 94. Charlie? PETER A long silence. Charlie slowly opens her MOUTH, but then her head DROOPS forward and rolls OFF her shoulders. It tumbles to the floor and rolls toward Peter, but when it rolls into a block of moonlight (cast from the window), it’s revealed to be a Nerf basketball. Peter glares at the ball. A quiet GROWLING is heard from the door. Peter looks up. The door is now OPEN and Max stands in the doorway. He seems to be disturbed by Peter - or rather, by something standing behind Peter. PETER (CONT’D) (terrified) What is it, Max? Suddenly TWO HANDS materialize from behind Peter’s head. They grab his face, grasping under his chin. They TUG BACK on his head, as if trying to yank it off. Peter SCREAMS. Max runs in to attack, but the DOOR SLAMS IN HIS FACE. 121",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HALLWAY - CONTINUOUS Max paws aggressively at the door, barking wildly. Suddenly, Max’s HIND LEGS are lifted, as if by invisible hands, and TUGGED back by a great, vacuuming force. He is SUCKED across the hall and down the stairs. We FOLLOW the 121 mortified dog as it’s pulled all the way down to the FOYER. The FRONT DOOR IS OPEN and Max is deposited violently out of the house. The door SLAMS SHUT. 122",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. LIVING ROOM - SAME TIME Steve is FAST ASLEEP on the couch. ANNIE (O.S.) Peter! Peter! 123,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PETER’S BEDROOM - SAME TIME Peter has just been released by the phantom hands. He’s frantic. ANNIE is now standing in the room. ANNIE What’s wrong, baby?! What happened?! 122 123 PETER What are you doing?! 95. ANNIE What do you mean?! PETER You were pulling on my head! ANNIE What?! Peter looks terrified of her. ANNIE (CONT’D) No I wasn’t! I just came in! You were screaming! Peter is crying. ANNIE (CONT’D) What happened? PETER I saw Charlie in the corner and then you started pulling on my head. ANNIE Peter! I would never do that to you! Are you crazy? I would never hurt you. How could you even think that? Peter just stares at her through frightened tears. ANNIE (CONT’D) ...You saw Charlie in what corner? Peter can’t answer. He’s horrified. ANNIE (CONT’D) Listen to me, Peter. I don’t know what’s happening or what you just saw, but I’m stopping this. Do NOT tell dad what you just said to me. Please. It’s NOT true. Something’s going on, and I’m the only one who can stop this. Do you understand? I’m the only one who can fix it. Peter stares unblinkingly at her. 124",TWIST +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CHARLIE’S BEDROOM - SAME TIME 124 Charlie’s DRAWING PAD is open. We track slowly in, revealing the CONTENT of two of the drawings... Both are crude, violently drawn sketches of PETER’S FACE, but the EYES are replaced with X’s. The faces are framed by furiously sketched TRIANGLES. Green Rev. (mm/dd/yy) 96. A BREEZE blows in from the window, flipping to the NEXT PAGE - more of the same - and then the next page - still more of the same - and then the next page, etc... Annie’s HAND enters to seize the drawing pad. She leaves the room. Max’s barking persists in the b.g. 125",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LIVING ROOM - NIGHT Annie has started a FIRE in the fireplace. (In the b.g., Steve is still asleep on the couch.) 125 Annie clutches Charlie’s drawing pad, gazing into the fire. She inhales deeply, holds her breath, and then THROWS the pad in. At first it resists the flames, but then, the EDGE of one sheet begins to BURN. Annie watches this, eyes glued to the fire. But the shoulder of her SHIRT has sprouted the tiny beginning of a FLAME. It is the same size as the burgeoning flame at the drawing pad’s edge. Annie doesn’t even notice. The flame spreads slowly along the drawing pad’s edge. As this happens, the flame on Annie’s shoulder SPREADS ALONG HER ARM. Annie notices this and panics. She desperately tries to stamp out the fire, but it’s no use. The fireplace- fire starts to CONSUME the edges of the drawing pad. Simultaneously, ANNIE’S ARM IS ENGULFED FOR A MOMENT IN FLAMES. The fire on her arm is mimicking the fire that’s eating the book. Annie SCREAMS, pulls the drawing pad out of the fire, and STAMPS OUT the flames. As she stamps it out, the fire on her arm is duly EXTINGUISHED. Annie understands now. She’s tied to the book. 126",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. GRAHAM HOUSE - NIGHT The MOON hangs large over the house. We then SLAM CUT to MORNING. The moon has been replaced by a shrill SUN. 127,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HALLWAY - MORNING Peter steps out of his bedroom, backpack slung over his 126 127 shoulder. He clearly didn’t sleep last night and his eyes are buzzing with anxiety. He looks down the hall at the workshop’s DOOR, which is open by the faintest CRACK. He hesitates and walks off. Behind the workshop door: ANNIE stares through the crack, making sure that Peter leaves. Green Rev. (mm/dd/yy) 97. 128",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JOAN’S APARTMENT BUILDING - THIRD FLOOR - MOMENTS LAT1E2R8 Annie, looking frighteningly determined, emerges from the elevator of JOAN’S BUILDING. She’s still wearing her nightgown under a coat. She rushes to JOAN’S DOOR and knocks. No answer. Annie knocks again, more urgently. 129",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JOAN’S APARTMENT - CONTINUOUS 129 Nobody’s home. We are pulling back from the DOOR (as Annie’s knocking persists) to REVEAL the apartment... It looks mostly the same, but it’s now adorned in cloths and drapes that feature various SYMBOLS. One of these is an ORNATE SIGIL (which we recognize as the one on Annie’s necklace). This is the Sigil of PAIMON, and it can now be found all over the room. The TABLE at which Annie and Joan performed the seance (which was then covered in a table -cloth) is now bare, revealing that the tabletop has a LARGE TRIANGLE carved into it (pointing to the northwest). Resting in the middle of the triangle is a PHOTO OF PETER. Beside this is an ATHAME (ritual dagger), a scattering of herbs, and finally... A primitive DIORAMA (the same that we saw earlier on Charlie’s desk, but now finished ). Standing center stage is a crude manikin of a human torso whose head is an actual SEVERED RAVEN HEAD. Atop the head is an aluminum- foil CROWN. Three other sculptures BOW ON THEIR KNEES to the raven-headed figure. Their heads are the severed PIGEON HEAD (now decomposing), a severed RAT HEAD and a severed SQUIRREL HEAD. Annie’s knocking continues. 130",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HALLWAY - CONTINUOUS 130 Annie ceases knocking. She looks DOWN to notice that she’s standing on... The WELCOME MAT. “JOANIE.” Annie’s mind starts racing. She thinks for a moment and then - it hits her! Annie RACES back to the elevator. A SCHOOL BELL RINGS, bridging our CUT TO: 131",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HIGH SCHOOL - DAY LUNCH TIME. It’s overcast, dark and windy. Students mill about in flapping clothes. Just beyond the high school fence is a ROAD with heavy 131 traffic. PETER is seated at an empty table near the fence, eating (or rather, not eating) the cafeteria food. Green Rev. (mm/dd/yy) 98. The TRAFFIC NOISE is loud and imposing. Peter LISTENS to it, losing himself in the white noise. But there’s something looming underneath the traffic noise... It’s like a distant YELLING, but too distant to make out. Slowly it becomes clearer, more distinct. It’s a WOMAN’S VOICE and it’s yelling “Peter.” Peter looks up. Where is it coming from? WOMAN’S VOICE (still vague) ...I expel you...! Peter looks around. Soon his eyes settle on something... Across the road, on a far sidewalk, JOAN is standing. She looks raving mad. She’s staring directly at Peter and she’s screaming like a lunatic. JOAN SATONY, DEGONY, EPARIGON! Terrified, Peter rises from his seat. He looks around to see if anyone else is noticing this. Nobody is. JOAN (CONT’D) PETER! Peter looks back at her. They MEET EYES. JOAN (CONT’D) GET OUT, PETER! Peter breaks the gaze. He looks around, appealing to any/all of the circulating kids. It’s clear that none of them see or hear this. How is that possible? JOAN (O.S.) (CONT’D) PETER!!! 132",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ANNIE’S WORKSHOP - DAY Annie runs in from the hallway. 132 She rushes to the BOXES marked “Mom’s Things .” She opens the first box and finds a HAND-EMBROIDERED WELCOME MAT. It’s the exact same style as Joan’s. Embroidered into it is the name “ANNIE”. Under that is another mat, bearing the name “CHARLES” and featuring the now-familiar sigil of PAIMON. Annie goes to the next box. She dig through a collection of herbs and oils, and beneath those, she finds a familiar hardback: NOTES ON SPIRITUALISM. Below this, a couple other hardbacks: one that appears to be a GRIMOIRE (book of spells) and the other titled INVOCATIONS . Green Rev. (mm/dd/yy) 99. INVOCATIONS’ cover features an esoteric sigil. Annie opens the book to find that it’s filled with vivid etchings of DEMONIC POSSESSION RITUALS. Annie goes to a MARKED PAGE. It features an illustration of a beastly man with a hulking body and a strangely effeminate face. He rides a dromedary and wears a crown. Tied to his hip is a collection of SEVERED HEADS. Behind him is a queue of frolicking ghouls, all headless and all playing instruments. A title reads “King Paimon (God of Mischief).” Annie finds a HIGHLIGHTED PARAGRAPH: ""When successfully invoked, Paimon will possess the most vulnerable host. Only when the ritual is complete will Paimon be locked into his ordained host. Once locked in, a new ritual is required to unlock the possession. "" A sentence underlined in pencil reads: ""Paimon is Male, thus covetous of a male human body."" The next page features an etching of a man sitting atop a mountain of treasure. A caption reads: “ The riches to the conjurer.” Annie comes to the TITLE PAGE of the book. There is a handwritten NOTE. It reads: My darling, dear, beautiful Annie, Forgive me all the things I could not tell you, as I truly could not. Please don’t hate me and try not to despair your losses. You will see in the end that they were worth it. Our sacrifice will pale next to the rewards. Love, Mommy Mortified, Annie throws the book into the box, and digs deeper to find TWO PHOTO ALBUMS, familiarly titled “Memories.” Annie flips through one of the albums. For a while, nothing of note. But then she FINDS something... A PHOTO of ANNIE’S MOTHER, 20 years younger, standing with JOAN, also 20 years younger. They both wear replicas of Annie’s NECKLACE - the one bearing the now-familiar sigil of Paimon. Stunned, Annie continues through the photo album. She finds SEVERAL MORE PHOTOS FEATURING JOAN, who’s often standing in the background. Always wearing the necklace. She and Annie’s Mother were evidently close friends. Another photo: Annie’s mother guides a baby bottle into BABY CHARLIE’s mouth. The bottle’s milk is polluted with black herbs. 100. Finally, Annie comes to a particularly bizarre photo. It features Joan pouring gold/silver coins over Annie’s Mother’s head. Annie’s Mother, wearing a tiara, is weeping/laughing tears of joy. They are surrounded by an intimate, APPLAUDING audience. 133",FLASHBACK +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HIGH SCHOOL HALLWAY - DAY Students are returning to class. Peter walks trembling down the hall. Any lingering kids disperse to enter their classrooms. Peter approaches his classroom, a gnawing apprehension taking him over. 133 Suddenly, from behind Peter, a FLASH of light STREAKS across the length of the hall. It sweeps past Peter. He FREEZES. The light seems to disappear at Peter’s CLASSROOM. Peter stares at the door. Through the door’s window, MR. DAVIES (the teacher) turns to see Peter. They lock eyes. Davies smiles expectantly. Feeling pressured, Peter walks to the classroom. He ENTERS. 134",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GRAHAM HOUSE - UPSTAIRS HALLWAY - MOMENTS LATER The hallway is crawling with flies. Annie, still holding the photo album, enters (from the Workshop) to investigate. 134 The ceiling’s ATTIC HATCH is now covered in more flies than ever. It’s clearly the source of the infestation. Annie, eyes crazed with paranoia, stares at the hatch. A short (but accessible) rope hangs from it, asking to be pulled. Annie pulls on the rope, slowly OPENING the attic hatch and releasing its retractable stairway. A HORDE OF FLIES escapes the attic. Annie hesitates before climbing up. 135",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ATTIC - CONTINUOUS 135 The attic is dank and claustrophobic. There is one window, letting in scant moonlight. Otherwise, the space is obscured in utter darkness. Annie pokes her head in. At the foot of the entrance is a FLASHLIGHT. Annie takes it, turns it on, and shines its beam into the shadows. Flies are everywhere. Their buzzing permeates the room. 101. Waving away the flies, Annie explores the space. It’s filled with discarded pieces of the family’s past. Old cribs, a mattress, toys, etc. Finally, Annie’s FLASHLIGHT dawns on something. A FIGURE lying prostrate in the corner. Annie approaches it. The flies get louder. Annie finally gets close enough to SEE... It is a WOMAN’S CORPSE, and upon closer inspection, its HEAD is seen to be MISSING. From the white and wrinkled hands, it’s evident that this was an old woman. She is also wearing a WHITE SILK ROBE - identical to the one that Charlie saw the corpse wearing earlier in the woods. (Is this E llen Leigh’s corpse?) A large TRIANGLE has been drawn in chalk around the body. Annie GASPS, staggers back, and bends over to RETCH. As she does so, the flashlight’s beam crosses something on the VAULTED CEILING above the body. Annie pauses before raising the flashlight. She trains it on the ceiling to reveal... THE SIGIL OF PAIMON has been painted onto the ceiling in now- dry BLOOD. Flies crawl across its coarse black- red strokes. 136",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CLASSROOM - DAY 136 Peter sits at the back of the class. He WRINGS his hands, anxiety mounting. He’s still thinking about the woman (Joan) who was yelling at him. Mr. Davies stands at the chalkboard. Written on the board: “Punishment brings wisdom.” MR. DAVIES So, everyone feels justified: Iphigenia’s murder was commanded by the gods - so really Agamemnon had no choice. And Clytemnestra is driven by revenge, just like Orestes when he returns... Suddenly, Peter hears something behind him. A distant CLICKING of the tongue. We focus in on Peter’s EAR. Separated by a few seconds each, the clicks become clearer and more present with every CLICK. It’s as if the source is nearing. Soon it’s loud enough to be RIGHT NEXT TO PETER’S FACE. Suddenly, as seen from behind, PETER’S ARM SPIKES UP INTO THE AIR. Because we’re behind him, we don’t see Peter’s face. The tense arm is HELD there, as if being pulled by an unseen force. The clicking sound continues. Mr. Davies turns to notice Peter. MR. DAVIES (CONT’D) (calling on him) Peter. 102. Mr. Davies waits, but after a moment, his expression darkens into concern. MR. DAVIES (CONT’D) Peter, are you okay? We now reveal PETER. His face is CONTORTED with terrible stress, as if his head were gripped by an electric vice. His eyes are locked open; his eyeballs darting around, as if appealing for help. His hand remains stiffly raised and he seems to have difficulty breathing. In fact, his face is about to turn purple. PETER CLICKS HIS TONGUE. He’s now the one clicking. MR. DAVIES (CONT’D) Peter. What’s wrong? Bridget, staring at Peter, looks especially disturbed. Peter CLICKS again. I... MR. DAVIES (CONT’D) Suddenly Peter GASPS a horrible, gurgling gasp. It sounds like an agonized SQUEAL, much like the one we heard from Charlie during her allergic attack (before her decapitation). BRIDGET (terrified) Can he breathe?! A spit-bubble forms on Peter’s lips as he struggles hopelessly to speak. But then-- Peter’s head is SLAMMED FACE -DOWN into his desk. It holds there, trembling with tension. His face is SMEARED across the desktop, as if a great pressure is being applied to the back of his head. One can almost hear Peter’s nose CRUNCHING. Peter’s head suddenly swings back up, as if being YANKED by the hair. He is held upright for a moment, revealing that his eyes are pitch-red with tears. His nose is also bleeding lightly. He looks extremely disoriented. PETER MOM! Peter’s head is SLAMMED back down, into the table. Blood BURSTS out of his now-broken nose. The class screams! Peter, suddenly in possession of his faculties, KICKS himself back. He stumbles out of his chair, knocking over the desk as he staggers backward. He has been RELEASED from whatever was just gripping him. Green Rev. (mm/dd/yy) 103. He SCREAMS, throwing his arms around, fending off whatever it was. He breaks down in SOBS, fraught with terror. The class is completely silent. 137",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. STEVE’S OFFICE - DAY A haggard Steve sits in his office, nursing a scotch. His cell phone VIBRATES. It’s ANNIE. Steve just stares at it. Letting it vibrate. It stops. After a moment, the office phone RINGS. He looks at it. Thinks about answering. Doesn’t. He turns in his chair, raising the scotch to his lips. Ignoring the phone. He downs the glass. We now reveal the office phone’s CALLER ID. This call is coming from Peter’s High School. 138",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GRAHAM HOUSE - KITCHEN - DAY 137 138 The land-line rings. It’s the high school, now calling the Graham house. Nobody is home. 139",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAR - SAME TIME 139 Annie sits in her car, parked on the street. She is waiting in the driver seat, eyes crazed. She watches the house, holding her cell phone at the ready. A car drives by. She turns to investigate. It’s not Steve. ANNIE (to herself) Goddamn it, Steve. Come home. 140",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. STEVE’S OFFICE - SAME TIME 140 Steve is still in his office, eyes closed, leaning back in his chair. Clinging to the peace. The phone rings again. He sets his drink on the table and grudgingly answers. Hello? STEVE Pause. Steve suddenly becomes alert. STEVE (CONT’D) What? What happened? (listens for a moment) (MORE) Green Rev. (mm/dd/yy) 104. STEVE (CONT’D) Okay. Yes. I’m coming now. Which hospital? 141",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAR (MOVING) - LATE AFTERNOON 141 Steve is now driving home. PETER is asleep in the back seat. His nose is HEAVILY BANDAGED and his eyes are black and blue. Steve looks at the rear-view mirror while he drives. Watches his son sleep. Steve looks back to the road to see -- he’s about to run a red light. He STOMPS on the brake. Despite the harsh stop, Peter remains asleep. Steve grips the wheel, on the edge of his seat. A moment of tense silence and then: the floodgates open. Steve starts CRYING, overwhelmed. After a moment of this, he regains composure. The light goes GREEN. 142",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ANNIE’S CAR - LATE AFTERNOON Annie is still waiting anxiously in her car. 142 Steve’s car is seen pulling into the Graham driveway. Annie heaves a relieved sigh - “finally! ” But then she notices that Steve is pulling an unconscious Peter out of the back seat. She sees Peter’s bandaged nose and PANICS. Annie jumps out of the car and bounds over. She’s gripping her mother’s photo album. ANNIE Oh my God what happened?! Steve turns to Annie as she arrives. He’s in no mood for any histrionics. Annie GASPS at the sight of Peter’s face. ANNIE (CONT’D) Who did that?! STEVE He did apparently. Smashed his own face into his desk, hard enough to break it. This only feeds Annie’s paranoia. She covers her mouth with her hands. ANNIE (needing to tell him) Steve... 105. STEVE (blunt) Please: just take his feet. Annie hesitantly gathers Peter’s feet. Steve proceeds toward the house, carrying Peter by his underarms. 143",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PETER’S BEDROOM - DAY 143 Outside, Max’s BARKING is heard. It will persist through the following scene. Steve and Annie lay the comatose Peter into bed. Steve looks down at Peter, sapped. He’s avoiding Annie’s eyes. ANNIE Steve. Steve waits for her to continue. ANNIE (CONT’D) ...Upstairs, in the attic... When you were gone, I went up there. Steve closes his eyes, not wanting to hear whatever’s coming. ANNIE (CONT’D) There’s a decapitated body. An old woman.... Steve’s eyes open, numb. He looks blankly at Annie. ANNIE (CONT’D) (reacting) That’s what all the flies are! STEVE (zero inflection) A body? ANNIE Go upstairs. Look for yourself. ANNIE STEVE (CONT'D) Whose body? I think it might be my mother’s. I think! I can’t tell! The skin is black and she’s all distended, but it’s an old woman and the head is gone... Go see for yourself. Steve STARES at her before walking into the hall and approaching the attic hatch. ANNIE (CONT’D) And then there’s more. 106. STEVE More than your mother’s headless body. Of course. Steve reaches for the attic hatch. He pulls it down and a mass of FLIES escapes. Steve pauses, now much more nervous about what he’s about to find. He begins to climb the stairs. Annie now RUNS downstairs... 144",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. LIVING ROOM - CONTINUOUS Annie rushes to the fireplace. She starts a FIRE. Max’s barking continues off- screen. 145,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. UPSTAIRS HALLWAY - MOMENTS LATER The hatch is still open. We hear from within the attic: STEVE (O.S.) 144 145 Jesus fuck! Annie has run back upstairs. Sounds of distress (from above) as Steve rushes to the stairs and stumbles down into the hallway. He’s pale with shock. STEVE (CONT’D) What the fuck! STEVE ANNIE There’s more. Why haven’t you called the police?! ANNIE The police can’t help us! This makes Steve pause. Did Annie do this? STEVE Who is that, Annie? Annie squeezes her mother’s photo album. ANNIE Do you remember Joan, my friend? Her grandson died and she took me to her apartment? Steve’s eyes are harrowed. STEVE (to himself) It did look like your mother. Green Rev. (mm/dd/yy) 107. ANNIE Listen! She taught me how to do the seance. I didn’t even want to know. But she brought her grandson back, and I saw it and I felt it - just like you did with Charlie. Steve eyes Annie with growing revulsion. She now opens the photo album. She’s frighteningly energetic. ANNIE (CONT’D) This was my mother’s album. Okay? Now look: this woman, right here, that’s her! That’s Joan! Annie is pointing at a photo of Joan (20 years younger) standing with Annie’s mother (20 years younger). Annie speaks quickly to prevent Steve from interrupting. ANNIE (CONT’D) She never mentioned knowing my mother and I never met her before, but she approached me, she consoled me, and she told me about the seance, she showed me how, and now - look: Steve can’t listen to this, but Annie desperately draws his attention to the photo of Annie’s Mother being showered in coins by Joan. Annie points at the NECKLACE. ANNIE (CONT’D) That’s the necklace my mom gave me. Right? It’s my mother’s necklace. Right? Now Annie points out another photo: her mother posing with Joan - both wearing the same necklace. ANNIE (CONT’D) They’re both wearing it. And they’re wearing it in every photo! Steve, now completely pale, doesn’t react. He’s staring at Annie like she’s a contagious disease. ANNIE (CONT’D) And look at the pattern! Did you see up there? This was painted above the body. Right?! In blood?! STEVE (dawning on him) ...You dug up the grave. ANNIE What?! Green Rev. (mm/dd/yy) 108. STEVE It was you, wasn’t it? When you were going out, “to the movies”? STEVE (horrified) ANNIE (CONT'D) You’re not even listening! And when the cemetery called... (outraged at the thought) I didn’t tell you because I didn’t want to worry you. ANNIE Goddamn it! LISTEN to me, Steve! I know you don’t trust me - there’s nothing I can do about that - but they put a curse on us, and when we brought back Charlie - STEVE We didn’t bring back Charlie! ANNIE (continuing) - we made a PACT with something! I don’t know what it is, but it’s in the house and it wants Peter! Annie pulls out Charlie’s DRAWING PAD. She opens it and flips through the sketches of Peter with his eyes X’d out. ANNIE (CONT’D) I watched these pages fill. They’r e all of Peter. She looks up at Steve. ANNIE (CONT’D) I’m sorry, Steve: I don’t know what I did, but Peter’s in danger and I’m the one who started this. Annie takes Steve’s arm. He recoils at his wife’s touch. She leads him toward the STAIRS. ANNIE (CONT’D) If we destroy this book, it’ll take me too. I tried to burn it - I tried - but my arm caught fire. On its own. As if I was linked to it, because I am linked! I know that now. But if we don’t destroy this...Peter will... She’s too overwhelmed to finish her thought. Steve’s eyes register no compassion. He skeptically follows her down the stairs toward the LIVING ROOM. 109. ANNIE (CONT’D) It needs to be me, Steve. It’s my fault! I need you to throw it in the fire. Steve just stares at her. ANNIE (CONT’D) I can’t do it! I can’t throw it in! I’m too scared. But if you don’t, it’ll be Peter. I know it will. (breaks down crying at the thought) It’ll be our son! Annie puts the drawing pad in Steve’s hand. She closes his fingers around it. She tries to calm herself down. ANNIE (CONT’D) Please baby. I can’t do it. I need you to throw it in the fire. Annie takes a canister of LIGHTER FLUID and proceeds to DOUSE the drawing pad. She then looks at Steve with great love and sadness. ANNIE (CONT’D) Even if you can’t believe me: You’re the love of my life. Annie KISSES him passionately. It has the desperation of a farewell kiss. Steve’s lips are stone. ANNIE (CONT’D) I love you, Steve. I love you so much. And I love Peter so much! Annie is crying hysterically. Max’s barking continues. ANNIE (CONT’D) Please! Throw it in! Steve walks in a horrified daze toward the FIREPLACE. But then -- he STOPS SHORT. He turns to Annie. STEVE I’m not doing this anymore with you, Annie. ANNIE (panicked) What? No. STEVE This isn’t helping you. You’re very sick and I need to call the police. Green Rev. (mm/dd/yy) 110. That does it. Annie storms toward Steve, SEIZES the drawing pad, runs to the fireplace, and HURLS the book into the fire. It is immediately CONSUMED by the flames, and then, like clockwork-- STEVE IGNITES INTO A RAGING BALL OF FLAMES. He cries out as he is instantaneously swallowed up by the screaming fire. Annie can’t even scream. She’s frozen in horror. Her eyes are LOCKED on the sight of her husband’s burning. And what’s more, the ominous STREAK OF LIGHT has returned - now bouncing wildly around the room. Max’s off -screen BARKING has reached an insane pitch. We see Steve’s searing reflection in Annie’s fixed pupil. The fire is impossibly violent. Now, at the scene’s shrieking apex, the streak of light settles on Annie - entering her! SLAM TO BLACK Silence. A distant drumming fades in... 146",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. WOODS - NIGHT The WOODED AREA behind the Graham house. It’s snowing. A drum circle seems to be in progress somewhere unseen. Repetitive, minimal PERCUSSION (like subdued war drums) thumps faintly and steadily in the distance. 147",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PETER’S BEDROOM - SAME TIME Silence. Max’s barking has STOPPED. 146 147 Peter’s eyes blink OPEN from his deep sleep. He bolts up with a start. He’s in his room, under the covers. He squints with pain. He reaches to touch his nose, but discovers the heavy plaster bandage. Outside Peter’s window: the TREEHOUSE. A dim, golden light - like candlelight - flickers from within. Peter stares at it. The drums are barely heard in the b.g. They will continue. The drums are momentarily drowned out by the sound of a CAR DRIVING BY outside. Its HEADLIGHTS gently illuminate Peter’s room, scanning the walls (in pale blue) as the car drifts by. For the briefest moment, in this fleeting light, we see... ANNIE, still wearing her nightgown, in the top corner of the room. She seems to be FLOATING WEIGHTLESSLY. She’s so elevated, in fact, that her head is turned to the side and her cheek pressed against the ceiling. 111. There’s something still and composed about her; something resolutely NOT Annie. Her eyes are WIDE and her face expressionless. She’s behind Peter, STARING at his back. He doesn’t notice. The car has now passed, and the room is obscured again in darkness. Annie is no longer clearly visible. Peter senses something behind h im. He pauses, listens. Then he begins to TURN. Annie, back pressed against the wall, scrambles (in a silent panic) across the wall and OUT the door. She seems to be CRAB- WALKING across the wall’s surface. Peter looks back just as Annie has left. He didn’t see her. Peter climbs out of bed. He goes to leave the bedroom. 148",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HALLWAY - CONTINUOUS 148 As Peter enters the hallway, a SHARP CLANGING SOUND is heard downstairs. Peter freezes. A sustained REVERB fills the house. It sounded like it came from a piano. Peter remains motionless, listening. PETER Dad? Flies are everywhere. Peter walks over to his parents’ BEDROOM. He peers in. It’s empty. He turns back to the hall. PETER (CONT’D) Mom? Dad? Peter looks up at the ATTIC HATCH, now closed. The SOUND OF FLIES is especially aggressive up there. He then notices that ANNIE’S MOM’S BEDROOM DOOR IS OPEN. He looks inside. EMPTY. He closes the door. Peter continues warily down the hall. He approaches the stairs. Hello? PETER (CONT’D) Peter leans to peer down the stairs. He sees nothing. He slowly proceeds downward. 112. 149",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FOYER - CONTINUOUS Peter arrives at the bottom of the stairs. The foyer is empty. 149 Peter notices the PIANO. It seems to have been tampered with. The lid is open and a couple of the wires have been SNAPPED. Peter carefully walks through the foyer, eyes scanning around. Paranoia building. He approaches the LIVING ROOM, which is faintly illuminated by an off- screen flame. 150",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LIVING ROOM - CONTINUOUS 150 Peter stops at the doorway. His eyes travel across the walls to finally come to... The FIREPLACE. The last of a dim fire (mostly embers) crackles in the pit. And lying before the fireplace is... A CHARRED, BLACK CORPSE. It lies twisted on the rug. Peter stands frozen, trying to discern what it is. He takes a reluctant step forward and slowly approaches the dark figure. Peter finally comes close enough to SEE... The body’s HEAD has been violently AMPUTATED. The PINK/RED of the exposed neck contrasts garishly with the crisped whole. The body is on its back, arched and contorted. Peter looks at the HANDS. The fingers are curled into desperate claws. One finger bears STEVE’S WEDDING RING. Peter opens his mouth to scream, but all that comes out is a muted gust of air. Tears well in his eyes. He can’t even summon the strength to look away. And above him... ANNIE is huddled up into a corner of the ceiling. Her face is twisted with grief and fear, and she is shaking her head - “no, no, no, no, no” - as if pleading with the back of Peter’s head, like a frightened animal. She holds PIANO WIRE, pulling it taut with both h ands. Wringing blood. Peter FREEZES, sensing something behind him. He slowly turns, but not toward Annie... Peter looks to the other corner of the room. The CLOSET DOOR is cracked open. Peter SQUINTS at it. Standing in the dark closet, barely visible, is a MAN IN A RED CLOAK - staring at him. Peter is paralyzed. He then SENSES something in the corner of the ceiling - where Annie was. His eyes scan tensely to the corner, but Annie is now GONE. 113. Pregnant silence. Suddenly, from behind Peter, Annie BURSTS SCREAMING out of the darkness, dashing towards him. Peter RUNS squealing out of the room. He sprints for the STAIRS. Peter bounds up the staircase, but at the top step, he trips over his own foot. He crashes to his knees, scrambling to get back up. Behind him, we hear Annie pursuing. Peter races madly through the HALLWAY. The attic hatch is now inexplicably OPEN. He dashes for the ATTIC STAIRS. He runs up the stairs and immediately RETRACTS them - just as Annie reaches him. Peter manages to pull the attic hatch SHUT, almost catching Annie’s bloody fingers. 151",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. ATTIC - CONTINUOUS 151 Peter LOCKS the floor’s hatch. There is a mad POUNDING from beneath. 152,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HALLWAY - CONTINUOUS 152 Annie is UPSIDE DOWN and straddling the ceiling (as though gravity were no longer a thing). She pulls at the attic knob, SLAMMING her head into the hatch. She bangs her head crazily against the ceiling, over and over. With every strike, she POUNDS her forehead harder and more wildly against the hatch - like a mad bull, trying to break through by sheer force. 153",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ATTIC - CONTINUOUS Peter stands in the dark, screaming and crying as the pounding persists. It keeps growing harder, faster, more insane - until it STOPS. Peter listens... Nothing. Just the shrill cacophony of 153 buzzing flies. Beside him, at his feet, is a dwindling BLACK CANDLE. Mommy? PETER (terrified) Peter looks up. BLACK CANDLES HAVE BEEN SET UP ALL AROUND THE ATTIC. Their flames dimly illuminate the clutter. Peter now looks to the CORNER that earlier enshrined the headless corpse. The corpse is now gone, but something tiny has replaced it. The distance and weak light preclude Peter from identifying it. 114. Peter begins to approach the corner, tears streaming. He sees the bloody sigil on the vaulted ceiling above. As he walks, the buzzing gets LOUDER, more concentrated. Peter continues warily toward the corner, his fear rising. The buzzing has gotten even louder. Finally Peter gets close enough to SEE... In the center of the chalk-etched triangle is a PHOTOGRAPH OF PETER WITH HIS EYES X’d OUT. Stunned and confused, Peter REELS back, knocking over a candle. The corner goes dark. Peter is weeping uncontrollably now. He starts backing away, toward the room’s center. His eyes remain glued to his photograph. PETER (CONT’D) (to himself, crying) Please. This isn’t happening. You need to wake up. Peter’s teeth are chattering. He’s hyperventilating. His trembling silhouette is framed by the WINDOW behind him. Outside the window: dreamy snowfall. Peter continues backing up, but something makes him FREEZE. A prolonged GROAN, accompanied by the sound of WIRE being wrapped and tightened around FLESH. It’s coming from a source about twenty feet away, BEHIND him. This is followed by a swifter, HARSHER SOUND - like a saw being dragged through flesh. A pregnant PAUS E and then the sound REPEATS. A briefer pause and it REPEATS again. Peter slowly turns around. His eyes travel up to SEE... ANNIE has somehow gotten in. She floats weightlessly in the air. (She is faintly illuminated by a candle below her.) She has looped the PIANO WIRE around her own NECK, which is already straining blood. She TUGS on one end of the wire. It SAWS through her neck. She TUGS on the other end of the wire. It saws even deeper. Mommy! PETER (CONT’D) Annie keeps sawing, FASTER and HARDER and with more ruthless persistence. The sawing sound is horrible. Peter, screaming, TURNS away, only to see: A MIDDLE- AGED BLONDE MAN, dressed in a red cloak, near Peter. He’s SMILING giddily. ( We will recognize him as the man who was smiling at Charlie at Annie’s mother’s funeral. ) Behind him, two SMILING OLDER WOMEN. They are crouched together, illuminated by a nearby candle- flame. PETER SCREAMS, TURNS, AND RUNS STRAIGHT FOR THE WINDOW. HE JUMPS THROUGH THE GLASS. 115. 154",TWIST +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. GRAHAM HOUSE - CONTINUOUS 154 Peter has landed face- first into the SNOW. Small shards of glass are embedded all over his body, but nothing too serious. Peter lies motionless for a long time. We cut WIDE to a BIRD’S EYE VIEW looking down on Peter. He lies face-down in the blue-white snow, inanimate. The wind blows softly. We HOLD on this peaceful, static wide. After a moment, a SHADOW floats gracefully across the snow. It belongs to Annie, who must be above us - but the shadow seems headless . The shadow drifts out of frame, followed by the vague, familiar STREAK OF LIGHT. The light, however, STOPS at Peter. It dances on his back... steadies... disappears into him . After a moment, Peter’s head RISES languidly from the snow. His face is marked by a few minor GASHES (from the glass). He looks up, EYES STRANGELY CALM. They even look a bit clouded. He looks ahead to the TREEHOUSE... PETER’S POV: Annie’s floating body has arrived at the treehouse, which is still glowing by candlelight. She ascends into it. For a split- second, before she disappears into the treehouse, we see that ANNIE HAS NO HEAD. Peter rises to his feet, hollow- eyed. His gaze trained on the treehouse. He seems to be in some sort of TRANCE - much like the trance that Charlie entered earlier. After a moment of standing, staring at the treehouse...Peter CLICKS HIS TONGUE. With that, he begins walking slowly toward the treehouse. He passes MAX’S DEAD CARCASS, sprawled across a snow- buried garden. As Peter nears the treehouse, he looks up to its OPEN WINDOW... Through the window, from Peter’s low- angle POV: a birdcage hangs from the treehouse ceiling. It houses a manic WHIPPOORWILL. We cut to a WIDE of the treehouse as Peter arrives at the tree’s base. Peter pauses. Looks up. After a beat, he begins to leadenly climb up. 155",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TREEHOUSE - CONTINUOUS Peter, having scaled the tree, pokes his head through the floor-hatch and climbs in. 155 116. The walls are lined with black candles, and before Peter are several MEN AND WOMAN (some elderly, some middle-aged) BOWING on their knees, foreheads against the floor. They are all dressed in RED CLOAKS. Standing behind Peter (on the opposite side of the treehouse) is the terrible object of their reverence. He turns to see... A GIANT, 6’ WOOD- FIGURE MANIKIN. Placed atop its shoulders (in lieu of a head) is CHARLIE’S DECAPITATED HEAD - now in an advanced state of decomposition. The nose is still smashed in, much of the face is black with rot, and it wears a silver CROWN. One hand grips a wooden SCEPTER. The manikin’s other hand is raised to extend its first two fingers and thumb; the third and fourth fingers are bent (like a Christ figure). Bowing at the foot of the manikin is ANNIE’S HEADLESS TORSO - blood pooling at the neck. Beside her corpse, also prostrated, is ANNIE’S MOTHER’S HEADLESS CORPSE (still dressed in white silk, but in a worse state of decay). Peter’s eyes are WIDE, but still blank. They are FIXED on Charlie’s head. He looks more confused than horrified. Peter turns around to face the groveling red- cloaked worshippers. They now seem to be bowing in his direction. Among the worshippers is JOAN - her forehead pressed to the floor. Peter, unnerved, looks away. He notices... A photo portrait of ANNIE’S MOTHER on the wall. She sits upright and her expression is severe. The frame bears an engraving: “Queen Leigh” We come to a CLOSE- UP of Peter. He looks confused and scared (although not in a way that feels like Peter). We will HOLD on this CU for the remainder of the scene. The sound of someone RISING. This person (Joan) shuffles past Peter to lift the crown off of Charlie’s head. She then comes to stand (now off-screen) before Peter. After a moment, the CROWN enters frame to be placed ceremoniously onto Peter’s head. Peter has TENSED up, desperately avoiding eye contact with Joan. He SENSES something behind him. He looks back (and we pan-tilt) to see... The headless corpses of Peter’s family are now inexplicably bowing in his direction. Peter turns forward again - overwhelmed. He looks trapped. Trembling. His milky eyes are welling with tears. 117. JOAN (O.S.) (quietly, trying to soothe) Hey hey - no no - you’re all right... But he is starting to PANIC. His eyes fix fearfully to the floor as his breathing grows erratic. Then: JOAN (O.S.) (CONT’D) Hey: hey: Charlie. Peter’s breathing HALTS. He looks up to Joan, still trembling. Eyes wide. JOAN (CONT’D) You’re all right now. A long silence as Peter searches Joan’s face for understanding. Peter finally SPEAKS...but he sounds more like CHARLIE than Peter. Who am I? PETER A loaded pause from Joan. Then: JOAN (O.S.) You are Paimon. One of the eight Kings of Hell. Beat. Peter doesn’t react. He just stares at her, uncomprehending. JOAN (O.S.) (CONT’D) We have looked to the northwest and called you in. We’ve corrected your first body and give you now this healthy male host. We reject the Trinity and pray devoutly to you, great Paimon: give us your knowledge of all secret things and all mysteries of the Earth; bring us honor, wealth and good familiars; and bind all men to our Will, as we have bound ourselves for now and ever to Yours. We hear Joan return to her bowing position: JOAN (O.S.) (CONT’D) Hail Paimon. Peter’s eyes are buzzing. Then, from behind Joan: 118. WORSHIPPERS (O.S.) Hail Paimon! Then, louder: JOAN/WORSHIPPERS (O.S.) Hail Paimon!! 156",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. TREEHOUSE - CONTINUOUS WIDE of the treehouse. 156 Hail!! CUT HARD TO BLACK. HOLD ON THE BLACK. WORSHIPPERS (O.S.) From this, we VERY SLOWLY FADE IN ON: A NEUTRAL WIDE OF THE GRAHAM HOUSE . NIGHT. Surrounded by dreamy snowfall. A strong artifice distinguishes the image. As if the actual house has somehow been replaced by its MINIATURE REPLICA. Even the drifting snowflakes look false. Hold on this as the CREDITS roll.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DARKENED BEDROOM - NIGHT A spherical black monolith rises up from a white surface... white like the moon. In the darkness, the towers metal skin is barely visible. We ROTATE AROUND, revealing the tower to actually be a LAMP -- not rising up from a surface, but hanging down from a white ceiling. The bulb unlit. Directly below the lamp is the very definition of innocence - a sleeping child. Chest rising and falling with each breath. We HOVER over the young boy...watching him. A blanket emblazoned with dinosaurs is draped across his limbs. His mouth is slack, eyelids twitching to dreams unseen. The truly deep sleep that an adult can only wish for. We move away from him, exploring the dark room. Strewn with toys. The door is slightly ajar. We float through it into--",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CORRIDOR - CONTINUOUS --a long hallway. Even darker than the bedroom. And without the boys rhythmic breathing, even quieter. A window at the end of the hall enlarges as we approach. Someone is standing in front of it. The murky silhouette of the figure turns and walks away. We follow it, tentative. Turning a corner, we see the figure. Standing in a doorway. Now we can make out the edges of the person. It is an old woman. Hair in a Victorian bun. A corseted dress. She stares at us. WOMAN Let me in. CUT TO: OPENING TITLES play out to the shrill screams of George Crumb’s ‘Black Angels I: Night Of The Electric Insects’. 2.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BEDROOM - NIGHT Eyes flick open. A woman blinks awake, gazing around the room. Another bedroom. Sparse. Just a bed and a cabinet. It is 5.43 AM. Her eyes settle on the man lying next to her in the dark. His heaving snores have woken her up. She is RENAI (pronounced Renee) LAMBERT (36). With a quiet determination she is holding on to her youthful good looks, but the lines of age are creeping in. She has settled into the ‘comfort’ years of a marriage: hair pinned up messily, wearing dowdy pajamas. She beholds her husband, taking him in. Considering him. He snorts and smacks his lips. Very unflattering. She climbs out of bed.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LIVING ROOM, LAMBERT HOME - NIGHT High ceilings. Exposed beams. Spanish style windows.Renai treads across wooden floorboards into a sunken living room. No matter careful she is, there is a loud creak with each step. A GRANDFATHER CLOCK in the corner ticks steadily. There is barely any furniture in here, only a BOOKCASE and a PIANO. What there is a lot of...is boxes. Large moving boxes. Renai plops cross-legged onto the floor and rips open one of the boxes, marked BOOKS. She plucks out a handful of books and lines them up on the bookshelf. Then another handful. They are all self-help and self-improvement books. Titles like ‘Be The Better You ’ and ‘Inch By Inch, It’s A Cinch: A Guide To Achieving Your Goals ’ pop out. She spots a sealed box labelled PHOTO ALBUMS. She strips away the tape and wrestles out a dusty album of wedding photos. Smiling faces greet her as she thumbs through the pages. The happy couple. Young. Glowing. Sadness washes over her. VOICE (O.S.) Mom? She snaps out of it and turns to see DALTON LAMBERT (8). Her son. He approaches her, rubbing his eyes. (It is not the boy we saw in the opening scene.) 3.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library RENAI What are you doing up, kiddo? DALTON I don’t like my room. RENAI You’ll get used to it. It’s only your first night. He climbs into her lap. She bites on his ear playfully. RENAI (CONT’D) Argh, I’m going to eat you. DALTON What are you looking at? RENAI Just some photos. DALTON What photos? She hefts another album from the box, prying it open. A photo of a grinning young girl greets them, hair in pigtails. RENAI Do you know who that is? DALTON No. RENAI That’s me. DALTON It doesn’t look like you. RENAI I know. I’m so happy there. But it’s me. When I was your age. I was a kid once too, you know. DALTON No, you weren’t. Renai bursts out laughing. She is famous for her big laugh. RENAI Thanks. Maybe you’re right...I don’t remember being this person at all.I hope she smiled like that all the time, whoever she was. 4.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library She sizes up her son. The living embodiment of the photo. RENAI (CONT’D) This is a terrible thing to admit, Dalton, but sometimes I get jealous of you. That you’re so young. That you haven’t made any of your decisions yet. DALTON I don’t wanna grow old. RENAI Well, it starts happening to us from the moment we’re born. She points to the hands on the grandfather clock. RENAI (CONT’D) Every time that clock ticks, we all get a little bit older. She turns the page in the photo album, seeing an old man. RENAI (CONT’D) That’s your grandpa. You wouldn’t remember him. DALTON He smells like smoke. RENAI Yeah...good memory. He did smoke that god awful pipe, didn’t he? DALTON Show me a picture of dad when he was a little kid. RENAI I don’t even know if we have any. He’s hopeless with keeping photos. DALTON Show me a picture of me when I was a little kid. RENAI Your pictures are all in the computer. Nobody keeps photo albums like this anymore, they’re ancient relics. They should. I like being able to touch something, instead of it floating around in cyber world. If the laptop breaks, your whole existence is erased.5.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library DALTON What was I like when I was a little kid? RENAI You are a little kid. She kisses him on the forehead and stares into his eyes. RENAI (CONT’D) If only you knew what I know. We hear a baby crying off screen. RENAI (CONT’D) You certainly didn’t cry as much as your little sister does. Come on.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. KITCHEN, LAMBERT HOME - MORNING Chaos. Boxes of dinnerware have not been unpacked yet and it is turning the usual morning routine into a nightmare. Renai is on the phone as her kids buzz around a kitchen island at top speed, creating a high-energy, manic pace in the room. RENAI (into phone) Billing department. Her son FOSTER (6), tugs on her leg, holding a box of cereal. FOSTER I need a bowl, mom. Renai rips open a box, rifling through newspaper, phone wedged against her shoulder. She holds out a cup, flustered. RENAI Billing department . FOSTER It’s too small. RENAI Make it work. (into phone) Speak to an agent. Speak to an agent. Speak to an agent. Foster slumps on the floor, pouring cereal and overflowing milk into the cup. A baby girl in a high chair, CALI (2), squeals. 6.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BATHROOM, LAMBERT HOME - MORNING JOSH LAMBERT (37) gapes into the mirror, face covered in soap. He washes it off. Now he’s awake we see that he is a handsome, clean-cut guy - a former high school nerd who got revenge by growing into his body. He sorts through a box labelled JOSH’S BATHROOM STUFF. He takes out two bottles - TONER and MOISTURIZER. He dabs the toner on, then smooths the moisturizer into his forehead and around his eyes. He suddenly notices a grey hair. Looks mortified. JOSH (Michael Corleone voice) Every time I think I’ve pulled you out...you grow back in. He plucks it out, wincing melodramatically. JOSH (CONT’D) Ouch!",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. KITCHEN, LAMBERT HOME - MORNING Josh strides in, tie hanging open around his neck. Renai is still on the phone. Josh points to his tie. RENAI Well, I’d like to keep the old number if I could. (to Josh) You really need to learn how to do this, honey. She threads the tie into a knot for him. JOSH (to Foster) Don’t eat on the floor, buddy. Foster stays where he is, slurping cereal from the cup. Dalton is playing a handheld videogame. Intensely focused. RENAI (into phone) Okay, well, please let me know by the end of today, I have to give the number out. Thank you.7.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library She hangs up, pissed. RENAI (CONT’D) Foster, get up. Now. Foster frowns and obeys. JOSH (to Renai) How come you were up so early? Was Cali crying? RENAI You woke me up. JOSH What do you mean? RENAI You were snoring. JOSH No I wasn’t. RENAI Yes you were. JOSH I don’t snore. RENAI Yes you do. JOSH My father snored. I do not snore. RENAI How would you know what you do? You’re asleep. Renai marches out of the room. Dalton’s game unit beeps loudly and he pumps his fist. DALTON Yes! I made it to the last level! Invisiworld! Ever amiable, Josh high five’s his son. JOSH Good one, champ. (beat) I don’t snore, do I?8.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LIVING ROOM, LAMBERT HOME - CONTINUOUS Renai sees that all the books she unpacked earlier are now scattered across the floor of the living room. RENAI Where are my bleeping pills?",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. KITCHEN, LAMBERT HOME - CONTINUOUS Renai charges in. Josh snatches an apple out of a fruit bowl, biting into it. He quickly gags and spits it out into the sink. JOSH What the heck is this? Wax?! RENAI Yes. JOSH Let me get this straight - we have no actual fruit but we have wax fruit? RENAI Yes. JOSH That is dangerous. It could kill one of our kids. RENAI Where are my pills, Josh? JOSH Probably where you left them, Renai. She finds them on the counter, snatching them up. JOSH (CONT’D) See. RENAI That’s not where I left them. DALTON Mom, I need my lunch. RENAI Oh, geez. Look, just...take last night’s dinner. 9.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library She opens the fridge. It is bare except for a box of sushi. DALTON Sushi? Aw, that’s weirdo food. RENAI It’s all we have. Just for today, honey. JOSH Check it first, Dalton. It’s probably made out of Styrofoam. RENAI (to Dalton) And while I’ve got you, if you’re going to look at my books, please don’t leave them all over the floor. DALTON I didn’t touch your books. Josh streaks past, kissing Renai on the cheek. JOSH I gotta go. RENAI Are you taking the boys to school? JOSH No time. RENAI Well can you pick them up after school? JOSH Not today. RENAI But I have stuff I wanted to... She trails off. He’s gone. Foster BURPS. Loudly. FOSTER Can I have another cup, mom?",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CLASSROOM, FORRESTER HIGH SCHOOL - DAY Noisy students settle into their desks. Inner city kids, mostly Hispanic.10.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Josh is their teacher, scribbling on the blackboard. One student, a lanky boy, ALANSO (16), hovers near the door. JOSH Alanso, please sit down. ALANSO No entiendo. JOSH Siéntate, por favor. Alanso takes a seat. Josh is having trouble getting control. JOSH (CONT’D) Come on guys, quieten down. A pretty girl in the front, TERI, is annoyed at the class. TERI You better all shut up. She commands respect. They do. Except for one kid. THE ONE KID Just cos you’re in love. JOSH Thank you, Teri. Today we are going to talk about Darwin. It’s a city in Australia, but it’s also the last name of which famous naturalist? MALE STUDENT # 1 Charles Darwin. JOSH Correct. Does anybody know what he is famous for? MALE STUDENT # 1 He said that people descended from monkeys. JOSH Half right. He wrote a seminal book that explained his theories on natural selection, and how the different species on this planet - including humans - evolved. ALANSO I know I didn’t evolve from no monkey. Shit.11.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Everyone laughs. JOSH Humans actually have a lot in common with monkeys, or more specifically, chimpanzees. ALANSO Maybe you do, but I was created in the image of my Dios. He takes a gold cross hanging on a necklace out of his shirt, kissing it and holding it up. That gets another laugh. JOSH I respect your right to believe that, Alanso. But I want to give you all possible theories. I want this class to go out into the world with an informed opinion. ALANSO The theory is incorrect, Mr. Lambert. JOSH How can it be incorrect? It’s a theory. A scientific theory. ALANSO Yeah, well, science is bullshit. We didn’t get here cos of no test-tubes. JOSH Alanso, if you keep talking like that I’m going to ask you to visit the principal. ALANSO Fine. He gets up and leaves as the class JEERS and BOOS.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LIVING ROOM, LAMBERT HOME - DAY Peace and quiet at last. Renai gropes in behind the bookcase, plucking a hidden jewelry box free. She pinches a cigarette out of it and lights it. She sits down at her piano, feeling the keys, warming her fingers up. Sunlight streams in through the windows. She takes out a notebook, filled with scribbled handwriting. 12.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library She places the notebook on the sheetstand, then sets a small, mechanical METRONOME in motion and begins tapping out a sombre melody in time with it. RENAI (singing) Yeah, I’m looking west, always been looking that way, gonna get it all happening, just can’t do it today... She stops and makes a note in her book. She starts over, rising to the emotion of the song. She’s got a good voice. RENAI (CONT’D) (singing) Yeah, I’m looking west, always been looking that way, I’m gonna be somebody, I just can’t be her today-- She is interrupted by the tinny sound of a baby crying. She stops playing and looks over at a baby monitor, the source of the noise. Renai deflates, her shoulders sagging in defeat. She closes her notebook and leaves the room.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CALI’S NURSERY - DAY Renai scoops up Cali, rocking her gently. A scratching sound interrupts. Rough. Frantic. Like a dog pawing at something.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HALLWAY - CONTINUOUS Renai steps into the hall, curious. She can still hear it. She follows the sound to a door. Grabs the door handle. The sound abruptly ceases.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BASEMENT - CONTINUOUS The door whines open and stabs a blade of light onto a set of stairs that descend into a gloomy basement. Renai stands at the top of the stairs, squinting into the inky blackness, straining to see. She reaches up and yanks a light chain, illuminating a bare bulb and throwing light across the tenebrous space. 13.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library The basement is large and completely bare. Cleaned out. Renai takes a step down. She is still carrying Cali . FURTHER DOWN below her, we see that there is one step that is cracked and broken . She takes another step. The broken step is right below her now . One more step and she will fall. Cali squeals happily. Renai pauses...then turns around, heading back up the stairs. Stops when she sees something. DEEP, VIOLENT SCRATCH MARKS...running downwards on the inside of the door...as if someone were trying to claw their way out.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. LAMBERT HOME - NIGHT A Spanish-style home. Very pretty. This is not the suburbs. More of an inner city neighborhood. There’s history here. Josh pulls into the driveway of his new house in his Subaru.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LIVING ROOM, LAMBERT HOME - NIGHT The house almost looks liveable. Foster is watching loud, zany cartoons on TV. Cali is in a high chair. Renai is folding boxes. She has unpacked most of the living room and is very tired. Josh ambles in, sees the work Renai has done. JOSH Look at this. Nice job. Foster bolts over and crashes into his dads legs, hugging him. JOSH (CONT’D) Whoa, buddy. Slow down. RENAI Josh, where’s the box of my lamps? JOSH I don’t know. They should be here. We packed them up. RENAI Yeah, I packed them. They’re not here. 14.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library JOSH I remember the movers bringing them in and putting them right there. RENAI (passive aggressive) Well, they’re not here. I would know, I’ve been unpacking this stuff all day.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CORRIDOR, LAMBERT HOME - NIGHT Dalton wanders the hall, sporting a red superhero CAPE and carrying a plastic, glowing light-sabre toy. He reaches a door. The basement door. He pulls it open.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BASEMENT - NIGHT Dalton holds up his light-sabre, the glow allowing him to make out the murky corners of the basement below. He takes a step down the stairs. Then another step. The broken step is right below him . He steps again ---- and falls. Flails forward, tumbling down the steps, all the way to the bottom. His light sabre SHATTERS. He hits the ground, his head smacking the floor. All is dark.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LIVING ROOM - NIGHT Josh sits with Foster, zoned out in front of the droning TV.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BASEMENT - NIGHT Pitch black.Dazed, Dalton sits up. His head is cut and bleeding. He is alone in the dark. He stares into the corner of the surrounding cell. His eyes adjust, making out a shape. A shadow. 15.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LIVING ROOM - SAME TIME Josh and Renai look up as the quiet is shattered by a SCREAM. They spring into action, scrambling to their feet. RENAI Dalton? Where are you? He doesn’t answer. Just keeps screaming.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BASEMENT - NIGHT Renai and Josh whip the door open, glaring into the basement from the top of the stairs. RENAI Dalton? Dalton is crumpled at the bottom of the steps, sobbing, his red cape gathered around him. Renai flicks the light on. Her and Josh scamper down the steps, propping Dalton up. JOSH What happened? DALTON I fell. RENAI Dalton, you have to be careful. You shouldn’t be coming down here in the dark. JOSH Where do you hurt the most? DALTON My knee and my head. I can’t stand up. Josh lifts him to his feet. A severely grazed knee is dotted with blood. He’s okay. JOSH You scared us, champ. Josh carries him up the stairs as he sucks in sobs. Renai glances around the basement, her eyes landing on the lone object that resides in it. 16.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library She frowns. It wasn’t there when she saw the basement last. It is a box. One of her large, cardboard moving boxes. It is marked LAMPS.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DALTON’S BEDROOM - NIGHT Dalton is lying in bed, a band-aid slapped across his forehead. Renai tucks him in, Josh standing over him. JOSH You’re lucky you don’t need stitches. RENAI If I catch you falling down the stairs again I’m gonna break your neck. DALTON That doesn’t make sense. There are dozens of pictures tacked to the wall, all drawn by Dalton. Josh taps one; a drawing of Dalton flying through the night sky, wearing his cape. DALTON (CONT’D) You might be a superhero but you’re not invincible. Be more careful, bud. Renai kisses him and gets up. RENAI Sleep tight, honey. They wave goodbye and turn out the light.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MASTER BEDROOM - NIGHT Renai flops into bed beside Josh, exhausted. JOSH Weâ��™ve gotta lock that door. RENAI He’s such a boy. He goes off exploring. Sometimes I wanna keep him on one of those child leashes. JOSH Why bother with a child leash? I’ll stop at the pet store tomorrow. 17.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library She laughs and cuddles up to him, resting her head on his chest. RENAI I’m sorry I was pissy when you got home. I was trying to work on a song today and then Cali woke up and wouldn’t stop crying... JOSH I didn’t even notice. RENAI I feel guilty for wanting my own time. JOSH It’s normal to want your own time. RENAI Is it? My mother gave up everything for me. I keep waiting for the completely selfless parent gene to kick in, but I’m exactly the same person I was when I was 22, only now I’m married with kids. JOSH You’re a great mother. RENAI No, I’m not. They like you so much better than me. JOSH That’s not true. RENAI You’re the cool dad who comes home with presents and I’m the one who yells at them all day. JOSH Now you’re being crazy. They love you. At least you get to connect with them. I work so much. RENAI Believe me, you’re their hero. They try to play us off against each other. They’re master manipulators. I guess they really are my kids. Josh laughs. A lull settles over them. 18.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library RENAI (CONT’D) Is this it, Josh? JOSH Is this so bad? She doesn’t answer. They sit in silence for a long beat. RENAI Thank you for letting me take some time off to work on my music again. JOSH We’ll get by. I want you to do it. RENAI There’s a couple of songs...I mean not all of them, but there’s a couple of them that I think are really good. And I think, maybe I could do something with them. JOSH I love all your songs. They kiss.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. LIVING ROOM - NIGHT It is 3AM. All the remoteness of that hour is present here...we can feel it. As still and quiet as deep space.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. KITCHEN - NIGHT The formerly bustling kitchen is now a museum at midnight.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HALLWAY - NIGHT A long, dark thoroughfare. A ticking clock its only occupant.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. BASEMENT - NIGHT Stairs swallowed up by darkness. The groan of settling wood.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. FOSTER’S BEDROOM - NIGHT The soft breathing of a sleeping child.19.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CALI’S NURSERY - NIGHT Hanging toy birds dangle over the baby, tinkling in a breeze.",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. DALTON’S BEDROOM - NIGHT Dalton is sleeping too. Impossibly still. Lying on his back.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MASTER BEDROOM - NIGHT Renai and Josh are entwined together. Josh is snoring. They are both blissfully asleep... ...for now.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. KITCHEN - MORNING Another day, another chaotic breakfast. Foster waves a stuffed toy around. Josh charges in, bits of tissue on his face from shaving cuts. Cali flails her arms in her high chair. Renai is at the sink, whisking eggs. RENAI Foster, sit down honey. She whips a look around. RENAI (CONT’D) Where is...? Hey Josh, could you go wake up Dalton? We FOLLOW Josh as he marches down the corridor to Dalton’s bedroom, poking his head inside.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DALTON’S BEDROOM - CONTINUOUS Josh knocks on the wall. JOSH Time to get up, my man. Come on. Nothing from Dalton. He doesn’t even stir. Josh rolls his eyes and walks in. Nudges Dalton with his knee. JOSH (CONT’D) You’re making me look bad here. Outta bed before your mother comes in and kills both of us.20.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Nothing. He’s really out. Josh reaches down and shakes Dalton vigorously. JOSH (CONT’D) Dalton, get up. You’ve gotta get ready for school. Josh waits for a response, but none comes. Dalton is as slack as a puppet. Something resembling concern crosses Josh’s face. JOSH (CONT’D) Dalton...? He kneels down, shaking Dalton hard. He listens for breathing. JOSH (CONT’D) Dalton? Dalton?! DALTON!! His scream takes us into--",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOSPITAL ROOM, ICU UNIT - DAY --the stern sterility of a hospital. Josh and Renai, eyes lined by dark circles, stand in front of a dour neurologist, DR. JOEL SERCARZ (46). Renai dabs her eyes with a tissue. They are red with tears. Beyond a window in front of them, lying on a gurney in an ICU chamber, is the unconscious body of Dalton. DR. SERCARZ Okay...as of yet, our tests have not drawn any conclusive answers for you. Repeated blood and CSF cultures are normal, making an infective origin highly unlikely. Tests for Lyme disease and repeated polymerase chain reaction are negative. Systemic vasculitis was ruled out. Dalton remains in an areactive coma without focal signs or abnormal brainstem reflexes. Josh and Renai struggle to follow the cold, multi-syllable medical terminology...like stranded tourists keeping up with a foreign language. DR. SERCARZ (CONT’D) We’ve looked for bacterial pathogens like Meningoencephalitis, but haven’t seen anything. 21. (MORE)Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library I wouldn’t say we’ve exhausted every single angle...but we’re close. The underlying cause is still unknown. Josh and Renai look in at their boy. DR. SERCARZ (CONT’D) The good news is that he’s breathing without the use of a mechanical apparatus, and there are no lesions or hemorrhages in any of the CT scans. JOSH So...there’s no brain damage or...? DR. SERCARZ None that we’ve detected. Technically, he’s in a coma. He doesn’t respond to stimuli, he has no sleep-wake cycle, but there’s no brain trauma or infection. His scans are normal. To be honest, I’ve never seen anything like it. JOSH That fall he took...I mean, it looked like he hit his head pretty hard. DR. SERCARZ We definitely exhausted that possibility, but it was always doubtful. The cut was superficial, there wasn’t even a skull fracture. RENAI He can’t just not wake up...there’s got to be something ... Renai sobs, tears streaming down her face. Josh looks like a deer in the headlights. Stunned dumb. Sercarz clears his throat. This part of the job isn’t his specialty. DR. SERCARZ I’m sorry. JOSH So what do we do now? Does he stay here? DR. SERCARZ We’ll conduct some further testing, but beyond that...I really don’t know. 22. DR. SERCARZ (CONT’D)Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library His pager goes off. He checks it. DR. SERCARZ (CONT’D) Excuse me for a minute. I have to step out. A nurse will be with you in just a moment. He leaves quickly. Josh and Renai press on the glass, separated in body and spirit from their son. FADE TO BLACK. SUPERIMPOSE TITLE: TWO MONTHS LATER",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DALTON’S BEDROOM, LAMBERT HOME - DAY A ghastly meld of hospital room and young boys bedroom. Dalton lies on his bed, a heart rate monitor hooked to his chest. IV tubes run into his arms, a Nasogastric feeding tube into his mouth. A young nurse, ADELE CHALFIN (30), checks the various tubes as Renai watches on. ADELE Are you having any more trouble with the feeding tube? Renai looks broken, the life drained from her. A wilted flower. She shakes her head, her voice a low rasp. RENAI (barely audible) It’s okay. ADELE Alright, well I’ll be back soon. I’ll bring some new books. You’re probably sick of the ones you have. RENAI Did he respond to any of the tests? Adele pauses. ADELE No...no, he didn’t. But we have to give it time. I’ve seen coma patients with a much longer inactivity time suddenly start making noises. 23.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library RENAI He’s not in a coma, remember? They don’t know what to call it. They don’t know what to do with him so they’ve given up. ADELE No, they haven’t. We’re going to figure it out. Adele hugs her, then exits. Renai slumps down on a chair next to her son. The heart rate monitor pings. Dalton is as still as a statue.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CORRIDOR - DAY Renai shuffles down the corridor. She passes a bedroom door, then stops and doubles back, pushing it open and going into--",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. CALI’S NURSERY - CONTINUOUS --the babies room. She stares into the crib...at her other sleeping baby. She sets the baby monitor and walks out softly.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LIVING ROOM - DAY Renai slumps in front of her piano. Taps one of the keys. She plays a discordant melody of low notes with one hand, not present enough to hear it. She stops and buries her face in her hands. Then she hears it. Whispering . It’s so low you would miss it if the house wasn’t absolutely silent. Renai looks up, scanning for the source of the murmur. It is coming from the baby monitor . Confused, Renai picks up the monitor, turning up the volume all the way up. The hissssssss of static fills the room. She presses her ear to the device, then hears it again - a hushed WHISPER, almost indistinct from the static save for the whistle of sibilants. 24.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library VOICE (from monitor) They see us...all of us...we have to be quick...this life begs us to come back. The whisper trails off....more static... VOICE (CONT’D) (from monitor) NOOOOOOOOOOOO!!!!!! Renai drops the baby monitor, leaping out of her skin at the sound of the scream. Nerves fried. The monitor smashes on the floor. All is quiet. Renai moves to the door, staring down the corridor at the door to Cali’s nursery. It is open only a crack. She hears crying. Cali is crying. We follow her as she bolts towards the nursery, smashing through the door, eyes filled with terror, seeing-- --nothing.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. NURSERY - CONTINUOUS Renai stalks into the room.The room is empty, save for Cali, crying in her crib. Renai’s eyes land on the closet. ANGLE FROM INSIDE THE CLOSETThrough a slight crack, we see Renai approach. Breath quivering. Her hand reaches out. She FLINGS the door open. It is empty.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. KITCHEN - NIGHT The family is eating. It’s very quiet. Foster keeps his eyes down as his parents eat in silence. Suddenly Cali breaks the quiet, squealing happily. CALI Dadda! Josh looks up, smiling. Amazed. 25.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library JOSH She said dad... Neither Renai nor Foster even look up.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FOSTER’S BEDROOM - NIGHT A bedside lamp gives off a jaundice glow.Renai gathers up scattered toys from the floor, relocating them to a desktop covered in beakers and lab equipment. Foster lies in bed beneath a large chart of the solar system. Renai stops cleaning when she finds a certificate, crumpled next to a school bag. It says IN RECOGNITION OF SCIENCE SKILL, AWARDED TO FOSTER LAMBERT ON 3/14/10. RENAI What’s this? FOSTER An award. RENAI That’s today’s date. You got this today? Foster nods meekly. RENAI (CONT’D) Why didn’t you tell us, honey? She sits on the edge of his bed. He stares at the wall. She strokes his hair. RENAI (CONT’D) I know it’s hard right now. But things will get better. I promise. Foster nods. RENAI (CONT’D) I’m going to show this to your dad. She plants a kiss his forehead and stands up. FOSTER I’m scared, mom. RENAI Scared of what?26.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library FOSTER Dalton. Renai sits back down. RENAI We’re all scared. It’s normal to be scared for him. But we can’t give up-- FOSTER Why do I have to sleep so close to him? Can’t I change rooms? RENAI Why would you wanna change rooms? Foster swallows. FOSTER I don’t know. Renai stares at her son. She kisses him again. RENAI Your brother needs you. Goodnight honey.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MASTER BEDROOM - NIGHT Josh lies in bed, reading Foster’s award. Renai is beside him. RENAI Something happened today. I didn’t want to tell you in front of Foster. JOSH What? RENAI I heard something coming from Cali’s room. A man’s voice. On the baby monitor...it scared the hell outta me. I went in there and no one was there. JOSH Could it have been interference? RENAI I don’t know. It was so clear. I was sitting at the piano and I heard this...whispering on the baby monitor. So I held my ear up to it--27.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library SUDDENLY - a noise interrupts. An arrhythmic KNOCKING sound, like a drunk pounding on a tavern door after closing. It is the front door. JOSH Who the hell is that? Josh knows it’s his job to check, but he doesn’t want to. JOSH (CONT’D) Stay here. He gets up.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FRONT DOOR - NIGHT Josh approaches the front door, flashlight in hand. He peers through curtains at the front step. It’s too dark to see anything. JOSH Hello? Who’s there? Only the wind replies. He aims the flashlight at the glass, shining it into the thick darkness. There is no one on the front step. Josh presses the flashlight against the window, arcing the beam across his front garden. Leans in close to the glass... And then--Nothing. There’s no one there.He makes sure the door is locked, then flips open a security system panel on the wall, pecking at the buttons on it.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MASTER BEDROOM - NIGHT Renai sits up in bed, listening. Hears nothing......until the low moans of a baby crying float out of the baby monitor. Renai hurls the sheet aside.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CORRIDOR - NIGHT Renai pads down the hall, tentative. 28.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library She reaches the open door to Cali’s room. Sees the silhouette of Josh standing over Cali’s crib. Exhales with relief. RENAI Who was it, Josh? Josh appears at the opposite end of the hallway . JOSH What did you say? Renai SCREAMS as the silhouette recedes into the shadows. RENAI There’s someone in there! She RUNS towards Josh. RENAI (CONT’D) There’s someone in Cali’s room! Josh BOLTS down the hall, flicking on the light, terrified. The nursery is empty. Cali is sleeping. Terrified, Josh enters the room. Scans around. Only toys and colorful wallpaper. He steps in further. He’s not cut out for this. SHRIEEEEEEEEEEEKKKK!!!!!! SHRIEEEEEEEEEEEEEEK!!!!!The house alarm screams to deafening life, shaving a few years off Josh’s life in the process. He JOLTS, whipping around. JOSH (to Renai) Grab Cali and Foster! Josh charges down the hall into the--",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. LIVING ROOM - CONTINUOUS --snatching up a fire poker from the fireplace and continuing--,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FRONT DOOR - CONTINUOUS -- to the front door, which is swinging open. Holding the fire poker aloft, Josh scans the area. Renai races past, carrying Cali and dragging Foster behind her. They barrel toward Dalton’s room.29.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. KITCHEN - CONTINUOUS Josh scans the kitchen. It is empty. The alarm wails in the background.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CORRIDOR - CONTINUOUS Josh inches his way up the hall, hand shaking.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DALTON’S BEDROOM - CONTINUOUS Renai holds Foster and Cali close to her. Dalton is lying behind them. Directly across from Dalton’s room is the laundry. The door is ajar, offering a view into the darkened room beyond. Renai sees something in the dark...a figure. A boy. It looks like Dalton. He reaches out to Renai----until another HAND...a pale hand...reaches across and shuts the laundry door, sealing the boy off from her view. RENAI Josh! The laundry!",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LAUNDRY - SAME TIME Josh bolts up the hall, panicked. He reaches the laundry door, grabbing the handle. Hesitates. He propels the door open with a shove, flicking on the light. The room is empty. No windows, no doors for escape...just a washing machine and a dryer.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LAMBERT HOME - NIGHT A home security officer trudges down the steps of the house. Renai, Josh, Foster and Cali all stand outside in their pajamas, shivering in the frigid night air. SECURITY OFFICER There’s no one in there, it’s all clear. If someone was there, they’re gone now. 30.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Renai steps away from the children, out of their earshot. RENAI I saw somebody. SECURITY OFFICER Maybe it was a shadow...? RENAI No. It wasn’t a shadow, it was a man. He was tall, and he long, greasy hair. He was wearing a grey jacket. He looked right at me. SECURITY OFFICER Well, like I said...he’s gone now. Renai looks to the others. Sees only disbelieving faces.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GYMNASIUM, FORRESTER HIGH SCHOOL - DAY Josh’s students scuffle about on stadium seating, arranging themselves for a CLASS PHOTO. They’re not doing a great job. A male photographer does his best to compose them, not doing a great job of hiding his bitterness about the fact that he’s shooting school photos instead of Vanity Fair spreads. PHOTOGRAPHER Okay, face the front ladies and gentlemen...come on...hold still... (muttering to himself) I’m trying to record the peak of your pathetic lives here. Josh stands off to the side, lost in his own thoughts. Tired. PHOTOGRAPHER (CONT’D) Mr. Lambert, would you like to step in please? Josh snaps out of his own head. JOSH Uh...what? PHOTOGRAPHER Could you step in so that we can take the photo? Quickly please. JOSH Just take it without me. 31.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library PHOTOGRAPHER We need you in the photo, sir. JOSH No, you don’t. Just take the damn photo without me, okay? The class settles down, shocked by the outburst. Chastened, the photographer turns to the class, gripping the camera trigger. PHOTOGRAPHER I can’t believe this is my life. (beat; to class) Ready kids? Say asshole teacher!",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GYMNASIUM, FORRESTER HIGH SCHOOL - LATER The students file out of the gym. Josh sits in the bleachers, head buried in his hands. ALANSO (O.S.) I hear things. Josh looks up, seeing Alanso. JOSH What? ALANSO I spend so much time in the office, I hear things. I heard about your son. I’m sorry. JOSH Thank you, Alanso. ALANSO Times like these...people realize that science doesn’t have all the answers. There is a higher force at work. JOSH I wish I had your belief. Things would be a lot simpler. ALANSO Things are simple. You just can’t see it. Put your faith in Him. He places his gold cross necklace in Josh’s hand, then leaves. Josh watches him go, then takes out his cell phone.32.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library JOSH (into phone) Hey...I just found out I have to stay back tonight and finish off mid-term grades. It could be a while, there’s a lot to go through. Don’t wait up. Bye.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PARK - NIGHT Josh sits on a park bench, staring into the distance. He takes out a flask of whisky, swigging from it.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MASTER BEDROOM - NIGHT Renai lies in bed, staring at the ceiling. Alone.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. KITCHEN - NIGHT Renai shuffles in, pouring herself a glass of water. Then she hears it. A low muttering. It is coming from Dalton’s room.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CORRIDOR - NIGHT Unnerved, Renai peers through the open door. Josh is sitting beside Dalton’s bed, reading to him. JOSH The men all walked down to the waters edge...and they stood there and asked the beast to come forth. And the beast roared back “No!”. And so they dived in after it...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LAMBERT HOME In the sunlight, the house looks like a happy place.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DALTON’S BEDROOM - DAY Dalton’s face is a picture of serenity.A new day-shift nurse, KELLY (29), checks on his feeding tube. Renai watches from the doorway. KELLY You okay? 33.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library RENAI Yeah. KELLY I was going to head off for an hour or so. Are you alright here? RENAI Of course. Anything from Dalton? KELLY No. I’m sorry. Renai nods. Her eyes brim with tears. The cracks are showing. KELLY (CONT’D) Keep providing him with stimuli. I’ve seen it work time and time again. Read to him. Even if you’re doing something else, you can play him music that he likes. Don’t give up. She throws a scarf over her shoulder and stands. RENAI I won’t, I just...I haven’t slept much the last couple of nights. I feel like the universe is trying to see how far I can bend before I break. KELLY The universe picked a fight with the wrong chick. RENAI Thanks, Kelly. You’re a sa",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int. KELLY No, I’m not. I’m doing my job. I chose to be here. You didn’t choose any of this. You’re the strong one.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. LIVING ROOM - DAY Renai surveys the living room. It is a total mess.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BATHROOM - DAY Water cascades out of a faucet. Steam rises from the water. 34.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Renai lets bath salts fall into the tub. She almost looks relaxed just smelling them. She starts to undress, then turns ---- and YELPS in fright . A person is standing behind the distorted glass window, staring in at her. The shape of the person’s head and shoulders can clearly be seen, but the glass is too opaque to make out any features. Renai slips, grabbing the sink. When she glances up, the figure is gone. Trembling, Renai opens the window. Very, very slowly. It is fifteen feet off the ground, with a sheer drop below it.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LAMBERT HOME - NIGHT Renai sits on the front steps, alone. It is late. She looks somehow tired and wired at the same time. Smoking a cigarette. Josh pulls in. Fumbles out of his car, tipsy. JOSH What are you doing up? RENAI It’s midnight, Josh. JOSH When did you start smoking? RENAI You’ve been coming home late every single night. You’ve never had to do that in all of the years you’ve been at the school. Now all of a sudden you have to stay back late? JOSH I don’t like it either, but I’m grading tests. What choice do I have? We’ve gotta pay Dalton’s bills. RENAI Your mother is paying Dalton’s bills, Josh. I know because she reminds me every chance she gets.35.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library JOSH Jesus, I can’t win with you. That’s my son in there too, not just yours! He paces, the anger sobering him. JOSH (CONT’D) I’ve always felt like less than good enough for you. I feel it every time you mention our bills. That subtle voice that says ‘can’t you get a job that pays more than a teacher’? And now I can’t even look at you without feeling it. RENAI You’re projecting that onto me. You’ve written an entire story about I’m how I’m feeling without once asking me how I’m feeling. JOSH I don’t need to ask. I know you. RENAI I am losing my mind here in this house, Josh. I’m scared and I need you and you’re not here. Where are you? JOSH I told you, I’m grading tests. RENAI I don’t mean that. I mean you’re not here. With me. In this situation. You’re avoiding it, like you do anything stressful, whether it’s this or a parking ticket. JOSH Christ, I should have stayed at the school. RENAI There you go again. Renai stands up and walks inside the house. The door closes.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LIVING ROOM - NIGHT Josh tosses a pillow onto the couch, setting himself up for the night. He curls up on it, pulling a blanket over himself. 36.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. CORRIDOR - NIGHT The witching hour. Still. Quiet...save for the omnipresent clock.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DALTON’S BEDROOM - NIGHT Dalton is as still as we’ve seen him. And then...he twitches. A slight facial twitch, but we see it.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LIVING ROOM - NIGHT Josh snoozes, head arched at a bad angle. His back will regret sleeping on this couch.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MASTER BEDROOM - NIGHT Renai tosses and turns, restless in sleep. Her eyes open and she sucks in a breath. Bad dreams. She blinks and looks around the room, surprised to be alone, sitting up in fright. Until she remembers why. She eases back onto the bed. Then she looks over at the window. There is a man standing outside it . He is not looking in at her...he is pacing back and forth, furiously smoking a cigarette. Back and forth, back and forth. Agitated. He has long, black, greasy hair and a grey jacket. Every muscle in Renai’s body freezes. She becomes a glacier. Her eyes are drilled to the man, unable to move. By sheer will, she manages to direct them towards the bedroom door. Opens her mouth but no words will come. Finally-- RENAI Jo....osh....Josh....Josh... She glances back at the window. THE MAN IS NOW IN THE ROOM . He paces back and forth between the bed and the window, just as he was outside, ignoring Renai. Smoking like a fiend. And then, suddenly, he stops pacing. Looks up. Straight at Renai - as if just realizing she was there. 37.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library For a moment their eyes are locked in silence... ...and then the man’s face contorts in anger and he CHARGES towards her, arms outstretched, GROWLING in fury. MAN DON’T YOU FUCKING DARE! Renai lets out a SHRIEK of terror that could strip pa",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int. A cry from the depths of her soul. She propels herself backward, falling off the bed and scrambling back into the corner. Josh CHARGES into the room, flicking on the light----seeing only Renai, huddled in the corner, screaming. JOSH What is it? What is it?! Renai is incoherent. She cannot stop screaming. Josh grabs her by the shoulders. JOSH (CONT’D) Renai, what is wrong?! RENAI The man -- he was there -- he tried to -- there was a man there!!! Foster runs into the room, visibly terrified. He sees his mother and instantly begins crying. He runs to his dad, holding onto his leg. In the background, Cali begins crying, her screams contributing to an overwhelming din. JOSH There’s no one here. RENAI I saw somebody! JOSH There’s no one here. RENAI Don’t you dare not believe me! JOSH I believe you, okay? I just don’t know what you want me to do.38.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library RENAI I want you to tell me that we can leave this house. I will not spend one more night here. I wanna leave, I wanna go! FOSTER I don’t want the man to get me. The realization that her child is terrified quiets Renai. All is suddenly silent, save for the cries of Cali in the background. Josh holds his son tight. JOSH You’re okay, buddy. I’ve got you. He and Renai exchange a look. RENAI I’m sorry. (beat) I can’t...I want to leave this house. I can’t be here anymore. JOSH To move now would be...we would have to rent somewhere. It’s not-- RENAI Please, Josh. An agreement passes between them. FADE TO BLACK.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SUBURBAN HOUSE - DAY A moving truck is parked outside an average suburban home. Movers mill about, hauling boxes and couches.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LIVING ROOM, NEW HOUSE - DAY Renai unpacks boxes. An elderly woman, LORRAINE (65), helps to unpack. This is Josh’s mother. She has a curt, disapproving manner about her that doesn’t always make her easy to love. She is actually moving more quickly than Renai, who groans as if her back were aching as she stoops down to pick up books. 39.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library RENAI Lorraine, you shouldn’t have to do any of this. Sit down. LORRAINE Nonsense. I’m perfectly capable of putting a few things away. I did it for Josh his whole life. He never was good with tidying up. RENAI I know, but I just feel so bad. LORRAINE I think it’s you who should be sitting down by the looks of it. She boosts a photo frame from one of the boxes. It is a portrait of Renai, Dalton, Foster and Josh. In happier times. Lorraine seems taken aback by it. LORRAINE (CONT’D) I can’t believe you got Josh to sit still for a photo. Renai reclines against the wall, surveying her new living room. Her new new house. RENAI I can’t believe we’re doing all this again, that’s what I can’t believe. (beat; looks at her) I know you think I’m crazy. Lorraine stops unpacking and fixes Renai with a stare. They’ve never really gotten along before. Adversity has brought about a truce. LORRAINE Nobody - not me, not anybody - knows what you’re going through right now. Whatever you have to do to get through it, do it. And never apologize for it. Renai hugs her. It’s a new thing for them and a bit awkward.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DOCTOR’S OFFICE - DAY DR. BRYCE TRIMBLE (52) sits opposite Renai and Josh. Spread out in front of him are a series of X-Rays, labelled DALTON LAMBERT. His office is big and expensive. 40.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Renai looks hopeful. Josh looks like a shell of a man. RENAI We just wanna say...thank you so much. For helping us out with this, doctor. We can’t tell you how much it means to have you involved. DR. TRIMBLE I’m glad to help. (beat) Unfortunately...these recent tests have proven inconclusive. There’s absolutely nothing abnormal here. Josh and Renai deflate. JOSH So...if you’re the top of the food chain with this stuff, where does that leave us? DR. TRIMBLE I don’t know. There is a research team in Boston who specialize in a new form of treatment. They try to stimulate the patients brain with electric pulses. It has a good success rate with victims of brain injury. We could try that. RENAI So there’s hope? DR. TRIMBLE There are more things we can try. (beat) The hope part is up to you.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DALTON’S BEDROOM, NEW HOUSE - DAY Renai sits beside Dalton. Staring at him. She runs her fingers through his hair, touching his skin.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LIVING ROOM, NEW HOUSE - DAY A needle touches an LP. The pops and crackles of record hiss spit forth, followed by the lilting guitar strums of ‘Tip Toe Through The Tulips’. The quavering falsetto of Tiny Tim accompanies the guitar. 41.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library TINY TIM (V.O.) (from record) Tip-toe by the window, by the window, that is where I’ll be... Renai walks away and we follow her down the hall into --",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FOSTER’S BEDROOM, NEW HOUSE - CONTINUOUS -- a mess as only a child can make. Renai picks up a plate and a fork and knife from the floor. She walks out and we DON’T CUT, tracking with her --",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HALLWAY, NEW HOUSE - CONTINUOUS -- back down the hall, towards the kitchen. The records continues warbling in the background. TINY TIM (from record) Oh tip-toe, from the garden, by the garden, of the willow tree... Renai passes the living room. What she doesn’t see is the child standing in the middle of the room, facing the record player. The boy is dressed in clothes from another time, but children’s clothes just the same. He is dancing awkwardly, shifting his weight from one foot to foot the other sheepishly, as if trying it for the first time. Renai keeps walking and we stay with her as she moves past the child, following her into the --",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. KITCHEN - CONTINUOUS -- mess of the kitchen. She sets the plate down in the sink, on top of a stack of other dirty dishes. With a sigh she runs the hot water over the dishes. With a sudden POP, the record starts skipping.Bump...bump...bump...42.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Renai shuts off the water, heading back to the living room.",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LIVING ROOM - CONTINUOUS She marches in, annoyed. Then freezes. Her bookshelf is empty. The books that once sat on it are now scattered across the floor. Bump...bump...bump...Renai scans the books. Then she hears it... Giggling. She pivots her head towards the darkened hallway. There, she sees a child, hidden in shadow, standing in the hall. Staring at her. Bump...bump...bump...Renai doesn’t move. Doesn’t breathe. And then suddenly, the child turns and runs down the hall, disappearing into Dalton’s bedroom. RENAI Oh my God, Dalton...no... Summoning every ounce of strength, Renai troops down the hall towards Dalton’s room.",TWIST +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DALTON’S BEDROOM - DAY Renai pushes the door open. Dalton lies in the center of the room on his gurney. The only sound is his breathing. Renai surveys the room. It is empty. Bump...bump...bump...She steps inside, glancing over at a cabinet. In the foot- high space beneath it, a small white shoe protrudes slightly.43.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library A child’s shoe. Heart pounding, Renai bends down, peering into the darkness under the cabinet. Bump...bump...bump...The shoe does not have a foot in it. It is simply a discarded shoe. There is no one under the cabinet. BA GBANG!!! The cabinet doors EXPLODE open as the child bursts out, giggling. Only we see that it is not a child. It is a DWARF. A man in child’s clothing. The dwarf runs past Renai as she LEAPS back. He runs out of the room, giggling. All is quiet again. Bump...bump...bump...Renai gets up, unsure of what to do. Numb with terror.SUDDENLY-- the record pitches back to life, the volume startling. Renai JOLTS, falling backwards.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CLASSROOM, FORRESTER HIGH SCHOOL - NIGHT A darkened class room. An older janitor, NED (68), shoulders the door open, carrying a mop. He STARTS when he sees Josh, sitting at his desk in the pale light of a desk lamp. Alone. NED Josh...didn’t see you there. JOSH Sorry to scare you. NED What are you up to this late? Josh holds up his flask of whisky. He’s a bit soused. JOSH Where did all the bartenders who listen to your troubles go, Ned? Ned nods sagely. He sets down his mop and grabs a chair, sitting in front of Josh with a sigh. He takes the flask.44.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library NED Never drink alone. If you take the dirty jokes out of drunkenness, all you’re left with is the self loathing. He downs a hit from the flask, then hands it back. JOSH I don’t need whisky for that. NED Bah. You people think too much. Used to be, if life threw a shitstorm at you, you’d grab the nearest umbrella. Your generation would spend a day googling what brand to buy. Josh laughs despite himself. JOSH I probably would too. (beat; takes a drink) It’s funny, I’ve always known I was the type of person that things didn’t happen to. I made peace with it. I thought to myself, it’s okay - I’ll never win the lottery or climb Mount Everest...but I’ll never get a rare tropical blood disease either. It works out. (beat) Now I’m the guy whose son is in a mysterious coma. NED Things happen to everybody. Even to good people like you. And they’re gonna keep happening the older you get, believe me. No use sittin’ in the dark drinkin’ over it. Go home. Be with your wife. Tell her your what’s on your mind. He takes the flask and has another swig. NED (CONT’D) There sure as hell isn’t any umbrellas ‘round here.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. NEW HOUSE - NIGHT Josh pulls up to the house. Turns off the car.45.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library An old Cadillac is sitting in the driveway. Josh clambers out of his car and peers in through the window of the Cadillac, quizzical.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LIVING ROOM, NEW HOUSE - NIGHT Renai is huddled on the couch in the living room, gripping her knees to her chest. A man is sitting next to her; a handsome, soft-spoken Anglican priest, FATHER NATHANSON (40). Josh enters. There are subtle changes in his coordination and speech from the booze. JOSH This is the first line of a joke. Guy comes home to find his wife with a priest... Father Nathanson stands, as does Renai. RENAI Josh, this is Liam Nathanson. A very old friend of mine. FATHER NATHANSON Nice to meet you. I’ve heard a lot about you. JOSH Can’t say I’ve heard the same, Liam. At least I know you’re not sleeping with her. LORRAINE (O.S.) Don’t be rude, Josh. Josh turns to see his mother, holding a tray of tea. He frowns. JOSH What is going on here? FATHER NATHANSON I should be going. Thank you so much for the tea. RENAI Thanks, Liam. He clears his throat and exits, quickly and quietly. JOSH Okay, would anyone mind telling me what the hell is going on here?46.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library LORRAINE Please sit down, Joshua. JOSH “Joshua?” Oh Jesus... LORRAINE Sit down. JOSH The melodramatic way in which you two are conducting yourselves right now is scaring the shit out of me, so just tell me what’s wrong. LORRAINE Nothing is wrong. We want to talk. JOSH Nobody asks you to sit down unless something is wrong. If a doctor calls you into his office and asks you to sit down, you’re fucked. RENAI There’s no use, Lorraine. He’s been drinking. JOSH I have not been drinking . Not enough that we can’t talk to each other, Renai. And don’t judge me in that bitchy tone, okay? RENAI (to Lorraine) He would never speak to me like that before. JOSH Christ. You’re acting like I’m some lush who comes home and beats you with a belt. At least I’m speaking to you. You suddenly have to speak to a priest. Or my mother who, up until a couple of weeks ago, you couldn’t stand. RENAI You’re an asshole. LORRAINE Your wife needs you. Now sit down and listen to her. I won’t ask you again. 47.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Josh obeys. His mothers tone can still shut him up. LORRAINE (CONT’D) Go on, Renai. Tell him. RENAI This...thing that was in the other house. It followed us. Josh shifts in his seat. Agitated. LORRAINE Let her speak. RENAI I saw someone again today. In the house. It looked like a young boy. I followed it into Dalton’s room... but it wasn’t a child. (beat) This thing is here. I know it. JOSH So...what? You called in a priest to get rid of it? RENAI I didn’t know what else to do. JOSH Are you kidding me? (to Lorraine) Was this your idea? RENAI No. It was mine. JOSH You’ve never been to a church in your life. Now you’re inviting a priest into our home? I feel like I don’t even know you right now. RENAI I’m scared. JOSH This is a fantasy, and you need a therapist, not a member of the clergy. RENAI (to Lorraine) I told you...48.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library LORRAINE What’s happening to Renai is real. I’ve seen it for myself. (beat) I came here today because last night I had a dream about this place.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. KITCHEN, NEW HOUSE - NIGHT We are FLOATING through the corridor, looking through Lorraine’s POV. We are inside her dream. LORRAINE (V.O.) I was in this house...but it was late at night. The POV keeps moving, out of the kitchen and into the hall. LORRAINE (V.O.) (CONT’D) I tried to be quiet. I didn’t want to wake anybody. I was afraid. The POV floats down the hall, reaching a door. The door opens, revealing Josh and Renai, sleeping. LORRAINE (V.O.) (CONT’D) I looked into your bedroom. You were both asleep. The POV keeps moving down the hall. LORRAINE (V.O.) (CONT’D) I knew that I was asleep in the dream...but I could feel that someone was awake in the house. We keep pushing on, reaching the door to Dalton’s room. LORRAINE (V.O.) (CONT’D) I went into Dalton’s room. The door pushes open. In the dark, we can see Dalton, in bed. LORRAINE (V.O.) (CONT’D) There was someone in there with him. The POV turns to see a DARK FIGURE, standing in the corner. LORRAINE (V.O.) (CONT’D) A man was standing in the corner of the room. 49. (MORE)Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library I asked him who he was...he said he was a visitor. I asked him what he wanted...he said Dalton.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LIVING ROOM, NEW HOUSE - DAY Lorraine is clearly unsettled by the dream. LORRAINE I can still hear that voice. She looks up at Josh - and SCREAMS! Over Josh’s shoulder, crouched down behind the couch and peeking up over the armrest at Lorraine, is a DIABOLICAL FIGURE. His face is PURE RED with smeared lipstick. His scalp is completely bald, yet tufts of hair dangle above his ears. Other than his face, his skin is charcoal black. Lorraine recoils back, utterly petrified. JOSH What is it? Lorraine stares eerily into his eyes. Frozen. LORRAINE He’s here. Renai looks to Josh, who is at a total loss. She is crying. RENAI Help us... His anger fades and he steps over and takes her in his arms. JOSH I don’t know how. LORRAINE I know somebody who can help...if you’re willing to ask for it.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. NEW HOUSE - DAY A battered van is parked in the driveway of the house.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LIVING ROOM, NEW HOUSE - DAY Renai and Josh stand in front of two men. They are silent.50. LORRAINE (V.O.) (CONT’D)Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library The shorter one is a wiry young man who looks like he spends most of his time in dark rooms. Not a member of the beach volleyball team. This is SPECS (32). The other is TUCKER (33), a larger man with scruffy facial hair. He is eating a Hot Pocket. SPECS So you must be Josh? JOSH Yeah. SPECS That wasn’t psychic. Lorraine told me your name. JOSH Oh. SPECS I’m Specs. (beat; spooky voice) I’m here to solve your problem. I’m just kidding with the voice. We take this very seriously. RENAI So is Elise coming or...? SPECS She won’t be joining us yet. Usually we handle all the background stuff, then she gets involved when we have the facts. TUCKER Helps weed out the nutjobs. RENAI Okay... JOSH This is a little uncomfortable. Speaking for myself. I’m not used to this kind of stuff. SPECS We understand completely. Ninety six per cent of the people we deal with have had no experience with this type of phenomena before. He takes out a notepad and pen.51.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library SPECS (CONT’D) I would like to start by interviewing you both. Can we record your answers? RENAI Ah...sure. SPECS My assistant will check different areas of the house for electrical anomalies. I’ll get him started. Tucker, would you follow me?",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. KITCHEN, NEW HOUSE - DAY Specs leads Tucker into the kitchen. TUCKER Assistant? SPECS Could you not eat that in front of the clients? TUCKER Assistant ? SPECS Finish it in here. This industry gets laughed at enough as it is.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LIVING ROOM, SPECS’ APARTMENT - DAY Specs is halfway through interviewing Josh and Renai. SPECS Do you or any of your children suffer from epilepsy or autism? RENAI No. I mean, our son... SPECS Right. I heard about this from Lorraine. He is in a coma, the cause of which is unknown? RENAI Yes.52.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library SPECS Do either of you habitually use drugs or alcohol? RENAI No. SPECS No drugs at all? RENAI I take anti-depressants sometimes. SPECS Do you have a history of clinical depression? RENAI Not a history. I’ve had bouts of it. In the past. Renai is uncomfortable. Specs makes a note. The camera beeps. SPECS Tucker, could you check the camera? TUCKER (O.S.) I’m still assisting in the other room. SPECS Whenever you’re ready then. A long beat. Tucker finally enters, adjusts the camera. TUCKER (to Renai and Josh) He handles administration, I handle technical. It’s an even split. He couldn’t change a light bulb and I’m no good with paperwork. It bores me senseless. Specs clears his throat, peeved. Continues. SPECS Do you have any history of sexual abuse in the family? JOSH No. (beat) I’m sorry, I have to ask how this relates to our problem?53.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library SPECS Nine times out of ten, when someone comes to us with a problem like this, it’s because of an inward cause within the family unit...not a physical force outside of it.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MASTER BEDROOM, NEW HOUSE - DAY Specs and Tucker mill around the room. Tucker is carrying a small electronic device. He holds it against the wall. JOSH What is that? TUCKER Tri-field meter. It measures DC fields and the natural electro magnetic environment. SPECS Sometimes old wiring can leak into the atmosphere. It can cause hallucinations, changes in energy. TUCKER Yeah. It’s a little more complicated than that, but, you know, you get the general idea. SPECS It’s basically that. TUCKER Not really, but whatever. SPECS (to Josh) The tech stuff’s not relevant to you anyway. TUCKER It’s very relevant, but it’s all good.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CORRIDOR, NEW HOUSE - LATER Tucker edges into the corridor. He switches out the light, then takes what looks like a modified VIEW-MASTER TOY out of his shoulder bag, holding it up to his eyes. He stalks down the corridor with it. All is quiet.54.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library TUCKER’S POV THROUGH VIEWMASTER - different filters highlight different degrees of UV light. Each slide changes the readings. He approaches the grandfather clock. Another slide clicks into place - showing us TWO FIGURES. Standing beside the clock. In the negative light, they look like females. Tucker lowers the device. There is no one there.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LIVING ROOM, NEW HOUSE - SAME TIME Specs packs up the video equipment, babbling to Josh and Renai. SPECS Epilepsy in one of the children mostly. It’s very common. If we approach things academically, it lets us find the genuinely interesting cases. Tucker backs into the room. Very slowly. He is afraid. TUCKER I think we can call Elise now...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FRONT DOOR, NEW HOUSE - EARLY EVENING Josh opens the door to see an elderly woman, ELISE RAINIER (73), who despite her years maintains a sprightly energy. There is absolutely nothing morbid or dour about her. JOSH Mrs. Rainier? ELISE No, my mother couldn’t come, it’s just me. Elise. You must be Lorraine’s son? You’ve grown since I last saw you. JOSH Last saw me? ELISE Your mother and I have been friends for a long time.55.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Elise steps inside. Renai, Tucker and Specs gather around her. Everyone becomes very subservient, like the Queen just arrived. ELISE (CONT’D) (re Specs and Tucker) They’re very good assistants but I can’t get them to dress any better. RENAI Hi. I’m Renai. ELISE Pleased to meet you. I’m Elise. Elise takes her hat off and scans the room, taking a deep breath. Tucker jabbers, eager to please. TUCKER We took Tri-field and EMF readings of the whole house. All the wiring, alarm clocks, radios, toasters, TV, record player, fuse box. Nothing went off the charts. ELISE And the previous home? Tucker and Specs look at each other. Oh shit. SPECS Tucker hadn’t monitored that yet. I could jump on that this afternoon if you like? Make up for lost time. TUCKER Yeah, but who would work the equipment? I’ll need to be there. You know what, don’t even sweat it. I’ll make myself available. ELISE No, that’s fine, gentlemen. She stares up at the ceiling, as if seeing something they can’t. ELISE (CONT’D) I don’t think bad wiring is the problem here. She drifts over to the bookshelf, her hand landing on the stack of photo albums Renai looked through in the opening scene. ELISE (CONT’D) Hmm.56.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Renai and Josh exchange a look. ELISE (CONT’D) May I walk through the house? RENAI Yes. Of course. ELISE Steven, do you have your sketchbook? Specs hurriedly fishes a sketchbook and pencil out of his bag. SPECS Yes, I do. Yes, I do. Yes, yes. I do. ELISE Good. We’re going to need it. RENAI What is it for? SPECS She tells me what she sees and I draw it. It’s the most important part of her process. TUCKER His drawings and my photos comprise her visual records. SPECS Especially the drawings. TUCKER That’s debatable. SPECS It’s not debatable. TUCKER It is, but whatever. SPECS Onwards and upwards. Find me a ghost . Elise begins walking through the house. Tucker and Specs trail her and we FOLLOW THEM into the--",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CORRIDOR, NEW HOUSE - CONTINUOUS --hallway. 57.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Renai and Josh stay back, sheepish. Elise stalks forward at the front, surveying every nook and cranny of the house. Elise stops suddenly. She is staring straight at a corner of the hallway, next to the grandfather clock. RENAI What is it? ELISE There is something here. TUCKER This is where I saw it. Elise calmly mutters something to Specs in a low voice, but we have trouble hearing it - only snatches of key words. ELISE ...long hair...grey dress...her eyes are... He immediately starts sketching. His line drawings are fast but detailed. Impressive. He outlines the wall, the ceiling lamp, the grandfather clock. And then something else... Two young women. Standing next to the grandfather clock, dressed in Amish garb. Even in the roughness of the drawing, we can make out their pleading eyes and pale skin . Tucker takes out a camera, snaps some shots. Josh and Renai step forward, seeing the sketch. Elise keeps moving, heading straight for one door in particular. She stops, running her hand over the wood. ELISE (CONT’D) Do I have permission to enter this room? JOSH Go ahead. ELISE Maybe you could wait back there? Josh and Renai hug each other. Tucker lowers the camera. Elise grips the door handle and turns it. 58.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DALTON’S BEDROOM - DAY The door groans open. Dalton is lying on his gurney, surrounded by the sluggish drone of hospital equipment. The curtains are drawn and the room is dark. Elise hesitates...then steps inside. ELISE Leave the lights off. Elise steps closer to Dalton. She runs her hands over his prone body. She shivers as she does. A ripple of fear passes through her. Her breath quickens . Slowly... very very slowl y...she gazes up at a corner of the ceiling. Her eyes WIDEN and the look on her face should be ABSOLUTE T E R R O RT E R R O R . Her arm raises up, her finger extending and pointing at the corner she is glaring at. RENAI What is it? What do you see? Elise cups her hand over her mouth and whispers to Specs, keeping her eyes GLUED to the far corner of the ceiling. We cannot hear what she is whispering. Hand shaking, Specs feverishly starts to sketch. We cannot see what he is drawing. RENAI (CONT’D) What do you see?! The strokes of Specs’ pencil become faster and rougher , keeping up with Elise’s whispers. Sweat dots his forehead. Tucker glances at the drawing and steps back instinctively. He holds up his Viewmaster. POV THROUGH VIEWMASTER - we see the far corner of the ceiling change color as Tucker rotates the lenses inside...but nothing out of the ordinary appears. Just a ceiling. RENAI (CONT’D) Tell me! 59.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Suddenly, Renai charges forward, snatching the sketch book. The drawing is of a hideous form - crouched in the corner of the ceiling, staring down at Dalton below. It is the RED- FACED DEMON Lorraine saw earlier. His naked body is charcoal black...whilst also strangely translucent, the veins visible underneath the flesh. A corpulent stomach juts out, as if he were pregnant. Terrified, Renai flicks on the light -- -- revealing nothing but an ordinary ceiling.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MASTER BEDROOM, NEW HOUSE - NIGHT Renai lies in bed, awake...a broken shell of her former self. A bottle of anti-depressants sits on the bedside table. Josh enters the bedroom. Sits down beside her. JOSH Look at me for a second, honey. (beat) Look at me. She doesn’t look up. JOSH (CONT’D) Did you really believe what she said? In your heart of hearts, did you actually take what she was saying literally? A long beat of silence passes. RENAI I don’t know... JOSH Do you think I don’t want to believe in that stuff? Of course I do. It would make life a lot easier if I did. If I believed that some supernatural force was responsible for what’s happened to our son... RENAI I don’t believe anything anymore, Josh. I used to. I used to believe that I could keep my children safe. I used to believe everything would be okay. To believe in something, you have to know it to be true. She turns and looks at him. RENAI (CONT’D) The things that have happened to me haven’t confirmed any beliefs - they’ve done the opposite. They’ve made me question what I believe. 65. (MORE)Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library They’ve made me realize that maybe we don’t know as much as we think we do. Josh paces, at his wits end. RENAI (CONT’D) You ask me if I believe what she said to be true and the answer is I don’t know. But let me ask you this - in your heart of hearts, can you say for certain that it isn’t?",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MASTER BEDROOM, NEW HOUSE - NIGHT Josh lies beside Renai, who is sleeping. He is wide awake, staring at the ceiling. He gets out of bed.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DALTON’S BEDROOM, NEW HOUSE - NIGHT The door opens. All is mute as Josh enters, skulking carefully through the darkness. The curtains lull in the slightest of breezes.Josh stands over Dalton. He stares down at his sons body, then lets his gaze drift around the room...past the CLOSET, past the DRAWINGS pinned to the wall and the TOYBOX...all the way to the CORNER of the ceiling that Elise was so frightened of. Josh’s eyes drill into the shadows. Is there something waiting there?Finally, Josh sits down beside Dalton. He grips his sons hand. JOSH Where are you? Where did you go? (beat) Can you hear me? I’m begging you to show me that you can hear me...I don’t know how to help you. Please tell me what to do. Josh’s torment fills the air...but Dalton doesn’t move. 66. RENAI (CONT’D)Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library JOSH (CONT’D) Please God, please help me...give me my son back. I will do anything just to have him back. Josh studies Dalton’s face for a response. Nothing. Not a twitch. He collapses forward onto Dalton. Holding him tight. JOSH (CONT’D) I need him back. I need him to show me that he can hear me. Please... For a moment, all we can hear is Josh’s breathing. Then...something happens. Something Josh doesn’t see. Dalton’s face twitches. It is a very slight movement. This movement is followed by something that is hard to miss-- One of the tacks pinning one of Dalton’s drawings to the wall begins to wind loose . It pops free, shooting across the room like a kernel of popcorn...followed by another tack. The second tack lands in Josh’s lap. Puzzled, he picks it up, examining it. He looks up, his eye drawn to the picture on the wall. With total astonishment, he sees the two remaining tacks works themselves free, popping out of the wall. The drawing floats down to the ground. Josh stoops down, picking it up.It is a drawing split into two halves. The left half is a self portrait of Dalton, lying in bed, looking down from above. The right half is a depiction of outer space - squiggly stars and bloated planets. Dalton has drawn another version of himself on this side, flying above the house with another man. At the bottom of the first drawing, Dalton has written ‘ Last night I watched myself sleep ’. A tear falls down Josh’s face. He begins to cry. Deep and painful tears he has long pent up. Beneath the second drawing, Dalton has written ‘ Then I flew away. ’67.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MASTER BEDROOM, NEW HOUSE - EARLY MORNING Renai’s eyes flutter open. She glances over. No one is there.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. KITCHEN, NEW HOUSE - EARLY MORNING Renai shuffles into the kitchen. Josh is sitting at the kitchen table, staring at Dalton’s drawing. He hasn’t slept and looks it. He looks up at her. JOSH Okay. Renai approaches Josh and they hug...holding on for dear life.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. NEW HOUSE - NIGHT The Lambert house is lit from within. Like a Jack-O-Lantern.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. KITCHEN, NEW HOUSE - NIGHT Tucker, Specs and Elise convene in the kitchen, slumped amongst the boxes for the tech gear. All are in shock. SPECS I feel like a mountain climber who’s been waiting his whole life to climb Everest, and now that I’m standing on the summit, I don’t know what to do with myself... TUCKER I’ll tell you what we do with ourselves. We make a short list of our preferred media outlets, that’s what. He holds up his video camera. TUCKER (CONT’D) Watch this. He hits play on a monitor that his video camera is cabled to. Chaotic images of Dalton from the previous scene SPIT to life. BEHIND DALTON, we can just make out the blurry image of the RED-FACED DEMON . Puppeteering Dalton from behind. Controlling his limbs like a human marionette. SPECS Oh my God... TUCKER After all the years we’ve been dining out on morsels like a faucet that turns itself on and off...we finally have some empirical evidence of the real thing. Proof. He hits pause on the video, freeze-framing the hellish image.75.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library ELISE Proof? Proof of what? Nine tenths of the world believes that when you die, your soul ascends to sit with God. Would you be telling them something they didn’t already know? TUCKER That is so not the po",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int. This is not about religion. Here we have irrefutable evidence of a paranormal experience. Our job is to share it. ELISE No, our job is not to alert the press and prove the existence of the ‘paranormal’, as you call it. I’m not out to prove anything. I’ve known there was a higher plane ever since I was a little girl and I could play hopscotch with people whose names were inscribed on tombstones. What you call paranormal is a fact of life for me. (beat) Our job is to help people. The least we can do is spare them the indignity of Sixty Minutes. She snatches his camera away from him and stands up. TUCKER Yeah, until they get their book deal...then you’ll wish you’d listened. ELISE No, I won’t, Tucker. I’ll just be proud of you. You two stared down something that would crush most mortals tonight and you stood tall. They manage a smile. SPECS So what do we do now? ELISE We answer the door. SPECS What do you mean? There is a knock at the front door. 76.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LIVING ROOM, NEW HOUSE - NIGHT Josh sits with Renai’s head in his lap. She is too traumatized to speak. Rain dribbles down the window pane. Josh gets up when he hears the knock at the door. Elise shuffles over to answer it. She opens the door to reveal Lorraine, wet from the downpour. Elise steps aside and Lorraine walks in, gravely sedate. JOSH Mom...what are you doing here? ELISE I asked your mother to come over. I called her immediately after...the session. I told her to hurry over. JOSH Why? Lorraine’s usual strong will has evaporated. She looks to Elise. ELISE There is something we must talk about. Sit down, Lorraine. Lorraine follows orders, easing onto the sofa. Eyes down. Thunder growls in the distance. ELISE (CONT’D) Go on. Tell him. JOSH Tell me what? Lorraine swallows and starts talking. LORRAINE The reason...I knew to call Elise in this situation...the reason I know her so well...is because I called her myself once. Years ago. She looks up at Josh. LORRAINE (CONT’D) To help you, Josh. JOSH What are you talking about?77.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Lorraine can’t go on. Elise steps in. ELISE It’s no accident that your son is such a gifted traveller. The ability was handed down to him. (beat) By his father. FLASHCUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DARKENED BEDROOM - NIGHT - FLASHBACK We have returned to the opening scene.We are looking down on a sleeping child. Chest rising and falling with each breath. This is JOSH as a child . We move away from him, exploring the dark room. FLASHCUT TO:",FLASHBACK +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LIVING ROOM, NEW HOUSE - NIGHT - PRESENT Tucker and Specs enter the room, lingering at the back. JOSH No...I’ve never...done that before. LORRAINE When you were about eight...you suffered night terrors. Awful fits of pure fear. You were terrified of an old woman who you said would come to visit you at night. FLASHCUT TO:",FLASHBACK +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CORRIDOR - NIGHT - FLASHBACK Again we return to the opening scene...floating down a long hallway. A window at the end of the hall enlarges as we approach. Someone is standing in front of it . 78.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library The murky silhouette of the figure turns and walks away. We follow it, tentative. Turning a corner, we see the figure. Standing in a doorway. Now we can make out the edges of the figure. It is an old woman. Hair in a Victorian bun. A corseted dress. IT IS THE SAME OLD WOMAN THAT ELISE SAW . OLD WOMAN Let me in. FLASHCUT TO:",FLASHBACK +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LIVING ROOM, NEW HOUSE - NIGHT Lorraine closes her eyes, struggling to go on. LORRAINE I dismissed your stories. Told you to grow up. (beat) Then I saw her for myself. She looks to Elise, who nods. Hand trembling, Lorraine retrieves a packet from within her coat. The paper is yellowing. Faded. Soaked from the rain. Lorraine hands the packet to Josh, who is dumbfounded.Renai peers over Josh’s shoulder, at a Polaroid of a boy, about nine years old, sitting on a couch. Early 70s period. It is a Young Josh. Behind him is the BLURRED OUTLINE OF A FIGURE. Josh runs his finger over the shadow. His heart rate speeds up. An old memory is coming back to him. LORRAINE (CONT’D) At first, I thought it was a camera problem. Then I saw her again. Josh flips to the next photo - it is another faded frame of Josh as a youngster. This time he stands in an old kitchen. Once again, there is a figure behind him - clearer this time, but still hidden in silhouette. A step closer to Josh. Josh flips to the next picture. A BLACK AND WHITE shot of himself as a young boy, lying in bed. 79.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library With dread, Josh sees the unmistakable features of an OLD WOMAN, crouching beside his bed. Staring at him. LORRAINE (CONT’D) In each photo, she got closer and closer to you... Josh flips to the next picture - in this one, Young Josh is standing by a car. Behind him, the details of the Old Woman’s dress are visible. Her arm is extended... reaching out for Josh’s neck . Renai’s hand flies to her mouth. LORRAINE (CONT’D) Finally, I was so scared, I called Elise. Sweat pours down Josh’s brow. He lets the photographs flutter from his fingers, backing away. Fragments of memories rock his entire body. JOSH I don’t...I don’t remember any of this... ELISE You’ve blocked it out. (beat) But in the back of your mind, you’re still afraid of having your picture taken, aren’t you? Josh grabs the wall, weak at the knees. LORRAINE I’ve kept the photos hidden ever since then...until tonight. ELISE I advised Lorraine to hide them. To stop taking your picture. And to let you forget. JOSH Who is she? ELISE A parasite. She befriended your astral body, then drew you out into The Further, just as Dalton has been drawn out. 80. (MORE)Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library But she deceived you. All she wanted was an empty vessel. A physical body. Yours. LORRAINE I’m sorry, Josh. ELISE I didn’t want to make you remember this...I only do it for the sake of your son. A quiet descends over them. ELISE (CONT’D) Your son is out there. (beat) And you are the only one who can bring him back. Josh looks up at her. JOSH How long do we have before...that thing...takes him over completely? All eyes are on Elise. ELISE If you cannot reach him tonight, then he is gone forever.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LIVING ROOM, NEW HOUSE - NIGHT - LATER The lights have been dimmed. Josh sits on a single person lounge chair. Elise sits opposite him. Tucker and Specs set up around her, fixing their cameras in place. Renai leans forward on the couch opposite, chewing her nails to the quick. Lorraine is next to her. ELISE Remember who you are and why you are traveling. Keep one foot in this world. (beat) Are you ready? Josh nods. Renai hugs him and they hold onto it. She whispers to him, staring into his eyes.81. ELISE (CONT'D)Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library RENAI I want you to know something...you have never been less than good enough for me. You’ve always been perfect for me. You’re my best friend...my soulmate. I love you so much. JOSH I love you too. I have since the first time you looked at me. I don’t exist without you. Elise drifts over to the piano, lifting the METRONOME from it. She sets it down in front of Josh, freeing the weighted swing- arm so it moves back and forth. TICK...TICK...TICK. ELISE Close your eyes, Josh...and relax. Breathe deeply. Let all life around you fade out into the background...until the only thing you can hear is the ticking of the metronome. We PUSH IN on Josh, inhaling and exhaling. TICK...TICK...TICK. ELISE (CONT’D) Focus on a spot in the center of your forehead. Feel that spot getting further away as you drift off to sleep. We are now in an ECU of Josh. TICK...TICK...TICK. ELISE (CONT’D) I want you to relax your physical body and let the astral body gain strength...feel it rising out of your chest. Renai watches, literally and figuratively on the edge of her seat. Tucker and Specs take notes from the corner. Josh breathes deeply. Eyes shut tightly. ELISE (CONT’D) Detach yourself. Josh’s eyes open suddenly and he stands up, frustrated, marching across the living room.82.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library JOSH This is useless...I have no idea what I’m doing and you just suddenly expect me to... He turns around and stops dead. His words trail off. HE IS LOOKING AT HIMSELF. He sees his own body, sitting in the armchair, eyes closed. Elise is sitting opposite, with her back to the Josh who is now standing. The living room is exactly as it was - only Renai, Lorraine, Tucker and Specs have disappeared. They are nowhere to be seen. Stunned into mute shock, Josh stares at his own body in the armchair. Slowly, Elise turns her head away from the Josh in the chair, staring eerily into the standing Josh’s eyes. She can see him . ELISE (softly) Now you are free. (beat) Keep your guide, and a steady stride...and into The Further you go. She turns back to the Josh in the chair. The room seems to have darkened even more somehow. Josh turns and glares into the darkness of his hallway as it yawns outwards, eventually swallowed by complete blackness. He is not in another world. He is in his own house . NOTE - The following scenes are not going to be “movie quiet”. They will be inhumanly quiet. There will no score. Only sound scape. This is another world and should feel so. Josh moves forward, gliding down the hall slowly. He looks down and sees that his feet are slighty raised off the ground. He is floating. He moves into the darkness of the hall...past the bedroom doors and closet doors. 83.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library As he floats past, he scans every darkened corner for the slightest trace of movement. He reaches the front door. He moves towards it and as he does it OPENS.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. THE FURTHER - NOT NIGHT OR DAY, BUT DARK His street beckons beyond the door. Josh floats across his lawn. There are no people or cars on the street...it is as desolate as a post-apocalyptic wasteland. A total absence of LIFE. Some lights flicker from within the houses, but no movement or signs of human forms. Only mist. Josh floats an inch above the road, moving down the street.One thing to notice is that there is a total lack of horizon or city scape here...Josh’s immediate surroundings are visible for about one hundred yards or so...anything beyond that, in any direction, fades into blackness. As if someone were shining a giant spotlight down on him.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LIVING ROOM, NEW HOUSE - NIGHT - OUR WORLD Renai watches Josh. He is completely still...in a trance.His eyelids flutter as his eyeballs probe in all directions underneath. ELISE He’s in...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. THE FURTHER - NIGHT Josh keeps moving, his fear registering, even in this world. He looks down at his feet. He is frustrated that he can’t move any faster. He concentrates with fierce intensity-- --and then watches as his feet touch the ground. 84.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library He is walking. He starts to move faster, gaining control of his movement. JOSH Dalton? The sound of his voice is strangely dead - as if he were inside a soundproof recording studio. There are no walls or angles for it to bounce off. JOSH (CONT’D) Dalton? Where are you? For a long time, there is nothing... ......then he sees it.A figure...shrouded in shadow. Standing on the street corner with his back to Josh. Josh moves towards the figure. Closer. Closer.The man abruptly turns the corner without looking back.Josh glances around the corner. There is nobody there.He continues down the street. He sees a little girl. Far in the distance, but close enough to focus on. She stands and stares... ...then turns and walks away. Gone...like an apparition. He looks to his right and sees----A SHADOW. Behind a curtain in one of the windows, back lit by candle light. As with the others, the shadow turns away and disappears. Josh walks towards the front door of the house. He reaches it and turns the handle.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOUSE - THE FURTHER - CONTINUOUS A long corridor beckons. As with all of this world, it is dark here. 85.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Josh walks into the corridor, looking to his left and right into empty rooms. Living rooms and bedrooms. Devoid of life. The colors are muted...the palate drained. Only REDS and BLACKS pop out. Blood and darkness. Josh keeps moving down the corridor. Up ahead, he sees a figure run past the top of the hall, ignoring Josh. He presses forward, following the figure. JOSH Dalton? He glances into an empty kitchen. Food rots on the table. His footsteps have no sound as he continues on. JOSH (CONT’D) Dalton? He passes a door that is partly open. He pushes it wide open.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SMALL ROOM, THE FURTHER - CONTINUOUS The room is small and empty. A strange room...like a stage. A figure is sitting in the corner, facing the wall like a child being punished at school. Josh steps closer, cautious. Takes another step. JOSH Where is Dalton? He steps closer yet again. His hand reaches out to touch the figures back......his fingers are almost grazing the figures shoulder. Soft laughter behind him. Josh glances back to look for the source. When he turns back, the FIGURE IS GONE.He wheels around, seeing the small-statured figure of the DWARF that Renai encountered, stepping through the door of the room. 86.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CORRIDOR, THE FURTHER - CONTINUOUS Josh sidles back into the corridor. His pace is sluggish, dream-like. Frustrated, he stops. Then turns to his left. SOMEONE IS RIGHT THERE IN HIS FACE. A MAN . The man is not looking at him...only standing very close. His neck lolls on his shoulders...around and around. He seems stuck on a loop. He is dressed in a fifties era suit. JOSH Do you know where Dalton is? The man doesn’t acknowledge him. MAN Why do I have to put up with you? What a tramp. You call this a home? I work all day for this? He marches away, leaving Josh standing alone. Josh keeps going, whirling around. He reaches a set of stairs. The stairs descend into darkness. Josh squints into the dark, afraid. JOSH Dalton? Where are you? The low rumble of this place is the only reply. Josh turns to walk away. A distant voice stops him. DALTON (O.S.) Dad... Josh SNAPS back . The voice drifted from out of the darkness at the bottom of the stairs. Josh scurries down the creaky ramp towards it.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HALLWAY, THE FURTHER - CONTINUOUS The core of a rotten apple. The bowels of hell.Drenched in shadow, Josh fumbles forward into yet another corridor of this labyrinth. 87.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library He realizes he knows where he is. He is in his OLD HOUSE. An alternate world version of it. The lighting is different - it’s darker. There are no signs of life. Water drips somewhere. Josh stumbles forward, seeing an open door.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LIVING ROOM, THE FURTHER - CONTINUOUS Josh slinks into a darkened and dilapidated living room.There are THREE PEOPLE in here - a middle aged woman, a middle aged man and a young girl. They are all FROZEN, standing in place as if someone had hit the pause button on their life. The woman is in the middle of ironing. The man is sitting in an arm chair reading a newspaper. The girl is lying on the floor. The whole scene looks like a macabre ‘Leave It To Beaver’ tableau - a cheerful family frozen in time. Josh steps closer to the mother......hairs prickling up on his neck when he sees her BLINK. Her body moves slightly. She is not frozen - merely playing statues. Like a street performer keeping as still as possible. Josh turns to the father. He is the same. His hand shakes, struggling to hold the newspaper in place. He backs away from them, truly creeped out. His back hits a window and he turns, peering through the glass down at the street below. A figure, hidden in silhouette, is gazing up at him.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. KITCHEN, THE FURTHER - CONTINUOUS Josh stalks into a kitchen off the living room. A weathered door is adjacent to the kitchen. The door is ajar. Through it, Josh can see somebodies leg.Josh approaches the door, prodding it open gently with his finger. It is a bedroom. A tattered cot sits against the wall. A YOUNG MAN (17) sits on the cot, holding a rifle. Like the others, he is trying to be completely still, as if on pause. 88.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library He is having more trouble than the family, trembling slightly. JOSH I’m looking for my son, Dalton. The boy does not look up. Does not move. Josh retreats, scanning the kitchen. There are soiled pots in the sink. Rotting food, but no bugs. Josh turns the faucet but no water comes forth. When he turns back, the YOUNG MAN is gone. No longer in his bedroom. Josh glances back at the living room. The Young Man is now standing inside the living room . Again, he is frozen. Holding his rifle. Looking down at his family, who are now splayed out on the carpet, soaked in BLOOD. Each of them has a bullet hole in their head.Repulsed, Josh tip-toes past them. He looks down at the mother - a bullet wound in the center of her chest. She blinks...still playing dead.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CORRIDOR, THE FURTHER - CONTINUOUS More corridors disappearing into darkness. Josh wrenches his hair in frustration. He boils over, screaming at the top of his lungs. JOSH DALTON!!!! WHERE ARE YOU?!!! His cry recedes into nothingness. DALTON (O.S.) Dad.... He heard that. Excited, he spins around, trying to determine where it came from. As he does, he sees that the entire dead family is now gathered at the door to the living room. Watching him. He summons all his strength and starts running, backing away from them. 89.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library He drives himself to move faster and faster. JOSH DALTON! DALTON (O.S.) Dad...help me... JOSH DALTON!! A figure suddenly appears at the end of the hallway. It is the LONG HAIRED MAN IN THE GREY JACKET. The man who terrorized Renai. LONG HAIRED MAN I hear you... He approaches. LONG HAIRED MAN (CONT’D) I hear you, but you don’t know what you’ve done. He licks his lips. LONG HAIRED MAN (CONT’D) There is a place that you can’t go to and this is that place. He is only a few yards from Josh now. He SCREAMS with awesome power, his spit flying. LONG HAIRED MAN (CONT’D) YOU MADE A MISTAKE!! I’M GOING TO MAKE SUFFERING A FUCKING BLESSING FOR YOU! I’M GOING TO RIP YOU APART YOU CUNT!! He CHARGES at Josh, screaming with hellfire fury. Josh recoils, falling onto the floor, screaming.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LIVING ROOM, NEW HOUSE - NIGHT - OUR WORLD Josh’s body JOLTS in the chair and he makes a noise somewhere between a scream and a moan. RENAI What’s happening to him?! Elise leans in, attempting to communicate with Josh.90.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library ELISE You’re stronger then they are, Josh. You are a living soul!",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CORRIDOR, THE FURTHER Josh struggles. The Long Haired Man attacks him viciously. Then something changes in Josh - he gets angry. JOSH Get...off..me! He shoves the Long Haired Man back, pounding into him with the strength of TEN MEN. JOSH (CONT’D) Get away from me! Leave now! Frightened, the Long Haired Man retreats, backing away until he is swallowed up by the blackness. JOSH (CONT’D) Dalton!! DALTON (O.S.) (still distant) I’m here... Josh follows the voice to another stairwell in this Escher-like maze of passageways. JOSH Dalton! DALTON (O.S.) Here...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BALLROOM, THE FURTHER - CONTINUOUS From darkness into baroque extravagance. Josh finds himself in a gilded chamber of long neglected opulence...as if a palace had been stormed, the occupants murdered and the place left to rot. Mold caked pillars support a ceiling of gold flakes, the rest having rotted way. Mirrors line the walls, their surface too clouded to see into. 91.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library JOSH Dalton...? He weaves between pillars, finally coming across a figure, slumped on the floor in the corner like a dog. It is Dalton . Josh runs to him. His foot is chained to a PIPE behind him, the clamp binding his right ankle. He looks pale and sick. He looks like one of them. JOSH (CONT’D) I’m taking you back. He sees that Dalton is terrified. Looking over Josh’s shoulder. JOSH (CONT’D) What is it? He glances back, spotting an open door at the end of the ballroom, light spilling from within it. There is somebody inside.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MAKE-UP ROOM, THE FURTHER - CONTINUOUS A grotesque form sits in front of an immense gold-rimmed mirror at a baroque powder table. It is the RED-FACED creature seen by Elise. The creature daubs RED LIPSTICK onto its face, arching forward, glaring into the mirror, caking the make-up on. The room is littered with hundreds of discarded CHILDREN’S TOYS - teddy bears, stuffed animals, dolls (including one white-faced, black-haired doll we recognize). They are scattered about like bones, collecting dust in the shadows. Suddenly the creature stops what it is doing. It sees something in the mirror. What it sees is Josh.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BALLROOM, THE FURTHER - CONTINUOUS With horror, Josh watches as the Red-Faced Man stands up and staggers to the door, peering through the crack at him. Josh wrestles to free Dalton’s leg from the chain. No good.92.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Behind them the Red Faced Man opens the door. A rage unknown to humans is building up inside the creature. He hisses. DALTON Help me, dad...take this off me... The creature steps closer. Taking his time. Drool seeping from his mouth with each drunken, wayward lope. JOSH You’re not really here. You’re asleep in your bed in our home. Just stand up. DALTON He’s going to hurt me again... JOSH This isn’t real. You can do this. DALTON He’s coming! JOSH Just stand up! Dalton does - and suddenly finds that the chain is no longer attached to his foot. The Red Faced Man ROARS and the power of his breath sends them FLYING BACK. RED-FACED MAN This...issssss....real! Josh smashes his head on a pillar, blood leaking from his head. The power of this demon far outweighs the others. RED-FACED MAN (CONT’D) That...issss...my....boy! Josh scrambles to his feet and snatches up Dalton, carrying him to the door as the Red Faced Man pursues.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LIVING ROOM, NEW HOUSE - NIGHT - OUR WORLD Josh convulses in the chair, choking. RENAI Help him!93.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CORRIDOR, THE FURTHER Josh surges down a corridor, carrying Dalton. The Red-Faced Man hobbles up behind them, his rasping wheeze growing in volume. RED-FACED MAN You’re here now! With ussss! Josh stampedes through the front door of the house - but instead of the street, he is facing another corridor. They spill into the second corridor, running again, racing past rows and rows of doors.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LIVING ROOM, NEW HOUSE - NIGHT - OUR WORLD Josh twitches in his chair, sweat beading on his forehead. JOSH (moaning) ....ome....onnnnn... Elise paces in front of him. ELISE They’ve made contact. I know it. He’s found your son. RENAI What happens now? ELISE We need them to come back. We need him to find us. Tucker’s equipment begins to shake on the table. The hanging light above them quivers as if an earthquake were rattling it. A force is building in the room.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CORRIDOR, THE FURTHER As Josh and Dalton streak down the corridor, each door opens and a different figure staggers out. Grotesque figures...the solemn dead. Pale skin, hollow eyes. Their dead eyes drill into Josh’s soul. They want what he has - life.94.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library They begin running - chasing Josh. Dozens of them. Josh stops, seeing that the corridor seemingly has NO END. He yells in frustration. JOSH I want to get out!",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LIVING ROOM, NEW HOUSE - NIGHT - OUR WORLD Josh’s body SHUDDERS, the cry escaping his lips. JOSH ....eeeeet out! The room trembles again. Elise looks to Renai. ELISE Call out to him!",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CORRIDOR, THE FURTHERJosh whips around, desperate. DALTON Listen! Josh follows the order - and hears it. A faint shout. A siren call from another world. RENAI (V.O.) (distant) Josh, follow my voice ... The voice seems to come from behind the door in front of Josh. He shoves it open--",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LIVING ROOM, NEW HOUSE - NIGHT - OUR WORLD Renai glares at Josh’s eyelids...as if he can see her through them. RENAI Follow my voice. Come back to us. The room stops trembling. All is very still. For a moment, it is as if time has stopped. Nuclear silence. Then...a drawer slides open in the corner of the room. Lorraine and Renai gasp at this supernatural interruption. 95.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Specs clambers to his feet, approaching the drawer. It contains a note pad and nothing else. He reaches out to close it...and then JOLTS as a HAND reaches out from within it! He FLAILS backwards in fright, watching as the hand wrenches a mop of hair into view. A FULL GROWN BODY BEGINS TO CLAW its way out of the drawer!",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DALTON’S BEDROOM, NEW HOUSE - SAME TIMEDrawers in Dalton’s room slide open in unison. Then cabinets. The closet BURSTS open. Pale adult bodies begin to claw their way out of the different doors, undulating out of impossibly small spaces and falling onto the floor like limbless insects. Cracks are opening in our world and the miserable dead are slithering through the fissures.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. KITCHEN, NEW HOUSE - SAME TIME More doors shoot open - cabinets, closets, the pantry. Forced by unseen hands. More hideous forms wrench themselves out into our world.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CORRIDOR, THE FURTHER Josh is exhausted, pushing himself to the limits. He hears the voice again - distant and small. An echo. RENAI (V.O.) Find us... Josh follows the voice to a door.He staggers towards it, still supporting Dalton. He slams the door open, falling through it into--",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BASEMENT, LAMBERT HOME, THE FURTHER -- the empty basement.He is in the basement of his old house. The wooden steps beckon above him. 96.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Renai’s voice cries out from behind the door at the top of the stairs. RENAI (V.O.) Hurry! Come back to us! DALTON Put me down, I can run! Josh sets Dalton down, who scampers up the stairs. Josh is about to follow when he turns and spies a familiar face. THE OLD WOMAN . She leers at Josh through the window of the basement, her visage spookily flecked in candlelight. Josh is transfixed. DALTON (CONT’D) Come on, dad! Come on! JOSH Go! I’m right behind you! Dalton charges ahead as Josh glares back at this face from his past. JOSH (CONT’D) You...what do you want from me? The old woman’s eerily unblinking gaze cuts through Josh. A long dormant rage BOILS OVER inside him. He approaches the window, vomiting fury at her. JOSH (CONT’D) Get the fuck away from me! I’m not scared of you, just leave me alone! Get away from me! The old woman’s lips protract to unveil a yellow graveyard of molars. A smile to buckle the steeliest nerve. She raises a lit candle to her lips. She snuffs out the plume with a single puff...plunging the basement into darkness.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LIVING ROOM, NEW HOUSE - SAME TIME Specs staggers back as the skeletal figures emerging from the cabinets ambulate into the living room, surrounding Josh. 97.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library RENAI (to Josh) Find us! ELISE (to Specs) Check on the boy! Specs sprints out of the room.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CORRIDOR, LAMBERT HOME, THE FURTHER We are now locked into a POV shot, pushing down the corridor of the Lambert’s NEW HOUSE. The scene of the trance. Our POV is bee-lining for Dalton’s bedroom.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BASEMENT, LAMBERT HOME, THE FURTHER In another POV shot, we SURGE up the basement stairs.",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CORRIDOR, NEW HOUSE, THE FURTHER Our POV is only a few yards from Dalton’s bedroom door. The Red-Faced Man appears at the opposite end of the hall. Malevolent. Cruel. He SCREAMS and flits towards us. The POV keeps going, hitting the bedroom door and FLINGING IT OPEN - seeing DALTON’S BODY sleeping inside. We SOAR towards it, getting closer--",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DALTON’S BEDROOM, NEW HOUSE - NIGHT - OUR WORLD Specs stands over Dalton’s body. SUDDENLY - Dalton shudders, his legs spasm. His eyes FLICK open and he SUCKS IN A HUGE BREATH. SPECS He’s awake! Dalton sits up, panting. Renai charges into the room. He looks at her, registering her appearance. DALTON Mom... 98.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Renai literally throws herself at him, wrapping her arms around his body. No words can express. Renai scoops him up, carrying him out of the bedroom.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CORRIDOR, NEW HOUSE, THE FURTHER The second POV whooshes down the corridor, zeroing in on the living room.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LIVING ROOM, NEW HOUSE - NIGHT - CONTINUOUS A scene of desperation. Elise leans into Josh’s face. The living room is now filled with the CREEPING FORMS of the souls who crawled out from within the drawers. All of them marching towards Josh. ELISE Find me, Josh! Now! Wake up! The closest entity reaches out with gnarled fingers and is almost touching Josh--",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LIVING ROOM, NEW HOUSE, THE FURTHER The POV shoots towards Josh’s body, seconds away--",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LIVING ROOM, NEW HOUSE - SAME TIME Josh’s eyes BURST OPEN and he inhales a chest full of air, as if emerging from deep water. He falls forward, his strength gone. RENAI Josh? Josh? He pants on the floor, barely able to speak. JOSH Dalton...? Dalton and Renai pounce on him. Josh holds onto Dalton like he’s a life preserver, and in a way, for Josh, he is. He laughs, inhaling deeply. 99.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Specs, Elise and Tucker approach. Renai sees them and stands up, tearful. She is lost for words. RENAI I don’t know what to say... She rushes forward and hugs all three of them. ELISE Well put. Josh brings Lorraine in they all embrace in a circle. A group hug for the ages. JOSH Now this is worth dying for.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. NEW HOUSE - NIGHT It’s over.Specs and Tucker haul a large tripod case to their van, heaving it into the back. They stand in awkward silence. It’s been a long day. TUCKER I guess you did some pretty awesome stuff in there. You deserve some credit. SPECS You did good too in an assistant-type way. Tucker can’t hold his stoic pose any longer. He breaks out laughing, followed quickly by Specs. TUCKER Thanks, boss. They shake hands. TUCKER (CONT’D) Dude, I got some amazing shots. We are gonna write a book and my shots are gonna be the main selling po",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int. SPECS Yeah. (beat) Not the main selling point, but definitely important, for sure. 100.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MASTER BEDROOM, NEW HOUSE - NIGHT Renai lie with Dalton on her bed. DALTON I’m tired. RENAI Too bad. I’m never letting you go to sleep again. She runs her fingers through his hair. RENAI (CONT’D) Did you know we’d come and find you? Dalton nods. RENAI (CONT’D) Whenever you’re lost...we’ll always come and find you. They hug.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LIVING ROOM, NEW HOUSE - NIGHT Josh wanders out of the kitchen, examining the house as if seeing it for the first time. He is smiling...happier than we have ever seen him. Elise sits on the couch amongst the remains of Tucker’s paraphernalia of the paranormal. Josh approaches her, standing over her. JOSH You introduced me to a new world. ELISE No. You’ve been there before, remember? And you’ll go back. (beat) All of us will...eventually. JOSH Maybe I can forget again. He reaches into his jacket, taking out the eerie photos Lorraine gave him of himself as a child. JOSH (CONT’D) I’ll start by giving these back.101.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library As he hands them to Elise, she sees with fear that his hand is withered and wrinkled . Like the hand of an eighty year old woman. Shocked, she looks up at his face. JOSH (CONT’D) What’s wrong? Elise stands. She looks haunted. Her eyes wide and unnerved. ELISE Nothing, I... She turns away, reaching for something. JOSH What’s the matter, Elise? She spins around and lifts Tucker’s camera up to her face, aiming it at him. She depresses the trigger and takes a photo of him, bathing the whole corridor in white light. Josh recoils back in shock. Elise lowers the camera. She is terrified. Josh suddenly LUNGES at her, slapping the camera out of her hands. JOSH (CONT’D) Why the fuck would you do that? Why would you do that? Why?! He SLAMS her against the wall, his hands around her throat. Elise chokes in terror, terrified of him. JOSH (CONT’D) You of all people! You know! Why would you do that to me when you know what you know? You bitch! He abruptly stops attacking her, staggering backwards, examining his hands as if he can’t believe what he’s done. Seething with fury. Panting. Elise collapses, catching her breath. Josh swipes a framed photo off the wall and storms away, heading down the corridor... ...swallowed up by the darkness.102.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MASTER BEDROOM, NEW HOUSE - SAME TIME Renai furrows her brow. RENAI What was that? (beat; to Dalton) Stay here. She gets up.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LIVING ROOM, NEW HOUSE - NIGHT Renai jogs into the living room. Sees Elise lying on the floor. RENAI Elise, what was that noise? Elise simply looks up at her. The utter terror on her face is palpable. Her neck is bleeding from scratch marks. RENAI (CONT’D) Jesus...what happened to you? Elise just stares, unable to speak. Her fear is contagious. RENAI (CONT’D) Where’s Josh? (beat) Josh? Josh?! She turns and runs into the corridor, flicking on the lights. There is nobody there.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CORRIDOR, NEW HOUSE - CONTINUOUS Renai dashes from room to room in the hallway, pitching each door open. Each room is empty. Josh is nowhere to be found.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LIVING ROOM, NEW HOUSE - SAME TIME Elise stares at Tucker’s camera in a state of catatonic dread.Renai backs into the room, her own fear rising in her gut. She leans down and grabs Elise by the shoulders.103.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library RENAI Elise, what happened? You’re scaring me, tell me where Josh is? Elise finally looks up at her. Seeing the “expert” so afraid unnerves Renai. When the lion-tamer drops his whip and runs, you know the lion is vicious. Elise opens her mouth to speak...but nothing comes out. Instead, she simply holds up the camera, showing Renai the digital display of the photo she took. We do not see it. We simply see the look of horror on Renai’s face. FLASHCUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LIVING ROOM, NEW HOUSE - NIGHT - FLASHBACKWe have returned to the previous scene - only now we are seeing it through Elise’s eyes. Elise is sitting on the couch, alone. Trying to recover from the nights events. She glances up when Josh approaches her. JOSH You introduced me to a new world. ELISE No. You’ve been there before, remember? And you’ll go back. (beat) All of us will...eventually. JOSH Maybe I can forget again. Once again, we see him reach into his jacket, taking out the photos Lorraine gave him. JOSH (CONT’D) I’ll start by giving these back. As he hands them to Elise, she sees with fear that his hand is withered and wrinkled . Shocked, she looks up at his face. 104.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library JOSH (CONT’D) What’s wrong? Elise stands up, not knowing how to react. ELISE Nothing, I... She turns away, reaching for something. We see her scoop up Tucker’s digital camera. JOSH What’s the matter, Elise? She spins around and lifts Tucker’s camera up to her face, aiming it at him. She depresses the trigger and takes a photo of him, bathing the whole corridor in white light. -- and in that split second, Josh is replaced by the Old Woman! Elise lowers the camera, horrified. For a beat, the Old Woman just glares at her... ...then she CHARGES at Elise, arms outstretched, wrapping her white hands around the soft flesh of Elise’s throat. Elise CHOKES, eyes bulging, spittle flying from her mouth, as the pale hands of the Old Woman dig into her thorax, droplets of blood running down her chest where the yellowing finger-nails have CUT IN to the flesh. The Old Woman smiles - a merciless harlequin grin that mocks Elise’s pain. She lets Elise go, letting her drop to the floor. The Old Woman turns and glares down the corridor. Something has caught her attention. A distant scream.",TWIST +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BATHROOM, NEW HOUSE - NIGHT The door groans open, a blade of light penetrating pitch black darkness. The silhouette of the Old Woman floats ethereally into the bathroom. She steps up to the mirror, then reaches into her tattered Victorian dress and produces a candle. She lights the candle with a match, holding it beneath her chin and glaring into the reflective surface of the mirror.105.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Instead of seeing her own reflection though, she sees THROUGH the mirror as if it were a window . In it, she can see the BASEMENT of the Lambert’s previous residence. Josh bursts into the basement, carrying Dalton. DALTON Put me down, I can run! Josh sets Dalton down, who scampers up the stairs. We are watching the same scene we saw earlier play out in the mirror. Josh is about to follow when he turns and spies a familiar face. He looks at the Old Woman...seeing her through the ‘window’ . DALTON (CONT’D) Come on, dad! Come on! JOSH Go! I’m right behind you! Dalton disappears as Josh glares at the woman. JOSH (CONT’D) You...what do you want from me? He approaches the mirror. WE CIRCLE AROUND the Old Woman, past the mirror and THROUGH THE BATHROOM WALL, emerging on the other side in--",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BASEMENT, LAMBERT HOME, INSIDE THE FURTHER --the basement. Josh screams at the Old Woman as she stares at him through what he thinks is a window. THEY HAVE SWAPPED PLACES. He is now in The Further, and she is in our world. JOSH Get away the fuck away from me. I’m not scared of you, just leave me alone! Get away from me! We KEEP CIRCLING, wiping past Josh’s back and completing a 360 degree turn, THROUGH THE WALL and back into--106.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BATHROOM, NEW HOUSE - CONTINUOUS --our world. The Old Woman smiles at Josh’s rage. She finds it amusing.With an eerily unblinking gaze, she snuffs out the plume of flame with a single puff of breath...plunging the bathroom into darkness... ...and snuffing out Josh forever... ...and ever. FADE OUT.107.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LEECH LAKE WOMEN’S CORRECTION AL HOSPITAL - DAY ANITA “NEEDY” LESNICKI, 17, sit s on her hos pital bed in pajamas. She’s a plain-faced gi rl with a haunted expression. As s he stares out the window, she winds colored yarn aro und a pair of Popsicl e sticks to create a “god’s eye.” Out a single win dow, we see an imposing nine-foot SECURITY FENCE. Next to Needy, we see a pile of un opened mail scattered casually on the flo or. There are lett ers, pack ages, even creepy little gi fts and tote ms sent by a dmiring “fans.” NEEDY V.O. Every day, I get letters. I think I get more le tters than Santa Claus, Zac Efron and Dr. Phil combined. I’m ki nd of the shit. RAYMUNDO, a c ounselor raps on the door and sti cks his head in cautiously. RAYMUNDO Rec time in five minutes, Needy. NEEDY Grassy-ass, Raymundo. Needy stands up and begins changing i nto an in stitutional gym uniform. As she slips off her paj amas, we can see a series of puffy, slash-like SCA RS on her body. NEEDY V.O. Sometimes the le tters are from people who say t hey’re pr aying for me. They tell me everything will be okay if I just accept Jesus Christ into my h eart. I say the words, but nothi ng ever happens. Nobody comes back. Nobody gets off the cross. She glances s adly at a PHOTO OF A BOY on her d resser. She touches the frame wistfully, her e yes full of remorse. NEEDY V.O. (CONT’D) Occasionally I g et presents from starfuckers who saw my picture in the paper and wa nt to marry me or something. They think they can take me away from all this. (MORE) (CONTINUED) Like I’d real ly date some perverted Chester with a hard-on for jailbait. I might be insane, but I’m no t desperate. We see a morbid “ha ll of fame” of creepy photos sent in from guys. Th ey line the mirror , grinning at us. There’s even a DICK SHOT tucked in there. Needy pulls on h er threadbare u niform T-shirt. It hangs down to her knee s, covering her shorts. NEEDY V.O. (CONT’D) A lot of people ask me if I’m sorry I did it. Needy picks up a paper cup of COLO RFUL PILLS on her dresser, dumps the meds into her mouth, and dry-swallows them. NEEDY (aloud) I’m sorry I didn ’t do it sooner. She saunters out of the room in he r GYM UNIFOR M and BUNNY SLIPPERS.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LEECH LA KE HOSPITAL GYMNAS IUM - MORNING Several badminton c ourts are set up in the gym. As an intense OPERATIC ARIA plays over t he public address system, the F EMALE PATIENTS enthus iastically--almost violently--whack at the flyi ng shuttlecocks. The patients appear to be varying lev els of crazy. A TOOTHLESS WOMAN gri ns as she dives with her racket, clipping her partner in the leg. In the corner, one forlorn patient nurses her i njured arm w hile another hurls her racket against the wall again and again. Counselors lo ok on approvingly, de spite how miserable their charges ap pear. In the backgrou nd, a few sulking patients j ump rope. Needy enters the gym unnoticed, pa dding along in her bunny slippers. NEEDY V.O. Welcome to the Mental Olympics. They’re big on recreation here. Supposedly it he lps us vent our aggressions. We’ve traded in our hatchets for rac kets, our Drain-O bombs for dou ble dutch. 2. CONTINUED: NEEDY V.O. (CONT’D) (MORE) (CONTINUED) Even the cutters get in on the action when t hey’re fully conscious. We see a GIRL sw inging a jump rope who h as a ladder of fresh bandages on her arms and legs. NEEDY V.O. (CONT’D) Me? I’m just try ing to stay invisible. Nelly shuffles over to a tet herball and tak es a furious WHACK at it.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LEECH LA KE CAFETERIA - ONE HOUR LATER The freshly s howered PATIENT S assemble f or breakfast. They grab trays and settle into no isy cliques. Needy selects a single toaster pastry from the br eakfast line and sits d own, alone. NEEDY V.O. Personally, I think they’re trying to wear us out. Keep us sluggish so there won’t be an uprising. Well, those J .V. tactics won’t work against me. I’m a kicker. K-I- C-K-E-R. It e ven says so on my chart. We briefly cut to Needy’s chart, on some doctor’s clipboard. We see her name: ANITA “NEEDY ” LESNICKI and a few brief details about FIRST DEGREE MURDER and GRANDIOSE NOTIONS. Beneath that, we see a triple-high lighted warning in bright ink: KICKER. A NUTRITIONIST with a clipboard appro aches Needy casually and eyes her bre akfast plate. NUTRITIONIST Just one T oastem, huh? NEEDY (quietly) I like Toastems. NUTRITIONIST That’s good. But I’m not sure a Toastem can prov ide you with sufficient energy for your day. I’d recommend more complex carbohydrates...3. CONTINUED: NEEDY V.O. (CONT'D) (CONTINUED) Needy scrambl es to her feet and delivers a sudden, powerful ROUN DHOUSE KICK to the nutritionis t’s face. NEEDY I’D RECOMMEND TH AT YOU SHUT THE FUCK UP! The nutritionist is KNOCKED OFF HE R FEET-- as if she’s been kicked by a far mightier creature than Needy-- and collapses, cl utching her ble eding nose. We see that the bone has SNAPPED. The patients shriek . Chaos. As Needy is restrained by staff members, she thrashes like a trapped fish. Needy snorts up a k iller LOOGIE an d hocks it at the prone nutritionist. The glob nails he r in the eye. It takes four ST AFF MEMBERS to haul Needy a way as she hollers in protest. The nutritionist curls up on th e floor, cup ping her bleeding nose as a ring of curious patients surrounds her. She spit s out a TOOTH.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. “THE HOLE” - SAME Needy is toss ed into seclusion. Her hair is wild and her face is wet with tears. The heavy door slam s behind her, leaving only a s haft of light. NEEDY V.O. I wasn’t always this cracked. I used to be no rmal-- well, as normal as any girl under the influence of teenag e hormones. But after the kil lings began, I started to feel, I don’t know... loose around the edges or something. I was coming undone like those jeans I made in Home Ec. Falling to p ieces like Patsy Cline. Shredded like moo-shu pork. Dead inside. Needy cringes as she briefly hallucinates a bstract SHAPES in the darkness. Gr inning skulls. Faces drained of life, half eaten. Grim aces of terror. Suddenly, soft m usic is piped into “the hole,” ostensibly to calm the patients in solitary. Nee dy shudders and recoils at the s ound of it. It’s a CHEESY ROCK BALLAD that we’ll so on hear again...4. CONTINUED: (CONTINUED) CHEESY SON G LYRICS “Through t he trees, I will find you. Heal the ru ins left inside you. And the stars will remind you, we’ll meet again...” NEEDY V.O. God, I hate t his fucking song. Needy plugs h er ears as if it phys ically hurts her to listen to the so ng. She curls up in the corner and steels herself for soli tary confinement. DISSOLVE TO: TITLE: TWO MO NTHS EARLIER",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DEVIL’S KET TLE, MN - NIGHT (TO ESTABLISH) Devil’s Kettle is a quiet farming com munity, surrounded by dense woods a nd mirrored lakes. It ’s the kind of town that has one high school, one p izza joint, and one stoplight. On an overgrown rural route we see a rustic sign that reads “WELCOME TO DEVIL’S KETTL E- Pop. 7,03 6. Come See What’s Cookin’!” NEEDY This is where it all went down. “Devil’s Kettle” sounds twisted, I know, but the pl ace just is named after a du mb waterfall.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. THE FALLS - NIGHT (TO ESTABLISH) We see the titul ar falls, surpr isingly powe rful, gushing over a roc k face. NEEDY V.O. Well technically , it’s two waterfalls. O ne of them is normal-- it empties into a river basin. But the other one go es into a hole. And it doesn’t c ome out. The scientist guy s can’t e xplain it. They’ve dropped all kinds of things down ther e--bouncy balls, red dye, r adioactive s lime-- but nothing ev er surfaces. 5. CONTINUED: (MORE) (CONTINUED) Maybe it’s anoth er dimension. Or, you know, just really deep.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. JENNIFER’S HOUSE (TO ESTABLIS H) - MIDNIGHT The sprawling ra nch house is dark from the outside except for a single FIR ST FLOOR WINDOW-- Jen nifer’s-- still illuminated. There’s a chicke n coop and a wire liv estock pen in the backyard. We’re definitely in deep north country. NEEDY V.O. I’ve probably spent years of my life in this hou se. Hundreds of sleepovers, thou sands of aimless homework sess ions, a mill ion phone calls. I’ve c limbed through Jennifer’s window so many times. But tonight, onl y one of us is going to c ome out.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JENNIFER’S BEDROOM - SAME JENNIFER CHECK lies on her bed, fidgeting as she watches TV. She’s a girl of 16 with LONG, MATTED HA IR and a thin, frail body. H er features are go rgeous, but she looks sick and haggard. She pi cks at her skin with yellowed, Nosferatu-like fingernails a nd chews idly on a limp lock of hair. Jennifer wears a ti ght T-shirt that s ays KETTLE HIGH FLAGS and underwear. An ‘80s HORROR M OVIE flickers on t he TV. Jenni fer half- watches, d istracted. NEEDY V.O. Jennifer didn’t always look this rough. Actually, she was the prettiest girl in Devil's Kettle when she w asn’t so...hungry. Some recent phot os on a corkboard rev eal that Jennifer was indeed BEAUT IFUL AND CURVY. NEEDY V.O. (CONT’D) She hadn’t fe d in weeks. Jennifer rolls over and glan ces at the window briefly. We see the OUTSIDE of the house again . It’s dark and silent, but for the nearly inaudib le snapping of twigs.6. CONTINUED: NEEDY V.O. (CONT'D) (CONTINUED) Jennifer turns her attention ba ck to the TV. Suddenly, we see NE EDY’S FACE pop up aga inst the window, white and sta rtling. Before Jennifer notice s, the face disappears. Outside the h ouse, the bushes rustle. Needy is crouched below the win dow. We hear th e pulsing of he r HEART as if via ultrasound. It’s a wet, rhy thmic sound: Sploish, sploish, sploish. Inside, Jennifer stretches and shuts off th e TV. She turns out the light. A be at of silence. Then, the sou nd of cracking nea r the window. JENNIFER Huh? Needy PLUNGES through the windo w, screaming and brandishing a HAMME R. She takes a SWING at Jennifer’s head, but misses and BURIES IT IN THE WALL, sp ecifically in Jennifer’s Fa ll Out Boy poster. Needy throws herself on top of Jen nifer. She STRADDLES Jennifer and gri ps her throat, throttling her. NEEDY You’ll throw me a b one, huh? Huh? You killed Chip! You goddamned monster! Y ou...ZOMBITCH! Jennifer stru ggles to fight off Needy in the darkness. Her clawlike fingernai ls rake Needy’s back and arms. Needy pulls a BOX CUTTER out of her waistba nd and flicks it open like a switchblade. Kshink! JENNIFER (gagging) Do you buy all y our murder weapons at Home Depot? G od, you’re butch. NEEDY Know what this is for? Cutting boxes. She takes a swip e at Jennifer’s CROTCH. Jennifer instinctively CL UTCHES herself and rears up in defense. We see Jennifer’s m outh come do wn on Needy’s n eck. Needy shrieks as if BI TTEN, but conti nues to stra ngle Jennifer, straddling her a nd bearing down. 7. CONTINUED: (CONTINUED) Jennifer’s T-shi rt slides up to her armpits, exposing her breasts. For a moment, her eyes meet Needy’s and she grins. It’s as if she has contr ol over Needy for a split second, sexua l control... Needy recoils and SLASHES Jenni fer’s body left and right with the box- cutter, marking a gory, oozing “X” on her torso. NEEDY (CONT’D) (hysterical) CROSS OUT JENNIFER! Jennifer gasp s, staring at her wou nds in shock and disbelief. She looks back up at Needy. A be at of silence. Suddenly, THE GIRLS’ BODIES LEVITATE RAPIDLY TOWARD THE CEILING. They wr estle in a bloody, screaming airborne heap, their figu res entwined. T heir bodies FALL, collapsing back onto the bed with a thud. Needy raises the box-cutter and plunges it into Jennifer’s HEART. Blood GEYSERS from the wound. JENNIFER (choking) My tit! Suddenly, the ro om is flooded with BRIGHT LIGHT, revealing a N eedy straddling Jennifer’s MUT LIATED BODY. Jennifer’s breat hing is a raspy death rattle. MRS. CHECK, a middl e-aged woman in ba d sleepwear and a worse perm rushes into the bedroom. MRS. CHECK Jennifer! What is it, baby? Oh my God! Oh my God! She pulls Needy off her daughter. Jennifer rolls over, gasping an d bleeding. MRS. CHECK (CONT’D) (shocked) Needy? Needy drops t he boxcutter. It lands on Jenn ifer’s copy of Flag Team Quarterly, splashing the model wi th fresh gore. NEEDY Is she dead, Mrs. Check? Did I get her?8. CONTINUED: (2) (CONTINUED) Mrs. Check cr adles her maimed daughter on the floor like a white-trash Pieta. Jennifer takes one last breath, vomits blood, and DIES. Mrs. Check SCREA MS. Needy SMILES.",HORROR +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. JENNIFER CHECK’S HOUSE - MOMENTS LATER Three police cars squeal up to the curb wit h sirens and lights engaged. OFF ICER ROMAN DUDA, 2 2, a muscula r young COP, jogs author itatively toward the house. He shakes his head, dumbfounded. ROMAN Christ, Needy, w hat have you done?",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. POLICE S QUAD CAR - DAWN Needy, innocent- looking in PIGTAILS, is hustled i nto the back of the squad car. Her clot hes and face are smeared with blood. Officer Duda starts the i gnition. His pa rtner, a hard- faced FEMALE COP , slides into the front seat. Her cap is pushed back to accommodate a hu ge round pouf of shellacked MALL BANGS. NEEDY Hi, Roman! How’s the Force treating you? I like that jaunty cap. Blue like your balls. ROMAN How could you do this, Needy? (emotional) You killed Jen-- Jennifer-- I mean, the vic tim. Are you on something? NEEDY Everything’s going to be okay now. I rule. FEMALE COP Shut your mou th back there! NEEDY Hey. Didn’t you used to baby-sit me in like 19 98? When my mom worked the overnight at Hormel? The female cop f idgets un comfortably.9. CONTINUED: (3) (CONTINUED) NEEDY (CONT’D) Yeah. Gracie, ri ght? Gracie. I really like your hair, Gracie. How many cans of Sal on Selectives did it take to er ect that monument? The cop reaches int o the backseat and SLAPS Needy, who hiccups wi th laughter. NEEDY (CONT’D) Watch it, Puffy Combs. That’s police brutality! FEMALE COP You’re one to talk about brutality, Ms. Lesnicki. You’re looking at at tempted murder. NEEDY Ugh, don’t say attempted . That sounds so JV. Small time. Teeny- weeny, just like Officer Duda up there. And trust me-- I’d know. Roman swallows n ervously, eyes on the road. Officer Warzak glance s at him. NEEDY (CONT’D) Let’s get our fa cts straight: I successfully com mitted a hard core, fully p remeditated murder back there. I fucking destroyed that brat, OK? I, Needy Lesnicki, put a stop-pa yment on Jennifer Check. She slumps down in the backseat. NEEDY (CONT’D) Why am I even in these cuffs? I just saved every guy in this town from becoming Sa tan Chow. I’m a hero. FEMALE COP She’s delirious. ROMAN (muttering) This is going to be a circus.10. CONTINUED: (CONTINUED) FEMALE COP At least we’ve already got a confession. NEEDY Confessions are for pussies. You’ve got a declaration, Grace. She giggles maniacally. Roman turns on the radio, vi olating prot ocol. It’s a soaring rock ant hem-- the SAME SON G we heard being piped into solitary confinement. Both cops BRIGHT EN when they hear the song. Roman cranks the volume. ROMAN God, I love this song. FEMALE COP I know. And they ’ve done so much for this town. ROMAN They’re way more than a band, really. Th ey’re heroes. FEMALE COP Wait, this is my favorite part... Roman and the female cop beg in to sing alon g with the uplifting, corny song: FEMALE COP AND ROMAN (in unison) “Through t he trees, I will find you. Heal the ru ins left inside you. And the stars will remind you, that you are home...” Needy stares out the window at the sun creepin g up over the forest on the horizon. NEEDY V.O. So I killed her. Whatever. It won’t undo anything. Thre e pulses-- three lives-- al l stopped cold by adolescent bl oodlust. It’s hard to believe th at just two months ago, me, Jennifer and my boyfriend Chip were completely normal people. 11. CONTINUED: (2) (MORE) (CONTINUED) We were our y earbook pictures. Nothing more, nothing less. We see a brief montage of black -and-white yearbook stills: JENNIFER executing t he splits on a football field, her smile bright. NEEDY ins pecting a school newspaper layout, p en in hand, glasses on her nose. And finally, CHIP DOVE, playing a strap-on snare drum at a school pep ra lly, his head bent in co ncentration.... NEEDY V.O. (CONT’D) Jesus, Chip.. The photo fades into the pep rally itself. CHIP is animated, drumming in full color...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. KETTLE HIGH - DAY CHIP drums on th e sidelines of the Devil's Ket tle High basketball court. The stands are p acked with BORED STUDENTS for a pep rally. Chip is 16, clean cut, and an awful drummer. NEEDY V.O. Chip couldn’t dr um for shit. He only knew “Land of a Thousand Dances” and t he solo from “Wipeout.” Lu cky for him, the pep band gig wasn ’t too demanding. Sure enough, the band is playing “Lan d of a Thousand Dances.” Nearby, the FLAG TEAM cla ps with glov ed hands, picking up their flags for a ch oreographed stunt. Jennifer steps f orward in her f lag team uniform, breathtakingly beautiful. Sh e hoists her flag aloft, twirling it. Time FREEZES as the flag unfurls. NEEDY V.O. (CONT’D) If you can be lieve it, that’s Jennifer. Yeah, the same girl I iced with the box-cutter. Only back then, we we re tight. Sisters, practically. People found it hard to believe th at a babe like Jennifer would associate with a dork like me. Bu t we’d been the Wonder Twins since we were practically prev erbal. Sandbox love never dies. Jennifer finishes h er maneuver and WAVES to th e stands. Needy waves back at her excitedly from the bleachers, small and owlish with glasses a nd lank hair. 12. CONTINUED: (3) NEEDY V.O. (CONT'D) (CONTINUED) CHASTITY, a s imilarly geeky-loo king girl st anding next to Needy, rolls her ey es at this display of affection. CHASTITY You’re totall y lesbigay. NEEDY What? She’s my best friend. The geeky girl mock ingly imitates Needy’ s excited wave. CHASTITY You stare at her like you want to dry hump her. Needy ignores her. CHASTITY (CONT’D) Like, hump her through pants. NEEDY (interrupting) Are you jealous? CHASTITY Of what? That rich bitch? NEEDY She’s not rich.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. KETTLE H IGH HALLWAY - AFTER SCHOOL Needy digs throu gh her locker, car efully selecting textbooks to take h ome. Jennifer skip s up to her, smiling. JENNIFER Hey, Monistat. NEEDY What’s up, Vagisil? JENNIFER You and me are going out tonight. She checks herse lf out in Needy ’s locker mirror. NEEDY Tonight? Why? JENNIFER Soft Shoulder are playing at the Carousel. 13. CONTINUED: (MORE)(CONTINUED) And it’s all- ages, for on ce, which means I won’t ha ve to play Hello Titty with th e door guy. NEEDY What’s Soft Shoulder? JENNIFER They’re th is indie band from the city. I saw their MySpace and the singer is extra salty. And there will be lo ts of other salty morsels there for you. Come on Needy, it’s the weekend! NEEDY It’s Thursday. JENNIFER Thursday counts as the weekend in college. And we’re going to be in college twenty-t hree months from now. Universi ty of Northern Minnesota Duluth- woo! Needy cont inues loading her backpack. JENNIFER (CONT’D) Please, please you’re a social disease? NEEDY I have to study. Jennifer pout s. With an outstretch ed finger, s he draws a dramatic X in the air over N eedy and boo s loudly. JENNIFER (shouting) Boo! Cross out Needy! Needy blushes, s hrinking self-c onsciously. She obviously hates to disp lease Jennifer. NEEDY Fine. What ti me is the show? JENNIFER I’ll pick you up at 8: 30. My mom has a date with that guy who owns the ham store. NEEDY He seems nice.14. CONTINUED: JENNIFER (CONT'D) (CONTINUED) JENNIFER (smirking) Yeah, Mom says he’s got a huge... heart. So huge he gave her a recurring bladder infection. Wear something cool, okay? NEEDY Okay.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. NEEDY’S HOU SE - 8:45 A.M. Needy is standing in a small , dingy bathroo m, trying on different configura tions of clothing. NEEDY V.O. “Wear somethi ng cool” meant something very specific in Jennifer-spea k. It meant I couldn’t look li ke a nerd, but I couldn’t upstage her either. I could expose my sto mach, but never cleavage. Tit s were he r trademark. Needy wiggles he r jeans a bit l ower, exposing her childishly round tummy. She walks out of the bathroom into her bedroom, a frilly pink hell complete wit h canopy bed. CHIP DOVE is sit ting on the bed, look ing lost in all that pink. He rais es an eyebrow at Needy’s abdomen. CHIP Those jeans are hella low. I can almost see yo ur front butt. NEEDY Chip, it’s a rock show. T his is my rock look. CHIP I can see, li ke, your womb. Needy sighs and hoists up her pants. CHIP (CONT’D) Why are you blow ing me off for some dumb con cert, anyway? We were supposed to have Movie Night. I even rented Orca. It’s like Jaws, except with a ha rmless whale.15. CONTINUED: (2) (CONTINUED) NEEDY Jennifer needs me. She really wants to go see this band. It’s extremely import ant to her. CHIP I’ve never ev en heard of Soft Shoulder. Which one is Jennifer stalking? NEEDY The lead singer, of course. Girls like her don’ t go out with drummers. CHIP Thanks a lot! NEEDY No offense. I mean, she’d probably make an exceptio n for a drummer who was also the lead singer. CHIP Like Phil Collins. NEEDY Who’s Phil Collins? CHIP Forget it. He ’s seminal, but whatever... NEEDY Anyway, this singer guy is like 22, so he could get locked up in the state pen if he actua lly dated her. But Jennife r says he’s extra salty, so... CHIP Salty. You guys ever g oing to stop using that se cret language? NEEDY “Salty” means beautiful. CHIP Then you must be soy sauce, babe. Needy and CHIP start MAKING OUT . CHIP unbuc kles his belt eagerly even though they’ve barely begun. Needy stops.16. CONTINUED: (CONTINUED) NEEDY Jennifer’s here. CHIP How do you know? Needy shrugs. A beat of silence. T hen we he ar the door swing open. J ENNIFER’S VOICE floats up f rom downstairs. JENNIFER (O.S.) Needy, quit tamp ooning yourself and get down here! CHIP That’s fuckin g weird. NEEDY (straighten ing her clothes) I’d better hurry. CHIP You always do what Jennifer tells you to do. Needy pulls her NECKLACE out from ben eath her shirt and flashes a heart- shaped “B.F.F.” charm at Chip. NEEDY She’s my best friend, Chip. Remember? This n ecklace is no joke. CHIP sighs, r esigned. They h ead downstairs.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. NEEDY’S HOUSE (LIVING R OOM) - SAME Jennifer is waiting in the front hall way. She’s heavily made-up and d ressed in a predictably sexy outfit. She dangles a set of car keys in front of Ne edy and CHIP. JENNIFER (gloating) Guess who’s g ot the whip ‘til 11:30? A 2003 Ch rysler Se bring and it’s all mine. NEEDY Wow.17. CONTINUED: (2) (CONTINUED) JENNIFER You’re lucky you ge t to ride with me to the club in style! She does a sexy little dance in the d oorway, then notices CHIP. JENNIFER (CONT’D) Oh, hi Chip. Do you like puppies? She grabs her bo obs and thrusts her c hest outward at him, giggling. Needy watche s jealously and MA NEUVERS HER WAY IN FRONT OF JENNIFER. CHIP I think you forg ot, like, two buttons. NEEDY I think she remembered two buttons. Jennifer snif fs the air. JENNIFER It smells like T hai food in here. (beat) Have you guys been fucking? NEEDY You’re gross! She shoves Jenni fer and they begin wrestlin g playfully. CHIP slumps a gainst the wall, s taring awestruck at Jennifer’s cleavage. JENNIFER Okay, let’s go to the club. The three of them shuffle onto the porch. Need y locks the door. CHIP The Carousel is not a club. JENNIFER Eat my ass, Chip . You’re just jello ‘cau se you’re no t invited. CHIP I’m not jello! T hat place is gross. Everyone there has a mustache. 18. CONTINUED: (CONTINUED) JENNIFER You’re totally j ello! You’re lime green jello and you can’t even admit it. The girls scamper toward the car. CHIP (calling af ter them) Stop kidnappi ng my girlfriend!",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. THE C AROUSEL - NIGHT THE CAROUSEL is a r un-down tavern at the edge of town, the kind with NASCAR posters, wobbly chairs and strands of plastic penna nts crisscrossi ng the ceili ng. It’s a busy night and the bar is te eming with locals. A bartender sells a CASE OF BEER to a cu stomer and passes it over the bar. NEEDY V.O. Chip was right. The Carousel is definitely not a club. Clubs are for attractive p eople in populous urban areas. Clu bs have DJs and champagne and se parate bathrooms for guys and girls. All we have is a broken jukebox, a few domestic taps and the Sticker Toilet. SMASH CUT TO:",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BATHR OOM - SAME We see a lone, n asty-looking TO ILET covered in BAND STICKERS. BACK ON NEEDY:Needy and Jennif er enter the ba r. Every guy in the joint stares at Jennifer, who snaps her “MINOR” wristband distastefully. JENNIFER God, I can’t wait until I’m old enough to get wa sted. Have you ever had p each schnapps? NEEDY I don’t think so.19. CONTINUED: (2) (CONTINUED) JENNIFER Peach schnapps a re excellent . They even taste good when they come out of your nose mid-puke. A teenage guy, C RAIG, passes by and waves. CRAIG Hi Jennifer. You look nice. JENNIFER (without enthusiasm) What up, Craig. She elbows Needy and makes a GAGGING GESTURE. JENNIFER (CONT’D) He thinks he’s cute enough for me. No wonder he’s in retard math. Jennifer pulls out a pack of Camel Wides and lights one awkwardly. Needy notices AHMET FROM I NDIA, a FOREIGN EXCHANGE STUDENT, standing by hims elf away from the crowd. NEEDY Hey, it’s Ahmet from India. The foreign exchange guy. He’s all by himself. JENNIFER I can’t believe we traded a cute hockey pla yer for that. NEEDY He seems okay. H e’s got that cool elephant statue in his locker. JENNIFER Do you think he’ s circumcised? I always wanted to try sea cucumber. NEEDY Ew! ROMAN DUDA sa unters up to Jennifer, swiggin g a bottle of beer. He snatches the pack of cigaret tes away from her. ROMAN You’re smoking dicks now, Jen? JENNIFER What? I like the Wides.20. CONTINUED: (CONTINUED) She sticks the fat cigarette between her li ps and inhales pointedly. ROMAN I just bet you d o. I should arrest you for po ssession under the legal age. JENNIFER Arrest me, pfft! You’re not even out of the acade my yet, Roman! ROMAN Two more months and I’m on the force for real. The n I’ll be able to cuff you w henever the hell I want. He grips her wri st and twists it behind her back. JENNIFER How will I wa it that long? She paws Roman’s crotch discreetly . Needy winces. ROMAN Not here, babe. I g otta keep my nose clean. NEEDY (pointing) Look, there’s the band! A group of skinny INDIE ROCK BOYS are setting up their equipment on a p athetically tiny stage-- it’s more like a dais. The LEAD SINGER has in tense, spooky eyes, nearly obscured by a shock of hair. The locals, mostl y good ol’ boys, eye the band suspiciously. JENNIFER You can tell the y’re from the city. ROMAN Yeah, ‘cause the y look like a bunch of faygos. JENNIFER You would think that. You ’re such a small-time Gomer. I wish we had more guys like t hat in Devil's Kettle. All styl ish and shit. Needy nods dumbl y. She stares at the band, awestruck.21. CONTINUED: (2) (CONTINUED) NEEDY They look so- - so cool. She gazes at the stage, hearing only the wh istling rush of ARCTIC AIR. In SLOW MOTION, the GUITARIST unsheathes his Fender Jagua r from its gig bag . He notices her staring and runs the tip of his tongue over his lips. Needy swal lows hard. JENNIFER Hey, I think the y need two groupies. Come o n! It’ll be like Almost Famous! I’ll be Penny Lane and you can be the other girl. She grabs Needy’s hand and enth usiastically tr ies to drag her toward the stage. NEEDY No! JENNIFER Don’t be J.V., N eedy. They’r e just boys. Morsels. We have all the power, don’t you know that? She plants her hands on N eedy’s CHEST. JENNIFER (CONT’D) These things are like smart bombs. Point ‘em in the right direction and shit g ets real. Needy shrugs free of Jennifer’s grasp and follows her reluctantly a cross the room. The lead singer of Soft Shoulder, NIK OLAI WOLF, is already striding forward to meet them at th e lip of the stage. His gait is as smooth as his shock of dyed-black hair. JENNIFER (CONT’D) Hi. Um, we just really wanted to meet you or something? I’m Jennifer Check a nd this is my friend. NIKOLAI I’m Nikolai W olf, and this is my band. He reaches down and pumps Jennifer ’s outstretc hed hand.22. CONTINUED: (3) (CONTINUED) JENNIFER (awkward) Yeah! Soft Shoul der, right? I’ve heard you guys a re super, super good at playing your instruments. NIKOLAI I hope we can live up to such...high praise. NEEDY Hey, if you don’ t mind me asking, why did you want to pl ay all the way out here in Devil's Kettle? You live in the city, right? NIKOLAI Yeah. But I t hink it’s so important to connect with our fans in rural a reas. Plus, the audiences in sma ll towns really appreciate us. JENNIFER Can I show you my appreciation right now? Needy looks at t he floor, em barrassed. Jennifer’s vo ice scales up nervously. JENNIFER (CONT’D) Like, I’ll buy you a drink? I mean, I’ll see if I can get you a drink. They make this great 9/11 tribute shooter? It’s red, white and blue, but you h ave to drink it fast or it ge ts all brownish. NIKOLAI (grimacing) Mmm. Jennifer hurr ies off towa rd the bar. Needy moves self -consciously in to a nearby corner, not wanting to co ntinue the conv ersation with N ikolai alone. A LOCAL plugs a Lor etta Lynn tune int o the jukebox, with a challenging stare at the band. A DR UNK COUPLE begins two-stepping in fro nt of the stage. Nikolai walks up to the guit ar player, DIRK , and pulls him aside. Needy pricks up her ears and listens.23. CONTINUED: (4) (CONTINUED) NIKOLAI (CONT’D) Dirk, what about her? DIRK (gesturing to Needy) Who, Training Bra Jones? Needy look s offended. NIKOLAI No, the hot one. The o ne who just walked away. She’s it, man. She’s exactly what we’ re looking for. DIRK You’re sure she’s... NIKOLAI She’s a kid. We’re in God’s country, man. Ev eryone out here’s a fundie bible-bang er. Of course she’s a virgin. Dirk hesitates. NIKOLAI (CONT’D) Dirk, we didn’t haul our asses out to this corn pal ace for nothing! DIRK Fine. Okay. You know, I know I’m not “just the ba ssist.” I’m a person who happens to play the bass guitar. And I would like some respect... Nikolai is al ready ignoring him. Needy, alarmed, eme rges from her hiding place and discreetly rushes over to the b ar where Jennifer is arguing with a jealous-looking Roman. He sh akes his head in disgust and leaves the bar. Jennifer walks o ver holding an ostent atious PATRIOTIC THEMED DRINK. Sh e laughs when she sees Need y’s concerned expression. JENNIFER What? Are you scared of rock stars too? NEEDY Those guys are rank, Jen. Just forget about it.24. CONTINUED: (5) (CONTINUED) JENNIFER I think the singer wants me. NEEDY Only because he thinks you’re a virgin. I heard them talking. JENNIFER Yeah, right! I’m not even a backdoor-virgin any more, thanks to Roman. By the way, that hurts. I couldn’t even go to flags the next day. I had to st ay home and sit on a bag of frozen peas. NEEDY Oh my God. JENNIFER Well, if Nikolai wants innocent, I can do innocent. I’ll be Little Miss Fucki ng Sunshine. NEEDY He’s way too old for you. JENNIFER Don’t cock-block me, Needy. Piercing FEEDBACK signals the begi nning of the set. Nikolai takes the m ic and smile s broadly. NIKOLAI Good evening, Devil’s Lake. Someone in the back shouts “ Devil's Kettle!” NIKOLAI (CONT’D) Sorry. Anyway, we’re Soft Shoulder. And we just want to make you happy. He WINKS at Jennifer.The band launch int o the same intense , soaring song we heard in the COP CAR and the HOLE. Jennifer ’s eyes never leave Nikolai’s. She’s hypno tized, clinging to Needy’s arm. Even the lo cals look charmed. Suddenly, a lick of FLAME appears on the wood paneling next to the stag e. Needy is the first to no tice. As she watches in ho rror, the fire is reflected in her glasses.25. CONTINUED: (6) (CONTINUED) The flames quick ly climbs up to the ceiling and begin to blaze uncontr ollably. People SCREAM and sca tter. Someone ineffectually tr ies to throw a pitcher of b eer on the fire. Nikolai turns and sees the fire sp reading. He and Chas exchange glances. The BASS PLAYER pit ches his guitar aside and jumps off the stage, and the drum mer abandons his kit. Nikolai seems perfectl y cool and c omposed as he watches from the stage...is he smiling? CHAOS. Everyone is trying to get out of the bar at once, causing a stampe de. A woman’s c lothes and hair CATCH FIRE and she falls to her knees. We see a BEAM f all from the roof, nearly killing AHMET FROM INDIA. Jennifer stan ds still in a d reamlike state. NEEDY (to Jennifer) I know where to go! Needy grabs J ennifer by the elbow and pulls her into the tiny BATHROOM. Choking on smoke, t hey climb onto the Sticker Toilet ( which now sports a giant SO FT SHOULDER sticker on the tank) and boost eac h other out the BATHROOM WINDOW. Hundreds are stil l trapped inside, screaming.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. THE CARO USEL- CONTINUOUS Jennifer coll apses in Needy’s arms, coughin g. Needy hugs her fiercely, almost romanti cally. She c ups Jennifer’s flushed face and looks in to her eyes. JENNIFER (dazed) It’s so ho t, Needy. I thi nk I’m on fire. Oh God, I’m burning! NEEDY You’re okay, I p romise. You got burned worse when you wore that tin-foil bikini to the beach. Everything’s fine. Suddenly, a HAND clamps onto Jenni fer’s should er. Both girls jump. It’s Nikolai, his forehead crea sed with false concern. NIKOLAI Are you girls all right?26. CONTINUED: (7) (CONTINUED) Needy is less th an thrilled to see him. NEEDY We’re grea t. Maybe you should try to find your band? NIKOLAI Those guys? They were the first ones out t he door. Ran fo r the van like a bunch of Marys. Frankly, I’m ashamed of them. Needy narrows her eyes suspiciously. Muffled SCREAMS rise up from the f lame-engulfed building. Jennifer cove rs her ears and cowers, sweat rolling down her face. NIKOLAI (CONT’D) God, it feels like hell out here. Come and hang with us in the van for a while, just until they hose this place down. JENNIFER Okay...okay... She slumps against Nikola i’s chest. NIKOLAI You’re in shock. He re, drink this. You’ll fee l better. He smoothly retriev es a plastic bottle of P EACH SCHNAPPS from his coat and holds it to Jennife r’s lips. She swigs it cooperatively, d ribbling down her chin. Needy blinks in disbelief at th e coincidence. NEEDY Aren’t you a little freaked out about this? What about all your stuff? It’s probably m elting, and when you get to the next stop you’ll have to do like, a crappy acoustic set! No body likes that. NIKOLAI We’ll be able to afford new gear soon enough. I have a feeling we’re gonna blow up.27. CONTINUED: (CONTINUED) JENNIFER (slurring) I want to see yo ur van. C’mon Needy, let’s go to the van. NEEDY Why? Why should we? We have the Malibu. Let’s ju st get out of here. We can go to El Ojo and get Northwoods Nacho s with extra Badger Sauce! Please? I’m starving. JENNIFER Needy, stop it. Just stop it! She defiantly follows Nikolai toward the WH ITE VAN, which is parked a suspici ously safe dist ance from the bar. Needy staggers after them slowly, watching. Behind Needy, the bar EXPLOD ES. Screams. Flames. Silence. Needy doesn’t even look back as she watches Jennifer get into the van. As h drifts into her hair like snowflakes. Nikolai takes of f his shirt as he ent ers the van, revealing his sl ick, muscled white torso. NEEDY V.O. I watched her get into that van and I knew somet hing awful was going to happen. But for some reason, I felt d rawn toward them. Toward him. He was pale and twisted and e vil, like this petrified tree I sa w when I was a kid.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PETRIFIED FOREST NATIONAL PAR K - (FLASHBACK) We see LITTLE NEEDY, about f ive years old, staring up at a petrified tree in th e darkness, hor rified yet compelled. The tree seems to stoop forwa rd, cracking... BACK ON NEEDY: Needy’s face is fix ed in the same hau nted expression. Nikolai turns to look at her, h is teeth bared in a vicious smile. Needy turns and sprints off in the opposite direction, away from the va n and the fire.28. CONTINUED: (2)",FLASHBACK +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. NEEDY ’S BEDROOM - 11:00 P.M. Needy stumbles into her bedroom, o verwhelmed. Her clothes are smoke damage d and her ch eeks are sooty. She grabs her ch eap, taped-up c ell phone and dials CHIP’s number shakily. CROSS CUT PHONE CALL:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CHIP’S BEDR OOM - CONTINUOUS Chip’s bedroom is p itch black until a cheap cell phone lights up under the covers illuminati ng his sleeping form, clad only in jockey shorts. CHIP (sleepily) Hey, Niedermeyer. NEEDY Thank God you’re there. I hoped you were s leeping with your phone. CHIP What’s wrong? NEEDY Jennifer’s gone. She ran off with that rock band. And the Carousel burned down. CHIP sits bolt upright CHIP Like, burned down? To the ground? Is everyone okay? NEEDY No. I think they ’re mostly dead. CHIP Shit. You’re okay, right? NEEDY We went out t he bathroom window. Everyone else wa s trying to use the door. It was like a stampede. The people who f ainted got run over and you could hear their bones breaking. 29. (MORE)(CONTINUED) There was all th is screaming and popping, like a million B lack Cats all going off at once. And the smell... CHIP This is real, ri ght? This isn’t just, like, some crazy dream like last time? NEEDY No! Anyway, it t ook me like an hour to walk hom e. But Jennifer’s still with those creeps! They had one of those whi te molester vans with no windows. The back was all blacked out. CHIP Who cares about Jen nifer and those douchebags wi th douchebag haircuts? People just burned to death. In our town! The DOORBELL chimes. NEEDY (frantic) Oh cheese and fries! Someone’s here. I’m alo ne, Chip. I’ m freaked out! CHIP Where’s your mom? NEEDY Swing shift. Listen, I’ll call you in a minute. Stay awake. CHIP (sleepily) Holla back. Needy hangs up t he phone and ru shes downstairs . As she passes through the shadowy k itchen, applian ces HUM all around her. The sil ence is menacing.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. NEEDY’S HOU SE (FRONT ENTRY ) - CONTINUOUS Needy opens the door. Nobody there. She slams the do or, turns aroun d and SCREAMS.30. CONTINUED: NEEDY (CONT'D) (CONTINUED) Jennifer is standin g in the dark hall way, looking ghostly pale and smiling. Her clothes are tat tered and stained-- her entire front is soaked in b lood. Her makeup is smeared, and her eyes are bruised and sunken like a zombie’s. She looks HORRIFYI NG, especially with that ghastly, clow nish grin. NEEDY Um, Jennifer? Jennifer says nothing and conti nues to smile with blood- tinged teeth. NEEDY (CONT’D) What happened? Utter silence. Then a drippi ng sound. Needy looks down and sees large drops of blood spat tering the linoleum. Jennifer cont inues to smile, stari ng directly at Needy. NEEDY (CONT’D) (trembling) J-Jen? Jennifer lets out a horrifying banshee SCREAM, wailing at the top of her lungs. She vomits a to rrent of evil- looking black bi le all over hersel f and Needy and staggers wildly down the hallway. The bloody black bile hits the wall, splashing a framed school portrait of Nee dy. Needy screa ms and watches in horror as it slides down the wall. The bile has hun dred of tiny SPINES sticking o ut of it, like little p orcupine needles, and it appea rs to move by itself, oozing across the li noleum, creepin g into the corners. It’s truly revolting. Needy grabs J ennifer blindly and c laps a hand over her mouth. Jennifer falls to her knees, her screams turning to jagged, insan e laughter. Needy tries to run, but Jennifer grabs her and THROWS her against the wall with superhuman f orce, pinning her. Jennifer slowly, tantalizingly bru shes her fac e against Needy’s hair, her earlobe. Need y doesn’t mo ve a muscle. Jennifer’s ha nd slides up Needy’s ribcage. She presses her lips agai nst Needy’s car otid artery. We hear Needy’s blood pumping, swishing.31. CONTINUED: (CONTINUED) JENNIFER (whispering) Are you scared? Needy nods.Jennifer parts h er lips. Then suddenl y, she stops and PULLS AWAY, p ushing Needy to th e floor. Jen nifer bolts out the front door and takes off running do wn the street. Needy is motionless for a moment, the n stumbles toward the doorway. NEEDY (screaming after her) Jennifer! But she’s lon g gone.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. KETTLE HIGH - THE NEXT MORNING Moments before the first morning bell. Needy is sitting at her desk in E nglish class, still visibly bruised from her scuffle with Jennifer the night before. She looks like she hasn ’t slept a wink. The mood is quiet and somber-- kids w hisper about the fire and g ather in groups. GOSSIPING GIRL (whispering) I heard Needy an d Jennifer were there and they had to fight their way out with a machete. OTHER GIRL Look, she’s n ot even moving. GOSSIPING GIRL It’s called Post Traumatic Stress Disorder... Suddenly, a figu re steps in front of Needy. It’s JENNIFER, looking a bsolutely gorgeous -- and remarkably unscathed. She smiles brightly at Needy as if nothing happened the night before. JENNIFER Happy Frid ay!, D-bag! NEEDY You-- you’re all right!32. CONTINUED: (2) (CONTINUED) JENNIFER Yeah. Why wou ldn’t I be? NEEDY Last night. At my house. You were hurt. You had two black eyes and blood everywh ere and... JENNIFER Needy, you’re delusional. I got a little banged up when you made me go out that wind ow, but I’m fine. NEEDY (dumbfounded) We had to go out th at window. The bar was like, en gulfed in flames! JENNIFER You do have a tendency to overreact. Remember at Girl Scout camp when you th ought there was an earthquake and it was really just two guys with a ghetto blaster? NEEDY A lot of peop le died, Jennifer. They burned to death, or they choked, or they just got trampled. More than half of the people there didn’t make it o ut. It’s like, all over the news. N ational news. Kids are dead. Parent s are dead. JENNIFER Anyone we know? NEEDY We know everyone ! JENNIFER Sucks to be them, I guess. She giggles and reaches for her knockoff de signer purse. NEEDY I don’t get it. What’s wrong with you? Jennifer applies lip gloss a nd smacks her l ips together. JENNIFER What’s wrong with you? I mean, besides the obvi ous surface flaws.33. CONTINUED: (CONTINUED) Needy rubs her eyes, stunned. NEEDY (to herself) There’s no way I dreamed it. No way. She looks down at her hands. There ’s DRIED BLOOD under her fingernails. NEEDY V.O. Her blood was st ill under my nails. See, I’d bee n up all night scrubbing the ca rnage off the linoleum.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. NEEDY’S HOU SE (FRONT ENTRY) - DAWN (FLASHBACK) We see Needy on her hands and knees in the eerie blue light of dawn, sobb ing as she d iligently scrub s blood and bile off the floor with a dirty sponge. The black, spiny vomit repulses h er, and she gags. She reaches for a Swiffer WetJet m op and pulls the trigger. No solutio n comes out. She curses, hysterical and sleep-deprived. NEEDY Work, you...twat! Swiff, darn it! Swiff! Swiff! She collapses in tears on the floor. BACK ON NEEDY - PRESENT DAY NEEDY (CONT’D) (softly, to herself) Shoot. JENNIFER Don’t talk to yo urself. It’s one of your mo re freakish Needy behaviors and it makes us both look like total gaylords. Needy raises her hands desperat ely to Jenni fer, spreading her fingers to display her f ilthy fingernails. JENNIFER (CONT’D) Eww, you n eed a mani bad. You’d better find a Chinese chick to buff your situation!34. CONTINUED: (2) (CONTINUED) MR. WROBLEWSKI, a m iddle-aged teac her, enters the room. He has a gnarly-loo king robotic hand and moves awkwardly. JENNIFER (CONT’D) (smirking) Here comes Handi-Snack. Mr. Wroblewski clears his th roat. His vo ice quavers. MR. WROBLEWSKI I’m sure those of you who made it here today have all heard the news. It’s a dar k day for Devil's Kettle, a day we can never, ever forget. A single, stifled s ob rises from the cla ss. Needy glances around the room and sees students fighti ng back tears. A huge JOCK weeps ope nly, tears spatter ing his swimsuit- model decorat ed notebook. Je nnifer smirks, barely able to contain he r laughter. MR. WROBLEWSK I (CONT’D) The administrati on here has decided that tod ay will be a unstructured day of support and remembrance. We’ ve lost nine precious student s-- including Ahmet from India-- several parents, and a teacher, Ms. Parrish. He fights back tears. JENNIFER No way! Pa rrish ate shit? Needy shushes her, appalled. MR. WROBLEWSKI This tragedy is obviously beyond anything we can measure. Mor e than ever, we need to band together and draw strength from each other. Mr. Wroblewski p ainstakingly re trieves a tissu e from his pocket with his robotic hand and d abs at his face. MR. WROBLEWSK I (CONT’D) (his voice cracking) We can rise up. We can overcome death. Needy eyes Je nnifer warily.35. CONTINUED: (CONTINUED) The jock coll apses in sobs. A tiny , acne-sc arred GEEK leans over and f olds the jock into an un likely hug. JENNIFER (dry) Oh look, they’re united in grief. That’ll last.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. KETTLE H IGH HALLWAY - AFTER SCHOOL The automated bell rings. Ne edy slings on her backpack and hurries over to CHIP’s l ocker. He’s packin g up a pair of drum mallets. CHIP No band pr actice today. NEEDY No anything today. CHIP It’s surreal, ri ght? I mean, when just one guy die s in Devil's Kettle, it’s like time stops. And now so many peop le are dead, nobody knows when it’s okay to start again. NEEDY I feel guilty just breathing. CHIP Word. NEEDY Chip, I need to tel l you something kind of weird . It’s about Jennifer. CHIP What? NEEDY You know last ni ght when we were talking and s omeone came to my door? That was Jennifer. But she didn’t talk. She just stood there, smiling at me, b ut a bad kind of smile. She lo oked like she’d been beat up or sh ot or something. She was all bloody. 36. CONTINUED: (2) (MORE) (CONTINUED) And then she bar fed up this disgusting prick ly stuff that was like roadkill an d sewing needles all mixed together. She shudders at the memory CHIP Yuck. Like th ose porcupine meatballs my mom makes with the rice sticking out? NEEDY Yeah, like al most that bad! CHIP and Needy p onder the grote sque image in silence. CHIP It was probab ly because she inhaled a who le bunch of smoke. NEEDY No. It was so mething evil. CHIP You might want to talk to the school shrink, N eedy. I’m not saying that to be a dillhole. I’m actually kind a concerned. NEEDY Chip, I’m a N ational Merit Scholar. I don’t tell whoppers and I’m not crazy. CHIP I didn’t say you were crazy. It’s just that everyo ne’s a little messed up about this. It’s okay to feel... NEEDY Discombobulated? CHIP Yeah, you kno w. Fucked up. As they prepare to leave, COLIN GR AY approache s Needy. He’s a cute PUNK /GOTH guy wearing bla ck nail polish, a lip ring, and full wardrobe by Hot Topic. COLIN Hi Needy.37. CONTINUED: NEEDY (CONT'D) (CONTINUED) Chip blatantly s coots closer to Ne edy, eyeing Colin suspiciously. NEEDY Oh. Hi, Colin. COLIN (dramatic) I heard you were there last night. In the fiery trenches. NEEDY Uh-huh. COLIN Well, I’m glad y ou made it out. Really. NEEDY Thanks. Colin walks away. Chip looks jealous. CHIP How are you f riends with Colin Gray? I thought Colin Gray only talked to the Dead Girls. We see a group of GOTH GIRLS sp layed agains t their lockers in fu ll regalia. One wears an AC CORDION for no reason. NEEDY I just am. We have Composition together. He’s a really good writer. You know -- he’s so dark and emotional and all. CHIP Oh. I can relate. I’m also like that, even if I’ m not all obvious about it l ike a poseur. NEEDY Walk me home? CHIP You know it.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. KETTLE H IGH FOOTBALL FI ELD - CONTINUOUS JONAS KOZELLE, t he JOCK we saw sob bing earlier, is standing at the des erted football field. 38. CONTINUED: (2) (CONTINUED) It’s a gray, overca st fall day and th e wind whistles eerily through t he trees. The f ootball is s et back a good a distance from the school, and Jonas is all alone. In the distance, a tiny figure slowly approaches, It starts a dot on the horizon. As it dr aws closer, we see it’s JENNIFER. H er bright, lips ticked grin is eerie and unmistakable. Jonas glances briefly over his right shoulder, indifferent. A few seconds later, he glances again . Strangely, Jennifer I SN’T THERE. Jennifer suddenly a ppears on Jo nas’s left side , startling him. JENNIFER Hi! JONAS (alarmed) Oh. Hey, Jennifer. JENNIFER I’m crazy-sor ry about your profound l oss. You are crying about Craig, right? JONAS He was my bes t friend. Jennifer puts he r arm around hi m sympathetically. JENNIFER I know. I was close to him too. You know, I was there last night in that horrible place. I saw Craig a few minu tes before the fire broke out. JONAS You-- you did? JENNIFER Yeah. I was p robably the last person to talk to h im. Like, ever. Literally. JONAS Wow. What did he say?39. CONTINUED: (CONTINUED) JENNIFER Well, we got to tal king about you, actually. And do you know what he said? He said you were like a brother to him. Not a bro. An actual brother. Jonas’s lip t rembles as he unsu ccessfully f ights back tears. Jennifer cuddle s closer to him. JONAS (choking up) I just can’t believ e he’s gone. JENNIFER I know, I know. (beat) Hey, you know what else Craig said? JONAS What? JENNIFER Forget it. It ’s too intense. JONAS What? Please, Je n, you’ve gotta tell me! JENNIFER Well, he said he always thought you and me would make a totally bangin’ couple. Isn’t that so weird? JONAS He said bangin’? Jennifer reaches for Jonas’s hand and slides it slowly up her shirt, pl acing it on her left breast. JENNIFER (whispering) Feel my heart, J onas. I thin k it’s broken. JONAS (choking up) Mine too.40. CONTINUED: (2) (CONTINUED) JENNIFER Come with me. Ju st for a while. We’ll help each other get through this night mare. It’s w hat Craig would have wanted. Jonas nods du mbly, brainwashed. Jennifer leads him away from the fiel d, toward the WOODS borderi ng the school campus. They van ish into the wo ods. In the distance, we see the FALLS ru shing into the lake.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. RESIDENTIAL STREET - CONTINUOUS Needy and Chip are walking home from school, still deep in discussion. CHIP The whole night mus t be a total blur, right? NEEDY That’s the th ing, it’s not a blur at all! I rem ember everything, in like ultra-high- def detail. The band, the fir e, everything. Especially what happened after. CHIP “After” is the p art I don’t really get, to be honest. NEEDY Please, I need s omeone to believe me. Jennifer was -- she was destroyed. She was dying in my hallway, Chip. I saw. I used my CPR training to che ck her pulse. And I felt he r dying, on the inside, I mean. I’v e known her so long that it’s l ike sometimes I can feel what she feels. We’re like E.T. and Elliot Ness. CHIP I believe you. Chip takes Needy’s hand a nd squeezes it. NEEDY Thanks, Chipper.41. CONTINUED: (3)",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. WOODS SU RROUNDING SCHOO L - CONTINUOUS Jennifer and Jonas are in the w oods. Jennifer efficiently whips off her to p and bra and b egins kissin g Jonas hungrily. As Jonas touche s her, he recoils. JONAS You feel so warm. Why are you so warm? JENNIFER (firmly covering his mouth) Shutties! She pulls off Jonas ’ shirt and digs her nails into his arms, kissing him with renew ed ferocity. The woods are dead silent. A few squi rrels approach the clearing, and Jo nas watches the m warily with one open eye as Jennifer kisses him. Then a deer wanders into the clearing. Then a fo x. The animals pau se in their tracks and watch, mo tionless. It’s an eerie, unnat ural tableau. Animals continue to gather. JONAS (muffled) Jennifer! Jen... Jennifer is annoyed. JENNIFER What? JONAS Look! He gestures to the ANIMALS, who ar e watching, still as statues. A few crows alight on a nearby tree. JENNIFER Mm-hmm. Th ey’re waiting. JONAS Uh, okay... Jennifer unzips Jonas’s jeans and smiles, r eaching down and working him wit h her hand. Jonas moa ns, still eyeing the animals. JENNIFER Do you miss Craig?42. (CONTINUED) JONAS (startled) Of course. JENNIFER Don’t worry. You’re going to see your buddy again. JONAS You mean like in heaven someday? JENNIFER No. She smiles and shakes her head. Jonas jerks back, creeped out. He tries to pull away from Jennifer, but sh e’s too strong. She P INS him to the tree. We see her jaw b egin to UNHINGE, like some horrible snake. Her ey es cloud over w ith blood...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. KETTLE HIGH CAMPUS - CONTINUOUS A horrible SCREAM of agony rises from the woods. Mr. Wroblewski is exiting the schoo l, briefcase in hand. He stops in his tra cks when he hears the scream. He shakes his head sadly. MR. WROBLEWSKI (to himself) God, they’re feeling so much pain. Another sc ream, this t ime weaker. MR. WROBLEWSK I (CONT’D) Let it all out, kids. He heads for his Ford Festiva, then pauses as if thinking better of it. Somet hing isn’t right. He puts his keys back in his p ocket and walks to ward the woods to investigate.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. NEEDY’S HOUSE - KITCHEN - CONTINUOUS Needy is prepari ng herself a fried bologna sandwich in the kitchen. Needy’s ALBINO FERRET chases a ball across the cracke d floor. Needy scrapes the sandwich out of the skillet and takes a bite.43. CONTINUED: (CONTINUED) NEEDY Fried bologna is the bomb! (to ferret) You want s ome, Greedo? She tuns on the kit chen radio a nd is surprised to hear a very familiar so ng: “Through the Trees,” by Soft Shoulder. Suddenly, she pa uses, a look of UN EASE and eve n FEAR crossing her fac e. She stops and b races herself against the counter, her KN EES SHAKING. Somet hing isn’t right. She drops the sandw ich. Greedo goes straight for it. NEEDY (CONT’D) Something’s wrong... As Needy sinks to her knees, she s tares straight ahead at the REFRIGERATOR. A photo magnet of J ENNIFER leers back at her. She closes her e yes. A brief, near -subliminal FLASH of the carnage in the woods... The song ends, s napping Needy o ut of her reverie. RADIO DJ That was Soft Shoulder, the local band who beca me the unlikely heroes of the tr agedy in Devil's Kettle last nigh t. Eyewitnesses say the boys hel ped numerous people escape the inferno , risking their own lives in the process. That’s rock n’ roll with a conscience, ladi es and gentlemen. Had a lot of requests for that one...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. KETTLE HIGH CAMPUS - SAME Mr. Wroblewski ventures into the woods, headin g toward the clearing. At first, we can onl y hear mysterious sounds-- scra tching and s macking. Birds and animals are closely gathered in a circle. Suddenly, Mr. Wr oblewski clutches his arm and gags, realizing the animals are fe eding on a h uge CARCASS. A BADGER looks u p, its snout so aked in blood. Mr. Wroblewski begins to scream. T he animals scatter.44. CONTINUED: (CONTINUED) A glimpse of the CORPSE: It’s Jona s, of course. His entire torso has be en torn open, expo sing his ribs and guts. Blood and viscera everywh ere, INTESTI NES strewn about the forest floor like party streamers. MR. WROBLEWSKI Virgin Mother! Mr. Wroblewski f alls to his kne es, hollering.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. NEEDY’S HOUSE (KITCHEN) - CONTINUOUS Needy is seated at the kitchen table. She accidentally drops the remains of her sandwich on the floor, where the ferret quickly pillages it. NEEDY Crap! Needy’s mom, ANT ONIA “TONI” LES NICKI, has q uietly entered the kitchen in her pajamas. She’s pale a nd sweaty, as if she’s been spooked. TONI You said it. NEEDY Oh, hi, Mom. I didn’t know you were awake. TONI I just had one of my night terrors. NEEDY It’s four o’ clock, so technically you had a day terror. TONI Right, right. I’ m all mixed up since I started working swing again. NEEDY What did y ou dream about? TONI I dreamed some b ad people were trying to nail me to a tree with hammers and big stakes and shit. Just like Jesus. She crosses h erself piously.45. CONTINUED: (CONTINUED) TONI (CONT’D) They were trying to get to you too, but I wouldn’t let ‘em. I’m a hard-assed, Ford -tough mama bear. NEEDY (smiling) Yes you are. TONI It’s like, don’t y’all touch my daughter. I’ll piss on you like Calvin. NEEDY You know, I can take care of myself, Mom. TONI That’s what you think. One of these days you’re gonna be crying out for me and I might not be there. NEEDY Hey Mom? Did you get a chance to catch the news a fter you clocked out this morning? TONI No. I just did my scratch tickets, snorted a few Lunesta and went straight to bed. Is something going on? NEEDY Nothing. Forget it. TONI Don’t nothing ha ppen in Devil's Kettle. She watches the FERRET skitter across the k itchen floor. TONI (CONT’D) Anita, that ferr et stinks. He needs to be wash ed from craw to cornhole. NEEDY Yes ma’am. Toni shakes her head and heads upstairs.46. CONTINUED:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. KETTLE H IGH CAMPUS - EARLY EVENING A hysterical SCR EAM pierces the twilight. The sun has b egun to set. An am bulance and four police cars have pulled up near the woods , which a re cordoned off with yellow pol ice tape. Near the woods, JONAS’S PARENTS are c rying. His MOTH ER screams and begins beating the ground wi th her fists. A stretcher is being l oaded into t he ambulance. OFFICER WARZAK e xits one of the po lice crui sers. Her signature giant poo fy bangs are in full effect. She rushes to comfort Jonas’s b ereaved mother. OFFICER WARZAK We will get the man that did this to your son. You hear me? We’ll get that s ick M.F. JONAS’S DAD I’ll get him mys elf! I will! You hear me, you bas tard? I’ll cut off your nutsack and nail it to my door! Like one of those lion doorknockers rich folks got! That’ll be your balls!",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ACROSS THE LAKE - CONTINUOUS The sound of Jonas’s p arents screaming c arries across the lake. The water is eerily calm. Suddenly, a HEAD breaks the sur face of t he lake. It’s Jennifer, gliding through the water. She lo oks calm and serene. The SCREAMING continues acro ss the lake. The sirens, shouting and chaos contrast sharply with this peaceful scene. Jennifer paddles to the shore and hoists herse lf onto the pier, naked and dripping wet. She run s her tongue over her teeth briefly a nd nonchalantly picks so mething out from between her two front teeth, like she’s just finished a delic ious rib dinner. Jennifer wrings out her sopping hair and re aches for her clothes, which are neatly folde d on the pier.47. (CONTINUED) Once she’s dr essed, she walk s off into the woods, as if nothing out of the ordinary has happened.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. NEEDY’S ROOM - EVENING Needy is sitting at her lamp-lit desk , reading an old E.C. horror comic and eating a banana. The phone rings. Needy picks it up. NEEDY Needy speaking. CROSS CUT PHONE CALL:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JENNI FER’S BEDROOM - CONTINUOUS Jennifer’s ha ir is still wet from the lake, but she’s changed into sho rts and a tank top. M usic blasts from her stereo. She admi res herself in the mirror, pop ping her ass. JENNIFER I feel sooo scrumptious! She picks up a Soft Shoulder button and POKES her arm hard with the pi n without flinchin g. Blood spurts from the wound. NEEDY Good for you. JENNIFER You know, like when you k iss a hot guy for the first time and your whole body feels like it’s on vibrate. NEEDY Yeah. JENNIFER It’s that good. Jennifer gazes at her arm, transfi xed. She wipes the blood away-- the wound has m agically DISAPPEARED.48. CONTINUED: (CONTINUED) NEEDY Lucky you. See, I’m still kind of depressed about, you know, the giant smoldering funeral pyre in the middle of town? JENNIFER Move-on dot org, Needy! It’s over. Life’s too sh ort to mope over some white-trash pig roast. She flicks a Zippo lighter and touches the FLAME to her tongue-- first tentatively, the n confidently. NEEDY That’s rea lly nice. JENNIFER I tell it like it is. Besides, you should be happy for me. I’m having the best day sin ce, like Jesus invented t he calendar. NEEDY Jesus didn ’t invent th e calendar. Jennifer giggles maniacally and sighs wi th happiness. Needy’s call- waiting beeps. NEEDY (CONT’D) That’s my other line. JENNIFER So blow it off. She casually lights her HAIR on fire. The flam es leap up, then die down, leaving her enti rely untouched. NEEDY It’ll just be a second. JENNIFER Pooh. I’m cro ssing you out. She draws a mini -X in the air. Needy clicks ove r. It’s CHIP. We get a nice tr ifold pie- chart illustr ating the inter secting call s. CHIP is panicked and swe aty in his l iving room. In the background, C hip’s little si ster CAMILLE bangs on a piano. Red polic e lights flash out side the picture window.49. CONTINUED: (CONTINUED) CHIP I need to see yo u right now. NEEDY I can bare ly hear you. CHIP Camille is playing piano. Knock it off, Camille! CAMILLE You knock it off! CHIP Can you meet me at McCullum in ten? CAMILLE You knock it off, Chip! You’re penis cheese! NEEDY Fifteen. Back on JENNIFER:Jennifer is impatie ntly dragging a ra zor down her arm. Blood drips onto the rug. She smiles, in aw e of herself. Needy clicks back over. NEEDY (CONT’D) I have to go. JENNIFER What could po ssibly be more important than me and my godlike powers? NEEDY I have to meet Chip at McCullum Park. JENNIFER Chip is lo oking cute to me lately. So tell me, is he packing some serious pubic in ches? What’s the story down there? NEEDY (quickly) I gotta go.50. CONTINUED: (2) (CONTINUED) Needy hangs up t he phone abruptly and grabs one of her many cardigan sweaters, heading for the door.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MC CULLU M PARK - FOURTE EN MINUTES LATER The park is dark and tree-lined and appears to be a popular clandest ine meeting spot for the youth of Devil's Kettle. The aban doned sand voll eyball pits are full of couples making o ut. Needy runs pas t them skittishly. As she ascends a grassy h ill, CHIP is revealed, silhouetted a gainst a backdr op of twirling pol ice lights. Needy squints at the lights, sees CHIP’s ho use in the distance. NEEDY Why are the cops at your house? CHIP They’re not. The y’re at Jonas Kozelle’s hou se. He go t murdered. NEEDY What?! Like, he was shot by gangbangers? CHIP (exasperated) No, Needy! Do you see anyone rollin’ on du bs around here? (beat) Someone ripped J onas limb from limb in the w oods behind the school. Ate part s of him. They found teethma rks on him-- on the body. His voice cracks. We see a brief, ter rifying FLASH of Jonas’s mutilate d body and p ain-stricken face. Needy doesn’t wa nt to believe it. NEEDY Some animals mus t’ve got to him. CHIP Human teethmarks. NEEDY Who would do that?51. CONTINUED: (3) (CONTINUED) CHIP I don’t know. It just happened after school. No one’s supposed to know yet, but my dad went over there and talked to the cops. Jonas’s mom is catatonic. She’s just staring out the front window like a zombie mannequin robot statue. NEEDY This can’t be a coincidence. CHIP What do you mean, Needy? NEEDY A fiery death tr ap last night, and now a cannibal e ats our starting tight-end? Come on! CHIP Don’t get spooky on me, babe. NEEDY Seriously Chip. Mos t small towns only have someth ing gruesome happen like, once every decade maybe. Devil’s K ettle gets two nightmares in 24 hours? It’s freaktarded. It’ s not right. CHIP What, do you think it’s, like supernatural? NEEDY I don’t know. I’m extremely intelligent but I obviously don’t know everything. CHIP Well, the bad luck’s gotta be over now, right? It can’t get any worse, right? Obviously it can’t. It can’t. I m ean, you agree, right? There won ’t be another victim. NEEDY You’re shaking. CHIP I’m cold. It’s very cold out here.52. CONTINUED: (CONTINUED) NEEDY Want my sweater? CHIP It’s pink. NEEDY Pink is cool. Ra p guys wear pink. She’s shaking now, too. Chip leans forwa rd and kisses her. She c loses her eyes. In the chaste space between CHIP and Needy’s b odies, the volleyball-pit couple fuck l ike rabbits. DISSOLVE TO: A SERIES OF N EWSPAPER HEADLINES The familiar Soft Shoulder ballad plays as we see a dreamy montage of headlines. The headline of the Devil's Kettle Sun-Post si mply reads: “WHY?” The headline of the Minneapolis St ar Tribune reads: “’BUTCHERED’: Devil's Kettle yo uth brutally murdered in wake of devas tating fire.” A smaller headline on the front page of the New York Times reads: “ Minnesota town rocked by grisly murder, blaze.” NEEDY V.O. We were famous. We were saints. Our town’s only bar had burned to the ground an d our star quarterback was somebody’ s Quarter Pounder. The who le country got a huge tragedy bon er for Devil's Kettle. And the press-- God, they couldn’t get enough of our little world of shit. We see Devil's Kettle citizens hol ding a tearful candlelight vigil by the former Ca rousel site. They softly sing a long with the S oft Shoulder song. MOURNERS (singing) Through the tree s, I will find you...53. CONTINUED: (2) (CONTINUED) We see weeping stud ents shoving flowe rs through the slats of Jonas’ abandoned locker. The hallw ay floor is covered with teddy bears and bouquets. We see the PASSING OF TIME as the bou quets wilt and the blooms droop. The pile of discard ed scratch-off tickets next to Needy’s mother’s bed gro ws steadily as the days go by. Another Star Tri bune headline. Thi s one reads: “ Two weeks later, cannibal killer still at large .” A smaller subhead reads “ARTS: Local band Soft Sh oulder sign to major .” NEEDY V.O. The days marc hed on as usual, but most of us we re too numb to enjoy ourselves. Most of us. We see Jennifer che erfully skipping d own the school hallway in a sleazy Technico lor outfit. The rest of the kids look grey, ash en and depressed, but Jennifer pops like a Rom an candle. NEEDY V.O. (CONT'D) Still, we were heal ing. Like CHIP, we figured things could only get better. We had faith. We see clusters of cautiously optimis tic kids in the school courtyard. They smile, t hen laugh, as if they’re re-learning h ow to be happy. NEEDY V.O. (CONT’D) We were fu cking idiots.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. KETTLE H IGH CAMPUS - TO ESTABLISH It’s late Septem ber. Leaves are beginning to drift off trees. The surro unding woods ar e still blocked off with yellow pol ice tape.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. KETTLE H IGH - MORNING Mr. Wroblewski stands solemnly in front of the class, his mechanical hand tensing and releas ing nervously. Needy and the rest of the class fidget. MR. WROBLEWSKI Before the period ends , I have an announcement. 54. CONTINUED: (MORE)(CONTINUED) As you know, this is the one month anniversary of the Carousel fire and also the mur der of Jonas Kozelle... JENNIFER Bo-ring! We see Jennifer. Sh e looks haggard, thin, and cranky. NEEDY (whispering) Are you okay? JENNIFER No. I feel li ke boo-boo. My skin is breaking out. My hair is dull and lifeless. God, it’s like I’m one of the no rmal girls! Needy smooths her o wn hair self -consciously. NEEDY Are you PMS-i ng or something? JENNIFER PMS isn’t real, Nee dy. It was invented by the boy-run media to make us seem crazy. NEEDY Oh. Mr. Wroblewski clears his th roat, annoyed by their talking. MR. WROBLEWSKI ...As I was saying, Needy and Jennifer , I finally ha ve some good news to share wi th all of you. The members of the rock group Soft Shoulder have de cided to extend a helping hand to our community. A ripple of excitement in the room. A girl seated in the front row is wearing a Soft Shoulder T-SHIRT. MR. WROBLEWSK I (CONT’D) As you know, the ir song “Through the Trees” ha s become our unofficial anthem of unity and healing. S o, they’ve d ecided to release it as a benefit single. 55. CONTINUED: MR. WROBLEWSKI (CONT'D) (MORE) (CONTINUED) 3% of the profits w ill go to local families who have been af fected by loss. The class is happily abuzz-- except N eedy, who looks appalled. NEEDY What about th e other 97%? MR. WROBLEWSKI Excuse me? NEEDY The other 97%. I me an, that’s just crass. Right? She looks around for support, finding none. NEEDY (CONT'D) Crass. It means scummy. Greedy. Am I the only one who actually does the vocab drills? CHASTITY, the girl in the Soft Sho ulder T-shirt, turns to face Needy angrily. CHASTITY Soft Shoulder are American heroes. NEEDY No, they’re not. I was there, Chastity. They didn’t actually help anyone esca pe the fire. I don’t even know how that rumor got started. CHASTITY Rumor?! RUMOR? I t’s true! It’s on their Wiki pedia page! NEEDY Oh, that’s crap... MR. WROBLEWSKI Girls-- NEEDY They’ve milke d our pain-- our loss- - to get a stupi d record deal! No one would even know who they were if they hadn’t been playing here that night. They used us.56. CONTINUED: (2) MR. WROBLEWSKI (CONT’D) (CONTINUED) CHASTITY (growling, almost possessed) You take that back, Needy Lesnicki! We need t hem now more then ever! MR. WROBLEWSKI That’s enough. The BELL rings. Stu dents get up and gather their books for the ne xt period.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SCHOOL H ALLWAY - SAME Needy and Jen nifer slowly he ad toward their respective lockers. NEEDY I’m already sick of that song. JENNIFER Yeah. It’s poorl y produced. Could the bass be any lower in the mix? NEEDY No offense, but you look kind of drained. Is ever ything all right? JENNIFER I’m fine. It’s just , like, wearing off or something. NEEDY What’s wea ring off? (alarmed) Are you on pot? JENNIFER No, dick ridge! Jus t forget I said anything. COLIN GRAY, t he punk/goth boy we met earlier, approaches Jennifer nervous ly as she exits the classroom. Needy drops behi nd them, eavesdropping. COLIN (to Needy) Hi. (to Jenn ifer, more nervously) Hi, Jennifer.57. CONTINUED: (3) (CONTINUED) JENNIFER Oh, hey Colin. L isten, can I copy your bio lab aga in? I never got around to dissectin g that kitten fetus. COLIN Sure. Actuall y, I sort of wanted to ask you something. JENNIFER Oh. You want to kno w if I’ll go out with you. COLIN No! Well-- yeah. (beat) How did yo u know? JENNIFER Just go ahead with the pitch. Colin fidgets awkwardly. COLIN Well, we’ve been having a lot of fun in class, yo u and I, and I just thought may be we could go to a movie or so mething. There’s a midnight s howing of Rocky Horror at the Bijou next weekend... JENNIFER I don’t like boxing movies. COLIN It’s not...fuck it. Never mind. He turns to walk down the ha llway, dejected . Jennifer watches him leave. JENNIFER Wait! Colin turn s around. JENNIFER (CONT’D) Why don’t you ju st come by my place tonight ? I just got Aquamarine on DVD. It’s about this girl who’s like, half-sushi. I guess she has se x through her blowhole or something.58. CONTINUED: (CONTINUED) COLIN Oh. Great! Okay. JENNIFER I’ll text you my address. Colin walks away, grinning t riumphantly. NEEDY That was random. JENNIFER I’m used to guys asking me out. NEEDY Colin’s a rea lly nice guy. JENNIFER He’s into maggot-rock. He wears nail polish. Chip appears beh ind Needy and drapes his ar m over her shoulder. Needy jum ps, startled. CHIP Hi. JENNIFER (flirtatious) Hi Chip. Needy puts he r arm around Ch ip protectively. JENNIFER (CONT’D) I gotta go parlez French. Slam you later. Jennifer w alks away. CHIP (to Needy) Talking to yo ur good pal Colin Gray again? NEEDY No. He was just asking Jennifer out on a date. Chip looks relieved. CHIP Can I come over tonight? 59. CONTINUED: (2) (CONTINUED) NEEDY Sure. I’d like that. CHIP I went to Super Tar get and bought more condoms. NEEDY Thanks. CHIP Not that that has anything to do with my co ming over. NEEDY I didn’t assume that. CHIP Well, I’ll se e you tonight. Needy waves as Chip walks away.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CAMERFORD STREET - NIGHT Colin Gray drives down the s treet in a big old boat of a classic car. He’ s blasting punk music on an iPod that’s been rigged to t he ancient AM radio. Colin holds up his CELL PHONE to re-r ead the directions Jennifer t exted him. The street is extremely dark and s ilent, occup ied only by a new townhouse dev elopment. The i dentical units still appear to be under con struction. There aren’t even any streetlights. The p lastic sheeting ov er the windows flaps eerily in the breeze. Colin’s brow fur rows in confusion-- it doesn’t even look like anyone lives here yet. He checks the p hone display again. CLOSE ON PHONE: The TEXT MESS AGE reads: “trn lft on camerfo rd and your the re. first ho use on rt. 1004 camerford. C-ya! xoxo jen” Sure enough, the house number is 1 004. Colin throws the car into park an d walks up to the por ch. He looks up and notices a glow coming from an upstairs window,60. CONTINUED: (3) (CONTINUED) Colin presses the doorbell. Nothing h appens-- the house isn’t wired f or electricity yet.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CHIP’S B EDROOM - SAME Needy and CHIP are kissing on Chip’s water bed. Chip fumbles for one of those “fra grance plug- ins” and PLUGS it into the w all. Needy l ooks over. CHIP For ambiance. It’s Jammin’ Jasmine. NEEDY Mmm. CHIP My mom has Holid ay Scents too, if you’re interested. NEEDY No, this is nice.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. 1004 CAM ERFORD - SAME Colin enters the house tenta tively. It’s dark, vacant, and very creepy. There’s a very faint glow and soft music coming from upstairs. COLIN Yo? He stumbles over a stray 2 x 4. There are piles of sawdust and b uilding materials everywhere-- th e house is definitely still under construc tion. Colin looks confused. A MOUSE skitters over his sneakers. COLIN (CONT’D) Jennifer? Any one there? The music upstairs grows slightly louder in response. Colin squares his shoulders and heads slowly up the creaking stairs.61. CONTINUED:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CHIP’S B EDROOM - SAME Needy has eased off her top to reveal an endearingly plain white bra, complete with cen ter bow. CHIP, also shirtless, co ps a feel. He reaches into his pocket and pul ls out a fluorescent orange CONDOM. N eedy looks at the wrapper. NEEDY (reading) “Sensual Swirl?” CHIP It’s supposed to make it feel good for the girl. NEEDY Oh. Cool.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. 1004 CAMERF ORD - CONTINUOUS Colin follows the m usic into an empty bedroom. The dark room is filled w ith blazing can dles melting and pooling into bizarre sha pes. A single BLANKET is spread out on the floor. Co lin shivers. Behind him, in t he doorway, Jennifer app ears, her smiling face helli shly aglow. JENNIFER You made it. COLIN What’s going on? This isn’t really your house, is it? JENNIFER No baby. This is our house, just for you and me. We can play Mommy and Daddy. Colin is tota lly dumbstruck. COLIN Do you even know my last name? JENNIFER Silly. I’ve been sending you signals all year . Couldn’t you tell? You give me such a wettie.62. (CONTINUED) She starts KI SSING Colin on the ne ck. We can see confusion-- a nd fear-- in his eyes.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CHIP’S B EDROOM - SAME Chip fumbles below his waist , obviously str uggling with the condom. N eedy leans f orward for a closer look. NEEDY Oh. It’s got little bumps on it. I can hardly wait.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. 1004 CAM ERFORD - SAME Jennifer grips Colin’s face in her hands and forcibly kisses him on th e mouth. Colin succum bs, but stiffly. We hear a SCR ATCHING noise. Colin pulls away instinctively and s ees MICE and ROACH ES emerging from the walls, skittering over surfaces. COLIN Jennifer... Jennifer looks over her shou lder and giggles. JENNIFER You scared? I th ought boys like you were i nto vermin. She unbuttons hi s jeans. They fall noisily to the floor-- they’re the baggy Hot Topic kind with chains and buckles galore. JENNIFER (CONT’D) Nice hardw are, Ace. Colin into Jenni fer’s eyes. There’s something horrible about her fac e...like she’s become almost corpselike. COLIN (faintly) No way... JENNIFER Oh, don’t you da re pass out! I need you to be conscious. COLIN I gotta go...63. CONTINUED: (CONTINUED) JENNIFER I need you frightened. Colin tries to j erk away, but Jenn ifer easily disengages his arm from its socket. A sick eningly moist SNAP. Colin cries out in pain. JENNIFER (CONT’D) I need you hopeless. She slams him to the ground and mo unts him. Her jaw unhinges, opening h er mouth to a horr ifying, inhuman degree. Her teet h are razor-sharp and grotesquely crowded, like th ey belong to some horribly deformed dog. She descends on him, f eeding ravenously. We see their shadows against the wall: Jennifer lunging hungrily, blood sprayi ng up from Colin’s jugular. We can hear him screami ng and gargling on his own blood.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CHIP’S BEDR OOM - CONTINUOUS CHIP is doggedly pumping away on top of Needy, hi s eyes closed in concentratio n. Needy’s vacant eyes are suddenly brimming w ith tears. NEEDY (softly) Hopeless.. hopeless... CHIP opens his eyes. CHIP What? Am I hurting you? Needy star ts weeping. CHIP (CONT’D) Am I too big? Tears roll do wn Needy’s chee ks. She begi ns moaning, then SCREAMING at that t op of her lungs. She hallucinates liquid seeping through the walls, blood and lymph oozing in at the c orners and wind ows. Then the infamous spiny black bile... Pixelated nightm ares emerge from t he darkness. Skulls, jesters, demons, death. It’s the worst acid trip imaginable. Needy rubs her e yes frantically and continu es to scream.64. CONTINUED: (CONTINUED) CHIP immediately rolls off N eedy, concerned. He grabs her and tries to shake some sense into her. CHIP (CONT’D) Needy! What’s wrong? Needy continu es to shriek hy sterically, her voice growing ragged.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. 1004 CAM ERFORD - SAME We can still hear Colin making inhuman soun ds of pain. We can only see the carnage in shadow, b ut it’s clearly unspeakable.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CHIP’S BEDR OOM - CONTINUOUS Needy clutches h er throat, hype rventilating. She stands up and struggles to get dressed. Her breath rasps. Chip is freaking out. CHIP Is it something I did? NEEDY (gagging) It’s her. CHIP Do you need m ore foreplay?",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. 1004 CAM ERFORD - SAME Colin’s thrashing l imbs finally go li mp. Jennifer is hunched over his remains like a jacka l scooping blood into her mouth w ith cupped hands. We see his eyes, flecked with b lood, pupils dilated. A white MOUSE craw ls over his face.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CHIP’S HOUSE - SAME Needy races towa rd the door with C hip in pursuit. CHIP Needy!65. CONTINUED: (CONTINUED) NEEDY I have to go. I’m sorry. I just... feel like someth ing...something terrible... CHIP You feel-- What does that even mean? I’m worrie d about you. NEEDY I’m so sorry, Chip. I’m so sorry. Everything is just wrong. She bolts out the r oom, leaving Chip naked and alone. He pulls his knees up to his chest , vulnerable.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CHIP’S STREET - SAME Needy runs toward her mom’s CAR, a beat- up Kia parked on the curb. She climbs into the car and starts the ignition, trembling and crying. She pulls out on to the street and guns it. She swings a hard left. The s treets are a ll almost ident ical, lined by working-class homes. She turns on the ra dio. The song is, of course, “Through the Trees” by So ft Shoulder. She p ounds the dashboard, hysterical. NEEDY Fudge! Fudge! Maple fudge! Needy seizes the wheel drives reck lessly down a dark, tree-lined st reet. Then, she sees something bright emerge from the shadows. Her eyes widen... It’s JENNIFER, creeping toward the curb like an animal. She’s pale in the moonlight. Th e entire lower half of her face is cover ed in blood, like a ghoulish bear d of gore. She flashes a huge, deranged, toot hy SMILE at Needy. Needy screams an d SWERVES. The car fishtails out of control and slid es into a ditch. Needy slams h er foot onto th e accelerator, try ing to get out of the trench. She glances des perately out the side window. Jennifer is gone. Panting, Needy tries to acce lerate again.66. CONTINUED: (CONTINUED) Suddenly, Jennifer appears from out of nowhere and SLAMS her body against the windshield , her long l imbs splayed like an insect’s . The windshield S HATTERS. Jennifer grins at Needy through the crackin g glass. Needy screams again, puts th e pedal to t he floor, and manages to re ar up out of the d itch. Jennifer’ s body tumbles off t he car as Needy go es roaring d own the street. RADIO DJ That was, of course, Soft Shoulder. They’re going to be playing a benefi t concert in Devil's Kettle n ext month. Talk about giving back to the community! Generous gu ys, I tell ya...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. NEEDY ’S HOUSE - M INUTES LATER Needy throws the car into pa rk and races up the front walk. She unl ocks the door, shaking and fum bling. She bursts into t he darkened house.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. NEEDY’S HOU SE - CONTINUOUS NEEDY Mommy! Mommy? Pl ease be home! No reply. Needy braces herself aga inst the kitchen counter and b awls. She falls to her knees and curls up on the floor, exhausted. Her eyes d rift shut. NEEDY V.O. I’ve always been able to feel what she feels. Just not like this.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SUNNY SU BURBAN YARD - F LASHBACK - DAY Little Needy and Little Jennifer are playing B arbies in a sandbox. Needy holds a brand new, immaculate B arbie doll. LITTLE JENNIFER I’ll be Perfect Prom Barbie and you be her. She tosses Needy a naked brunette doll with its hair chopped off and an arm missing. 67. CONTINUED: (CONTINUED) LITTLE NEEDY Why do I have to be Ugly Ashley? LITTLE JENNIFER You can be Ugly Ashley or Ken. Choose. She puts her hand d own in the sand emphatically and suddenly HOWL S in pain. LITTLE NEEDY What’s wrong, Jennifer? Jennifer lifts h er hand. There’s a TA CK stuck in her palm and it’s bleeding. LITTLE JENNIFER OWWWWWW! (trying to swear like a grown-up) Damn! Ass! Needy grabs J ennifer’s hand, pulls out the tack and wipes away the bloo d. It’s still bleeding. Panick ing, she leans forward and i nstinctively puts her mouth to the wound. Jennifer watches quietly. Needy pulls away. LITTLE NEEDY Better. We shoul d get a Band-Aid though. LITTLE JENNIFER We’re sisters now, you know. Needy nods. LITTLE JENNIF ER (CONT’D) Don’t tell my mom about this. She’ll make me get a shot. NEEDY I never tell on you.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. KITCHEN - ( BACK TO REALITY) Needy WAKES UP in a cold sweat, gasping. She’s still on the kitchen f loor. She peels herself up off the floor, disoriented.68. CONTINUED:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. NEEDY’S HOUSE (BEDROOM) - CONTINUOUS Needy trudges into her dark bedroom. She st rips off her clothes and stum bles into bed. JENNIFER’S VOICE What’s up, Monistat? Needy flicks on her bedside lamp, petrif ied. Jennifer is curled up in bed be side her, reclinin g casually. She’s freshly showered and wearing one of Needy’s dorky T- shirts. Needy screams at the top of her lungs and leaps out of bed, pulling the covers with her. JENNIFER God, enough s creaming already. You’re such a cliche. NEEDY Get out! JENNIFER But we always share your bed when we have sl umber parties. She winks conspiratori ally at Needy. NEEDY What the fuck is happening? JENNIFER Whoa. I have never heard you drop the F-bomb befor e. What’s buggin’? NEEDY I saw you! I saw you! The car...the...I... JENNIFER (mimicking) Buh-buh-buh. Slow down, tardy slip. You sou nd like a sped. NEEDY I’m calling the police. JENNIFER Go ahead, narc me out. I’ve got the cops in my back pocket. I’m fucking a cad et, remember?69. (CONTINUED) NEEDY What do you want? JENNIFER I want to explain s ome things to you. You’ve alre ady seen too much and besides-- be st friends don’t keep secre ts. Right? Needy nods, terrified. JENNIFER (CONT’D) Remember the nig ht of the fire? NEEDY Yeah, it rings a bell. JENNIFER Well, I got pret ty messed up. I almost died. You know those guys in Soft Shoulder ? Totally evil. They’re basicall y agents of Satan with awesome hai rcuts. I figured that out as soon as I got into their mole ster van.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FOREST CLEARING (FLA SHBACK) - NIGHT The van rumbles down an uneven forest path, deep into the woods. They a rrive at the re al Devil’s Kett le-- roaring, ominous water falls. There’s a c rude stone altar illuminated by moonlight.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. NEEDY’S BED ROOM (PRESENT DAY) - NIGHT Needy is still c owering on her bedroo m floor, captivated by the tale in p rogress. Jennifer is reclining in the bed with a relaxed, sup ernatural glow. NEEDY What did they do to you? JENNIFER Just let me fini sh. So they drove all the way out to the falls. I tried to figure out an escape, but it was so dar k out there...71. CONTINUED:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. THE FALLS (FLASHBACK) - NIGHT The door of the van slides open. Niko lai pulls Jennifer out of the van a nd hustles her into the clearing. He looks up i nto the sky. NIKOLAI We got a waxi ng moon. Perfection. MICK You’re the man, Wolf. The four band members surround Jen nifer, looking statuesque in th eir sexy rock n’ roll ensembles. Without warning, Nikolai hauls off an d KICKS Jennifer. She yelps and fa lls onto her ba ck on the dirt. Dirk looks apprehensive. DIRK I don’t know if we should go through with this. NIKOLAI (angrily) Do you want to be rich and famous like the guy fro m Maroon 5? Or do you want to be a huge suicidal loser? DIRK (sadly) Maroon 5. NIKOLAI Then grow a pair and f etch me the ritual! God. Dirk obedient ly heads over to the van. He pushes the intimidating- looking magical books aside an d retrieves a single folded piece of co mputer paper. MICK That’s it? NIKOLAI What? I found it on Google. He unfolds the piece of paper and clears his throat.72. (CONTINUED) The guys have dr agged Jennifer onto t he makeshift altar and are holding her down. She struggles and screams, but Dirk slaps her again. NIKOLAI (CONT’D) We come here ton ight to sacrifice the body of... He tries to remember J ennifer’s name and fails. NIKOLAI (CONT’D) ...this chick fr om Devil's Kettle. JENNIFER (whispering) My name is Jennifer. NIKOLAI That’s fas cinating. Dirk and Mick ex change nervo us glances. JENNIFER Please let me go. I’ll do anything. Anythi ng you want. Nikolai examines her with an appraising eye. NIKOLAI I only hump nines and tens. You’re a seven at best, even with the chicken cutlets. He reaches into Jen nifer’s bra and casually pulls out a GEL BREAST EN HANCER, tossing it aside. Jennifer rears up and SPITS in his ar tfully ru mpled hair. Nikolai smooths his ‘do, enraged. NIKOLAI (CONT’D) I’m gonna carve you like a pumpkin, bitch. Don’t you know that me and my b oys are in league with the B east himself? He wiggles his m enacingly point y fingers in her face. NIKOLAI (CONT’D) We’ve spent months making offerings to the “man downstairs,” and whaddya k now? Satan delivered! We went from col lege radio to being courted by the majors in two months. 73. CONTINUED: (MORE)(CONTINUED) But that’s not e nough, Jenny. We want designer dr ugs. We want groupies that have their own groupies. We want speedballs and stadium tours an d Skittles sorted by color. In short, we want more. And to get more, we have to butcher you. And bleed you. JENNIFER (desperate) Maybe you could just hire a publicist. Make some T -shirts or something. He y, I could be on your street team! NIKOLAI Sorry, darling. JENNIFER Please... NIKOLAI (loudly) Start chan ting, boys. The group begins chanting jibberish in unison. Jennifer struggles, watch ing as their eyes go hollow an d black. NIKOLAI (CONT’D) With deepe st malice, we deliver this virgin unto thee. He unsheathes a hug e, gleaming knife and raises it Psycho- style, admiring his reflection in the blade. DIRK Dude, that is a hot murder weapon! NIKOLAI It’s a bowie knife. DIRK Bowie. Nice. Snickering, Niko lai begins to sing “Starman” by David Bowie. The group joins in merrily. NIKOLAI “There’s a starman waiting in the sky...” BAND “He’d really like to meet us, but he thinks he’d b low our minds...”74. CONTINUED: (2) NIKOLAI (CONT’D) (CONTINUED) As the group sings, Nikolai brings the knife d own with a grin. We hear Je nnifer SCREAMIN G, sounds of violence and clothes rippi ng as Nikolai relentl essly beats her and stabs her, his f ace contorting demonically. The band continues to sing, the ir voices ca rrying over the trees. Nikolai walks over to where the “devil side” of the falls rushes into a blac k hole. He drops the murder weapon into the churnin g water, smiling.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. NEEDY’S BED ROOM (PRESENT D AY) - CONTINUOUS Needy’s expre ssion is both incredu lous and horrified. Jennifer is tota lly matter-o f-fact. She picks at her nails with a woo den cuticle stick fro m Needy’s night stand. JENNIFER Being tortured w ould make most girls black out or something. But I’m so hard core, I was with them the whole time. I c ould feel them gutting me Under my ribs, up into my belly, then r ight through my heart. NEEDY They...killed you. JENNIFER I’m here, are n’t I? She shakes he r head, anno yed with Needy. JENNIFER (CONT’D) I mean, yeah. Th ey went Benihana on my ass. It should have killed me. But for s ome reason, it didn’t. NEEDY (sotto) Maybe it did. JENNIFER Whatever. Anyway, I don’t really remember what happened af ter that. I just-- woke up a few hours later and found my way back, somehow. 75. CONTINUED: (3)",TWIST +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. NEEDY’S STREET (FLASHBA CK) - NIGHT We see Jennifer sta ggering down the street, battered, mutilated and bloody. She sp its a few TE ETH onto the curb, clutchi ng her chest. We s ee her wande r toward Needy’s house...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. NEEDY’S BED ROOM (PRESENT D AY) - CONTINUOUS NEEDY I remember. JENNIFER I couldn’t bring myself to hurt you. I mean, I’m a really good friend. But I felt so hungry. I had to do something.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SECLUDED STREET (FLA SHBACK) - NIGHT Jennifer is wanderi ng down a rural ro ad in a daze. She hears a faint COUGH . Jennifer stops and sees a hunched FIGURE walking d own the opposit e side of th e street. It’s AHMET FROM INDIA, the foreign s tudent. He’s covered in soot and look s traumatized. Jennifer takes a step. Ahmet takes a step. Jennifer stops. Ahmet stops. Their eyes meet. Jennifer crosses the street. Ahmet stares at her, frig htened. Jennifer a ddresses him in a quiet, gravelly voice. JENNIFER Ahmet. You made it out. Ahmet coughs. JENNIFER (CONT’D) Are you lost? Ahmet NODS. JENNIFER (CONT’D) Does your host f amily know you’re alive? Ahmet shak es his head. JENNIFER (CONT’D) Does anyone know you’re alive?76. (CONTINUED) Ahmet shakes his head again. JENNIFER (CONT’D) Come with me. We ’ll sort this out. She takes Ahmet’s hand. As her BLOODY NAILS di g into his wrist, his eyes widen.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. OUR LADY OF PERPETUAL BLOO D CEMETERY - DAY We’re in a small Catholic cemetery. A small, neat gravel path runs throug h the stately old monuments into a small valley where a funeral is taking place.78. CONTINUED: (CONTINUED) Faint moaning an d sobbing can be heard. Then, a procession of 6 or 7 GOTH/EMO KIDS appears on the crest of the hill. They move forward int o the cemetery, flamboyantly dresse d in black capes, chains, cloa ks, neon hairpieces, f ishnets, mesh, 18-hole combat boo ts, etc. These are Colin Gray’s friends. One girl scat ters blood-red rose petals dra matically on the path as she stu mbles along, weeping. At the bottom of the hill, Colin G ray’s very c onservative- looking family stands next to the fresh grave, surrounded by sympathetic m ourners. NEEDY stands near the back, looking shell -shocked. There are also a few press photographers sn apping photos, and of cours e, a Catholic priest. PRIEST We gather here t oday to celebrate the life of Coli n Gray, who was plucked from the prime of... The priest and f amily are momen tarily distr acted by the motley crew of Goth s descending on the funeral. The priest clears his throat dis approvingly. PRIEST (CONT’D) What is th is disturbance? MR. GRAY These are Col in’s friends. A GOTH BOY runs up to the grave and d rops to his belly. GOTH BOY Colin! Take me w ith you! I belong down there! In the DAAAARKNESS! GOTH GIRL No, Kevin. Those are just his fleshly remains. He’s among the dark angels of t he realm now. Fly, Colin. Fly into the firmament. She lights a bun dle of SAGE and waves it in the air. Colin’s father gags, appalled. GOTH BOY Is it cool if we camp her e for a few days? We want to commune with his corpse. He was our spooky homeboy.79. CONTINUED: (CONTINUED) PRIEST Children, this is a private service for family only. GOTH GIRL (to Colin’s mother) Oh, right. I nee d to ask you something, Mrs. Gray. It’s really important for me to have closure. PRIEST Young lady, have some respect for this family... MRS. GRAY (waving him off) No. It’s fine. GOTH GIRL Is it true th at Colin had a date with Jennifer Check the night he was killed? She says “Jen nifer Check” as if it we re the most disgusting name imaginable. Needy cov ers her face. GOTH GIRL (CONT’D) Because Jenni fer Check is a social disease. She’ s not like us. She thinks she’s so special just because she’s po pular and and is what “society ” considers “attractive.” Bu t she’s not sincere. She’s a bout as emo as a breast implant! And she listens to Jessica Simpson and shops at Hollister . And I just know Colin would never go out with someone like that, an d I just need confirmation. From you. So did he? MR. GRAY Did he...? GOTH GIRL Have a date with Jennifer Check. Colin’s pa rents stare at the ground. GOTH GIRL (CONT’D) Oh God. Oh God. I knew it! That BITCH! I will er ase her! I’ll put a freaky Druid s pell on her! 80. CONTINUED: (2) (MORE) (CONTINUED) I’ll spell her preppy ass right into the ground! The parent s flinch. GOTH BOY Um, Chloe? Maybe you should be mad at the person who murdered Colin. All Jennifer Check did was invite him over to watch Aquamarine. GOTH GIRL That’s WORSE! She throws herse lf to the groun d, crying and pounding the dirt like a toddler. Colin Gray’s mother buries her head in her hands and begins weeping. Mr. Gray attempts to comfort her. GOTH BOY Colin wouldn’t h ave liked this. MRS. GRAY (losing it) Oh, you think so , Powder? Yeah, you’re right! I’m pretty sure my son wouldn’t have liked being eaten by a fu cking CANNIBAL and buried before hi s eighteenth birthday! Wow, you must h ave known him so well! MR. GRAY Jill... The goth boy looks terrified. B ut Mrs. Gray ’s not done ranting yet. MRS. GRAY By the time they found Colin in that godforsaken house, he looked like lasagna with teeth. I’d know-- I had to identif y the remains. My boy’s not in the realm of the undead. He’s not flying around in the firmament wi th magical wings of flame. He’s in an overpriced rosewood box tha t’s headed six feet downtown. She kicks the coffi n to illustrate.81. CONTINUED: (3) GOTH GIRL (CONT’D) (CONTINUED) MRS. GRAY (CONT’D) So you can take your pain and shove it up y our asses, kids. I got the mon opoly on pain! The kids stare at her in awe. Needy w atches as Mrs. Gray collapses into M r. Gray’s arms.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. KETTLE HIGH CAMPUS - DAY Two girls are hangi ng an homemade banner on the fence surrounding t he football field. It says “TU RNABOUT DANCE OCTOBER 5 -- TIC KETS ON SALE.” Needy walks b riskly toward s chool, huddled in her parka. She looks totally f ucked up, like she hasn’t slept in days. There a re hollows beneath her eyes. NEEDY V.O. They did a big memorial assembly for Colin at school, and we had to watch another pr esentation about curfews and the buddy system and how to deal with grief. But nobody seemed to care anym ore. Sorrow was last week’ s emotion. We see Jennifer a few yards away, tal king and laughing with some other fla g team members. NEEDY V.O. (CONT’D) Jennifer and I h adn’t spoken since our encounter in my room. Actually, I hadn ’t really spoken to anyone. I was busy with research. Parano rmal research. Needy gazes off into the distance wit h bloodshot eyes. As she stares at Jennifer, she see has a series of brief, gruesome H ALLUCINATIONS: Jennifer as a grinn ing death mask. Je nnifer as a corpse, the lower half of her face rotted away. Jennifer as a harlequin monster. Nee dy hears the rush of her own blood, the barely au dible buzzing of flies... Chip jogs up next to her, jolti ng her out of her reverie. CHIP Hey. Did y ou buy Turnabou t tickets yet? I don’t get paid until next week.82. CONTINUED: (4) (CONTINUED) NEEDY I gotta show you something. CHIP What is it? NEEDY Not here. Behind the school. CHIP What is it? NEEDY Evidence. CHIP (wearily) Is this ab out Jennifer? NEEDY Yes, but I promi se you this is the last thing I nee d to show y-- CHIP (interrupting) Needy, I care about you. A lot. As a person, not just a girl I made love to for four minutes the other night. And I’m scared of what’s happening to you. You’re acting really fucked up. NEEDY Please just l et me show you. Her gaze is so inte nse and crazed that Chip ha s no option but to submit. He nods reluctantly.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. KETTLE HIGH CAMPUS - CONTINUOUS Needy and Chip walk to an alley behind t he school. Melting sn ow drips off the eaves. Needy pulls o ut a large blac k binder and op ens it. It’s full of copie s from the l ibrary and Inte rnet printouts. The spine reads “JE NNIFER RESEARCH” NEEDY Look at this. She thrusts a piece of paper in to CHIP’s hands.83. CONTINUED: (CONTINUED) CHIP (confused) Demon...demonic... NEEDY Demonic trans ference. It’s something that h appens when you try to sacrifice a virgin to Satan without using an actual virgin! CHIP stares at her. NEEDY (CONT’D) I think that’s w hat happened to Jennifer. Those guy s from that band were trying to sacrifice her in the woods. But what they didn’t realize is that she hasn’ t been a virgin since jun ior high! Jennifer’s a tot al cum-dumpster! It all makes sen se now! Read this... She grabs the piece of pa per from him. NEEDY (CONT’D) (reading) “If the human sacrifice is impure, the result may s till be attained, but a demon will forever reside the soul of the victim. She must forever feed on flesh to sustain the demon.” See? CHIP looks more dubious than ever. CHIP Uh-huh. NEEDY She’s eating boys! They make her strong. Really s trong. And when she’s hungry, sh e gets weak and cranky and her hair is al l full of split ends. And look at this... She holds up one of the printouts. NEEDY (CONT'D) It says that bef ore the demon feeds, it vomits a gruesome substance on its pr ey. Like I saw!84. CONTINUED: (CONTINUED) CHIP You--you real ly think Jennifer killed Jonas and Colin? NEEDY And possibly Ahm et from India. Needy is silent for a moment. She realizes CHI P will never believe her and that she’ ll lose him for ever if she continues babbling. CHIP Really? You thin k she ate those guys? NEEDY No. No! Of course not! CHIP Is that wh at you think? NEEDY No...Listen, I’l l make an appointment with Mr. Feely. I’m real sorry about this sudden onset of teenage paranoia. (robotic) My hormones a nd emotions are aswirl, and my moods are erratic... CHIP isn’t total ly convinced, but his face softens. CHIP It’s all right, Needy. NEEDY This has been a crummy school year, Chip. CHIP No shit. Needy turns a nd pitches the black binder in to a Dumpster. NEEDY Listen, I’m done with all that devil stuff. Do you know what you’re wearing to Turnabout? CHIP I was thinking a suit with black shoes and a b outonniere, right here.85. CONTINUED: (2) (CONTINUED) He taps his c hest. Needy laughs. NEEDY V.O. I was so in love with him. I didn’t want to mess it up with my infectious crazy. Only I wasn’t actually crazy. Everyone else was crazy. But when you ’re the only sane one, you mi ght as well be crazy. It’s subj ective, you know? CHIP What color dress are you gonna wear? I need to order your wrist corsage. NEEDY I don’t know yet. CHIP How about mag enta? You’re definitely a winter. My mom says winters should w ear regal jewel tones like magen ta. Or possibly teal. NEEDY Oh yeah, your mo m’s an Avon lady. CHIP Well, they call them “sales reps” now. NEEDY Right. Well, I’l l try to find something magenta. CHIP That’ll look dope.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. DEVIL'S KETTLE HIGH GYM NASIUM (TO E STABLISH) - EVENING A group of student council kids are p utting the finishing touches on the d ance decoration s. The theme is “Through the Trees” and there are pap ier mache tr ees everywhere.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. NEEDY’S BED ROOM - EVENING Needy stands in fro nt of a full-length mirror, wearing a big ‘80s-style magenta prom dress. It sa gs on her flat chest and loo ks ridiculous. 86. CONTINUED: (3) (CONTINUED) Greedo the fe rret circles her ankles. Toni, Needy’s mo m, appears behind her with a curling iron. TONI You look beautiful. NEEDY I look pork stupid. TONI No, you’ve got t hat tiny waist, like a fashion model. I always thought you l ooked like Cindy Crawford. She gently ta kes off Need y’s glasses. NEEDY Who’s Cind y Crawford? TONI One of the great beauties of our time. She’s even got a mole like you, except hers is on her face. She takes a section of Needy’s hair and wraps it around the curling iron . Smoke rises. NEEDY Ow! You’re to o close to my neck. TONI Well, if Chip gi ves you a hickey, you can just tel l everyone I burned you. NEEDY Gross, Mom. Chip isn’t that ostentatious. TONI Now that’s a wor d you don’t hear every day. Hold still. NEEDY What are you doing to my hair? TONI Hooker helmet.87. CONTINUED: (CONTINUED) NEEDY (groaning) Aw, jeez Mom! TONI If you can’t hav e big what-nots, you might as well h ave big hair! Needy stares at her self in the mirror . Despite Toni’s best efforts, Ne edy looks like the walking dead.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CHIP’S H OUSE - EVENING Chip is standing in underwear a nd black dress socks, taking his suit out of the c loset. Suddenly , there’s a loud KNOCK on the door. CHIP I’m in underpants, Mom! We hear the voice of CHIP’S MOM th rough the door. CHIP’S MOM I need to give you something. CHIP Hang on. Chip puts on a robe and o pens the door. Chip’s mom is ho lding a SMALL P INK AEROSOL CAN. CHIP (CONT’D) Ladies’ pe pper spray? CHIP’S MOM I’ve been thinki ng about it for a while, and I thi nk you need to be carrying this. T here’s obviously a sicko out there who likes boys. Boys your age. A nd I don’t want you going out th ere unarmed. CHIP I can take care of myself. I’ve been using the Bowflex. In the background, we can see the BOW FLEX with clothes hanging off it. CHIP’S MOM Did you hear wha t Colin Gray looked like when they found him?88. CONTINUED: (2) (CONTINUED) CHIP Lasagna with teeth? CHIP’S MOM You heard. So un less you want to wind up looki ng like another exotic Eye-talian dish, take Mommy’s ra pe spray. Chip reluctantly accepts the spray. CHIP’S MOM (CONT’D) Are you picking Needy up at her house? CHIP Meeting her at the dance. I’m gonna walk. It’s so warm outside. It’s like 40. CHIP’S MOM I want pictures wit h your sister before you go. CHIP Yes, ma’am.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. NEEDY’S HOUSE (LIVING R OOM) - EVENING Needy is fully dres sed and garishl y made up. T oni holds a digital camera at arm’s length and takes a shot of the two of them together. The mother/daughter photo looks ghastly. Toni’ s eyes are closed and Needy pouts miserably.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CHIP’S HOUSE ( LIVING ROOM) - EVENING Chip’s mother sn aps a series of st iffly posed pho tos of Chip and his lit tle siste r, Camille. We can see the P EPPER SPRAY tucked into the in terior of Chip’s jacket. CHIP’S MOM One more. Back to back. Big smiles. Camille, we don’t touch ourselves down t here. That’s our lady garden.89. CONTINUED:",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. KETTLE HIGH GYMNASIUM (TO ESTABLISH) - NIGHT The gym is de corated to look like an enchanted forest. A large banner reads “Through the Trees- Turn about Dance” There are stream ers and balloons e verywhere in sickly shades of green and purple. A DJ plays badly -mixed pop music. Couples drift into the gym. The GOTH KIDS who were at Colin Gray’s gra ve travel in a pack, sulking. The goth girl wh o loved Colin w anders th rough the decorations and pops every ball oon she pass es with a pin. As she pops them, s he narrates dra matically. GOTH GIRL (popping balloon) This is my heart. GOTH GIRL (CONT’D) (popping balloon) My soul. GOTH GIRL (CONT’D) (popping balloon) Everything I onc e believed in. Another GOTH GIRL, looking e xasperated, grabs a balloon, shoves it under her babydoll dress and pops it. GOTH GIRL #2 (mockingly) Your abortion. She rapidly shov es another one under her dress and pops it again, smirking. GOTH GIRL #2 (CONT’D) Your other abortion. GOTH GIRL I hate your g uts, Madison. The girls glare at each other. Needy walks i n, looking small and apprehensive in her bad ‘80s dress. S he looks around fo r Chip, but he’s not there yet. A few mean kids point at h er dress and snicker. Needy ladles some juice into a paper cup an d leans against the wall , waiting anxiousl y for her Prince Charming.90.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MC CULLUM PARK - CONTINUOUS Chip is cutti ng through the par k on his way to the dance. He whistles to himself. Across the park, he sees a STRAY D OG trotting tow ard him. The dog pants ag gressively. CHIP tries to smile, but looks unco mfortable. A few SQUIRRELS eme rge from the trees , gazing curiously at him.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. DEVIL'S KET TLE HIGH GYMNASIUM - CONTINUOUS Couples are b eginning to grind aga inst each ot her on the dance floor. Nee dy watches them longingly. She checks her Mickey Mouse watch.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MC CULLUM PARK - CONTINUOUS Chip picks up the pace, jogging down the pa th. In the distance behi nd him we can bare ly make out Jennifer’s form. She looks more spectral then we’ve ever seen her. Chip speeds up instinctively. Suddenly, Jennif er’s about t en paces closer. Then she’s closer again, as if she can fold space and time. She’s e thereal, flickering. CHIP turns to lo ok over his shoulder.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DEVIL'S KET TLE HIGH GYMNASIUM - CONTINUOUS The music fades out and there’s a squeal of feedback from the sound system. Mr. Wroblewski w alks onto th e stage in a bad suit. He a wkwardly picks up the mic with his one good hand and pats it with h is robotic one. MR. WROBLEWSKI Can I have ev eryone’s attention please? The students turn to look at him, annoyed by the distraction.91. (CONTINUED) MR. WROBLEWSK I (CONT’D) Welcome to the Turnabout Dance. I hope you’ve all had an opportunity to consume the P ecan Sandies and Cran-Grape th at were so generously donated by th e Parents Club. Murmuring and applause. MR. WROBLEWSK I (CONT’D) But the real treat is yet to come. It’s happening r ight about now, this treat of wh ich I speak. We have some very special guests tonight. They we re kind enough to take a break from their sold-out national tour and play our dance for free. Needy gags on her juice.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MC CULLUM PARK - CONTINUOUS Chip continues to hurry briskly along throu gh the park. JENNIFER CHIP! CHIP makes an in coherent noise and ju mps as Jennifer appears, improba bly, right in front of him. Sh e’s wearing a gorgeous white formal gown and looks perfect. JENNIFER (CONT’D) Didn’t you hear me calling your name? CHIP You weren’t call ing my name. JENNIFER Yes, I was. CHIP I couldn’t hear it. JENNIFER I think you were maybe spacing out. You w ere like this: Derrrrr. She mimics a blank, drooling expression. CHIP I was?92. CONTINUED: (CONTINUED) JENNIFER Yes, exactly like that. Listen, I need to ta lk to you about you-know- who. Our little Needy. CHIP I know. JENNIFER Are you worried? ‘Cause I’m super- stressed abou t her. God knows how I even sleep at night. CHIP She hasn’t been the same for weeks. JENNIFER I think I know what’s wrong with her. In fact, I know I know what’s wrong with her. CHIP Then tell me. JENNIFER I feel bad te lling you this. (sighing) Okay, you know Needy’s been a total Lithium ca ndidate since the night Colin Gray died. But that’s not just because he was brutally murdered and stuff. It’s because....I don’t wanna say this. CHIP Say it! JENNIFER Needy and Colin were intimate. By that I mean he was poking her donut on a se mi-regular basis. CHIP looks as tonished and hurt. JENNIFER (CONT’D) I know this must be hard for you to hear. CHIP Needy’s not like that.93. CONTINUED: (CONTINUED) JENNIFER That’s what she wants you to believe. But tru st me, her and Colin were doing stuff you haven’t even heard of. Total varsity moves. CHIP But you were with C olin the night he was killed. JENNIFER Well, apparently he had a thing for me-- no surp rise there. And I figured Needy wa s busy jumping your jock that n ight, so I agreed to a little pity date. Colin brought me to that empty house so we could have so me privacy. But he wanted to go too far, so I left after a few minutes . Next thing I knew, they ’d found... She sniffles, wi ping her eye. JENNIFER (CONT’D) ...what was l eft of him. CHIP (to himself) Eye-talian. JENNIFER Huh? CHIP Never mind. JENNIFER I’m sorry you had to hear this from me. I ’m just so w orried about Needy. She’s losing her shit. Colin was her everything. CHIP looks miserable. JENNIFER (CONT’D) I wouldn’t be su rprised if she winds up in the nuthouse. CHIP I just can’t bel ieve this.94. CONTINUED: (2) (CONTINUED) JENNIFER Well, you’ve been talking to her more than I have. How bad is it? CHIP It’s bad, man . It’s bad. JENNIFER I can only imagi ne the paranoid theories she’s come up with. CHIP Oh, you have no idea. JENNIFER I just can’t believ e she would do this to you. I c are so much about you, Chip. CHIP glances up at her. She’s e arnest, beautiful. JENNIFER (CONT’D) More than I’ve e ver had the guts to admit.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HIGH SCHOOL GYM - CONTINUOUS Mr. Wroblewski p auses dramatically for effect. MR. WROBLEWSKI Boys and g irls, please welcome...Sof t Shoulder! The heavy stage curtai ns part to reveal SOFT SHOULDER in all their glory. Su ccess has treated the m well-- they’re glowing and w earing designer rock n’ roll c outure. They look like the yo ung Rolli ng Stones. Needy drops her cup. Juice splatte rs onto the ground. NIKOLAI Good evening, babies. Are you ready for some bad vibrations? The students rush t he stage, shriekin g. Nikolai raises his fist and the band launches into a heavy, uptempo version of “Thro ugh the Trees.” Needy looks as t hough she’s had a revelation. A look of pure horror cros ses her face. NEEDY Chip!95. CONTINUED: (3) (CONTINUED) She rushes towar d the gym exit, tripping in her high heels.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. MC CULLUM PARK - CONTINUOUS CHIP is hypnotiz ed in the glow of the streetlights. Jennifer leans f orward and kisses him on the neck JENNIFER Needy didn ’t deserve a boy like you.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. STREET - CONTINUOUS Needy is running toward the park in her gown. She takes off her shoes and tosses the m aside, her arms and legs pumping furiously. NEEDY V.O. One thing people don’t know about me is that I’m fast. I just never went out for tra ck because I look bad in shorts. Also , Jennifer told me track was for lezzies. But I am. Fast, I mean. Even in that fucking afterbir th of a dress, I could real ly tear up the asphalt. She picks up the pace, cheek s puffing. NEEDY V.O. (CONT’D) I had to. I was running for his life.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MC CULLUM PARK - CONTINUOUS Jennifer is kissing Chip. She pulls him down o nto the damp, muddy grass. JENNIFER Ooh, you’re so salty! CHIP Yeah, you too. JENNIFER Say it like y ou mean it. CHIP You’re so salty. I need water. It burns. The salty burns my mouth.96. CONTINUED: (CONTINUED) JENNIFER Say I’m better than Needy. CHIP What? Why? JENNIFER We really shouldn’t be doing this. She pulls away from him, feigning a guilty conscience. CHIP (quickly) You’re better than Needy. Jennifer smil es, satisfied. JENNIFER Natch. She resumes k issing him e nthusiastically. CHIP This feels we ird. Can we go somewhere else? JENNIFER I have just the place. She stands up an d starts to lead C hip toward an abandoned, fe nced-off COMMUNITY POOL. It’s drained and spooky and lo oks dangerous. CHIP Murphy Pool? I don’ t think we can go in there. I knew some skater guys who went in there. They got in big trouble a nd now they have to pick up garba ge for 100 hours. Jennifer gigg les and pull s him along. JENNIFER You’re in big troub le anyway. Come on. She begins to climb the chai n link fence.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CHIP’S H OUSE - CONTINUOUS Needy jogs toward CHIP’s house. Exhausted and sweaty, she presses the d oorbell. She falls to her knee s on the front stoop, panting and wheezing.97. CONTINUED: (CONTINUED) Camille answe rs the door. NEEDY (strained) Well, hi there C amille! Is Chipper home? Camille has no reply. She eyes Nee dy suspiciou sly and licks a Popsicle. CHIP’s mother ap pears and shoves Camille aside. CHIP’S MOM Needy? Is someth ing wrong? NEEDY Where’s Chip? CHIP’S MOM (confused) He left for the dance at least twenty minute s ago. He certainly should have been there by now. NEEDY He walked? Mrs. Dove, you mean to only tell me tha t in these dangerous, godless times-- you let your only son walk alone at night? CHIP’S MOM Well, it’s only five blocks. My God, your hair is... NEEDY Which way did he go? CHIP’S MOM He usually cuts across the park. She turns to scold Camille. CHIP’S MOM (CONT’D) Camille, let’ s sit like a lady! No one wants to see your kiki. She turns back to address Needy. CHIP’S MOM (CONT’D) Why don’t you try... But Needy’s gone.98. CONTINUED: (CONTINUED) CHIP’S MOM (CONT’D) Anita?",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MURPHY POOL - SAME Murphy Pool is even eerier f rom the inside. The fenced-in deck area is lit tered with garbage , abandoned pool furniture and gr affiti. Someone has spray painted the word “HOPELES S” on a wall. CHIP shivers and looks ar ound nervously. Jennifer nonc halantly unzips her dress a nd shimmies out of it, revealing he r bra and panties. CHIP Aren’t you cold? JENNIFER Never, Trevor. I ’m hot like magma. She prances over to the abandoned pool and beg ins to climb down the l adder on the si de. The pool is full of filthy, freez ing water. CHIP What are you doing? JENNIFER Swimming. CHIP Ha ha. JENNIFER Come on in, Chip . Show me your breast stroke. CHIP The water loo ks disgusting. JENNIFER It’s not so bad. CHIP Are you kidding? It’s totally bubonic in there. I think I see a dead possum with a Doritos bag in its pouch. And t hat looks like a used syringe over there... He slaps a way a FLY.99. CONTINUED: (2) (CONTINUED) JENNIFER I’m sorry. I was just trying to make you l augh. I think now, more than ever, we ne ed laughter. We’ve both lost a close friend. CHIP nods sadly. CHIP I know. JENNIFER I feel so empty. CHIP Me too. JENNIFER Please come here and kiss me again. Make all thi s madness go away. Chip tiptoes forward tentatively a nd sinks to his knees. He leans in and kis ses Jennifer, who’s still clinging to the ladder. The sound of buzzing f lies grows louder. Suddenly, Jennifer ope ns her eyes. She hooks her arm around Chip’s neck and lunge s backward. The y tumble off the ladder, into the pool. Chip SCREAMS.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MC CULLUM PARK - CONTINUOUS Needy runs in to the park and scans the dark horizon. Her bare feet are bloody from ru nning and her f ace is shiny with sweat. NEEDY (yelling) Chip! A terrified SCREAM in the distance. Needy whips a round, hikes up her s kirt and sta rts running toward Murphy Pool. She reaches the fence and start s climbing i t. She slips and cuts her hand on a broken link. CHIP screams again on the other side of the fence.100. CONTINUED: (CONTINUED) NEEDY (CONT’D) I’m coming! She flings herse lf over the top of the f ence, her body slamming against the concrete pool deck. He r ARM snaps. It’s a compound fracture, the b one thrusting through the flesh of her arm as she screams.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MURPHY P OOL - CONTINUOUS Needy staggers toward the pool, which is surrounded by an extraterrestrial glow. Chip’s m oaning is almost unbearable. Needy stares into the aby ss and claps her hands over her mouth. Jennifer is waist deep in the DIRT Y WATER, fli nging Chip against the wall like a rag dol l. He’s still conscious, but his skin on his chest has been RI PPED OFF to expose his ribs. Jennifer is CHEWING happily. Chip looks at Needy, his fac e a mask of agony. CHIP (mouthing) Needy! NEEDY Holy crap! Jennifer begins gnawing on Chip’s nec k, so engaged in the task that she do esn’t notice Needy. Needy climbs up on the diving board and cro sses herself. NEEDY (CONT’D) Saint Jude, patron saint of hopeless causes: Please give me the power to cru sh this bitch. Jennifer looks up with demonic, bloodshot e yes just as Needy leaps off the diving board. Needy lands on J ennifer’s shoul ders, taking he r out. She wraps her legs around Jennifer’s neck and d rags her under the water. Jennifer emerges. N eedy grabs h er by the hair and girly- slaps her fur iously across the face. Then she spots the PEPPER SPRAY lying by the side of the pool. She grabs it and sprays it in Jennifer’s eyes. Jen nifer shrieks and vomits NASTY, SP INY GORE all ov er Needy and Chip.101. CONTINUED: (CONTINUED) JENNIFER Fuck this J.V. shit! Jennifer ROCKETS straight up into the air l ike a goddess, hovering ten fee t above the pool. Her eyes burn. Her skin is corpselike. She’ s drenched from he ad to toe in the prickly ooze. CHIP (croaking) She can fly? NEEDY She’s just hovering , CHIP. It’s not that i mpressive. Jennifer spea ks in a metallic, dem onic-soundin g voice. JENNIFER God, do you h ave to undermine everything I do? You’re such a player-hater. Needy glares at Jennifer, surprisi ngly fearless. NEEDY You’re a jerk. JENNIFER Nice insul t, Lizzie Mc Guire. Got any more h arsh digs? NEEDY You know what? Y ou were never a good frien d. Ever. Even when we were little. You used to steal my toys and pour le monade on my bed and make me be Ugly Ashley when we played Barbies! JENNIFER And now I’m eati ng your b oyfriend! See? At least I’m consistent. NEEDY Why do you ne ed him? Huh? She begins to weep. NEEDY (CONT’D) (sobbing) Why do you need the one guy who’s ever liked me ? You can have anyone, Jennifer! 102. CONTINUED: (MORE)(CONTINUED) The cutest guy in school. The mailman. A teach er. You could probably even ha ve a huge star like Chad Mic hael Murray. So why Chip? Why him? Is it just to piss me off? Or is it because you’re insecure? Jennifer floats in midair toward the pool deck and drifts down, landing on her feet. N eedy crawls out of the pool and faces her down. JENNIFER I am not insecur e. God, what a joke! How could I be insecure? I was the Snowf lake Queen! NEEDY Yeah, two yea rs ago. When you were socially relevant. JENNIFER I AM STILL SO CIALLY RELEVANT! NEEDY You were skin ny then, too! A look of ABJECT HORRO R on Jennifer’s face. She reels back against the chain link fen ce, her e yes blazing. JENNIFER I’m gonna eat yo ur soul and shit it out, Lesnicki. Her voice is now an unearthly growl. In the ba ckground, Chip is slowl y, painfully pulli ng a POOL SK IMMER with an eight-foot handle off the pool deck. NEEDY (trembling) I thought you on ly murdered boys. JENNIFER I go both ways. She HURTLES h erself toward Needy, roaring, her eyes white- hot, her jaws ag ape. She’s monstrous. Chip suddenly stumbles in fr ont of Needy and holds the HANDLE of the PO OL SKIMMER in front of them li ke a spear. As Jennifer flies forward at demonic speed, she IMPALES HER ENTIRE TORSO on the handle. Needy screams. T here’s a beat of deafening silence.103. CONTINUED: (2) NEEDY (CONT’D) (CONTINUED) Chip collapses on the pool deck. Jennifer rises u ncertainly to her feet, “shish kebabbed” on the giant skimmer. With effort, she pulls the handle out of her body in several stages. JENNIFER (CONT’D) Ow-Ow-Ow. Needy watches , and realizes Jennifer is injured . Blood drips onto th e pool deck. NEEDY (surprised) We hurt you... Blood trickles out of Jennifer’s wound. She tr ies to plug the hole with her hand. JENNIFER Got a tampon? Needy shakes her head mutely. JENNIFER (CONT’D) Thought I’d ask. You seemed like you might be pluggin’. She begins to climb the fenc e, wincing in pain, then glances over her shoulder at Ne edy and Chip. NEEDY Where are you going? JENNIFER Fuck this noise. I’m out. You losers are more trouble then you’re worth. She continues climbing. NEEDY (emotional) Why give up now? He’s almost dead! Get your buli mic ass back here and kill us both! JENNIFER Nah. I mean, you say I’ve been a bad friend all these years. I might as well throw you a bone.104. CONTINUED: (3) (CONTINUED) She smirks and jumps over th e fence, stumbling off into the distance. Needy watches her, her eyes narrowing with hate. Once Jennifer ha s disappeared, Needy turns her attention to Chip, who is barely alive. She stares in horror at his torn arm and exp osed ribs, then falls to he r knees over his body. NEEDY Oh, Chip! CHIP Needy. You saved me. NEEDY I’m gonna cal l for help. She reaches into Chip’s pocket and pulls ou t his beat-up cell phone. S he wipes off the prickly ooze with her hand. CHIP Oh no, I’m ou t of minutes! NEEDY I think 911 is a lways a free call. CHIP Oh yeah. You’re right. Needy dials to no avail. The phone is ho pelessly clogged with ooze. Sh e knocks it aga inst the deck. NEEDY It’s not working . It’s full of Jennifer-goo. Chip begins g agging and c oughing. He rolls onto his back, his eyelids fluttering. CHIP (faintly) Hey, I’m goin g somewhere... NEEDY No! You’re not going anywhere! CHIP I’m toast, Needy . I’m definitely gonna die. I thi nk I already died before you were here, but I woke up when I hea rd your voice.105. CONTINUED: (4) (CONTINUED) NEEDY I love you. CHIP Yeah me to o. And you l ook hot in that dress. NEEDY You’re clearl y delirious. CHIP No. When you’re dyi ng, you can see everything a lot clearer. You can see what’s true and what’s not. The things that are true have this glowing halo of lig ht around them, like a picture of the Baby Jesus, or Barbara Walte rs when they use the special l ens. And I know for sure that you’re totally hot. Needy begins to sob hoarsely. CHIP (CONT’D) You’d better get out of here. The police are going to come and I don’t want them to, you know, make a mistake. NEEDY I’m never leaving. CHIP But I have to go. NEEDY No! Chip’s eyes clos e. His face relaxe s. He’s gone. Needy wails at the top of her l ungs. She rests her head against his m utilated chest, oblivious to the blood and bone.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DEVIL'S KETTLE HIGH GYM NASIUM - NIGHT The dance is in full swing and students are slow-dancing. Girls rest their heads against boys’ chests, o nly under far less macabre circumstances than N eedy and CHIP’s deathbed tableau. Soft Shoulder are still playing onstage, th eir guitars chiming me lodically.106. CONTINUED: (5) (CONTINUED) The bass player, Dirk, turns towar d Nikolai Wolf. DIRK This sucks old-man balls. NIKOLAI Shut up. I t’s good PR. He accidentally spe aks into the mic, attracting unwanted stares from the kids. NIKOLAI (CONT’D) (to audience) I said, it’s so goo d to be here! The students cheer app rovingly, their fa ces bright and hopeful. Nikolai bares his teeth in a frigh teningly fak e smile.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. C0RVALLI S HIGH CAMPU S- CONTINUOUS Illuminated by lamp light, Needy limp s toward the gym entrance. She’s comple tely covered in demon-goo. Her face is bloody, her h air is full of blood and gu ts, and her BROKEN ARM lo oks gruesome. In the background, yet another oblivi ous COUPLE are making out. Needy stops to star e at them, her gaze calm but obviously insane. They bre ak apart and stare back at her. GIRL What are you loo king at, Clumpy? NEEDY (quietly) Just watching yo ur old man try to suck the ugly off your face. GUY What did you say? Needy bends over, casually hold s one nostril closed, and does a “farmer b low.” A bloody clot flies out of her nose. The guy takes a good look at Needy and b links, startled. GUY (CONT'D) Are you supposed to be Goth or something? 107. CONTINUED: (CONTINUED) NEEDY Did you know the original Goths were a Germanic tri be that settled in Rome? They di dn’t wear black. They wore reg ular linen tunics. I don’t know why nobody els e knows that. The couple have already resumed making out. Needy rolls her eyes, turns away, and continues limping into the gym.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GYM - CONTINUOUS Needy enters the gym and sla ms the door shu t behind her. People ignore her as she slowly walks toward the stage. They’re too busy slow dancing a nd laughing in their respective cliques. She looks up at the stage, where Soft Shoulder are playing an insuf ferably long coda. Nikolai noodles through a guitar solo, then looks up and sees Needy looki ng directly at him, h er eyes full of hate. Nikolai gulps nervously and elbows Dirk. Needy points to her eyes with two fin gers, then points at Nikolai, as if to say, Gotcha. She looks completely possessed. NIKOLAI (to Dirk) We gotta get out of here. DIRK Why? NIKOLAI I think this girl’s flipping out. DIRK What could she do to us? NIKOLAI Look at her. Dirk takes one l ook at Needy ’s face and tak es off his guitar. Nikol ai motions for the rest of the band to leave the stage. The music stops a bruptly. The ki ds in the gym murmur and compl ain, confused.108. CONTINUED: (CONTINUED) Needy tries to f ollow them. She limps blindly toward the stage and climbs up. Everyone watches, gasping in horror. By now the band is disappearing ou t the side d oor of the gym. NEEDY (into the mic) You didn’t play your hit yet. But they’re gone.Needy looks out at her classmat es. They sta re back. She PASSES OUT COLD.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CHIP’S S TREET - MORNING (TO ESTABLISH) NEEDY V.O. They found Ch ip the following morning. T he police co uldn’t find an explanation f or the “s ubstance” in the pool, so the y chose not to mention it to the press. In fact, they treated the whole incident like a bad dream.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CHIP’S HOUSE ( LIVING ROOM) - MORNING We see the POLICE (including ne wly minted o fficer ROMAN DUDA) informing Chip’s mother t hat his body has been found. She colla pses onto the floor, curling up into the fetal position. NEEDY Trouble wa s, some of us would never wake up.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. NEEDY’S BEDROOM - DAY Needy is lying in bed, shaking, her arm in a c ast. Her mother tries to rouse her. NEEDY V.O. I never went back to school after that. Didn ’t talk much either. My mom bought some boo ks so she could teach me at home like crazy Christians with 14 kids do. But I wasn’t a very co operative student. Needy pulls t he covers over her head. 109. CONTINUED: (CONTINUED) Toni shrugs, res igned, and t osses the book on the floor.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. JENNIFER’S HOUSE - NIGHT Needy is crouche d outside Jennifer ’s window, hiding in the shrubbery. S he looks almost feral, with wide eyes and a hungry expression. Through the w indow, we see Jennifer sitting at a vanity and combing her hair, oblivious to the intr uder in her yard. NEEDY V.O. What nobody real ized was that I was doing a diff erent kind of homework. I was wat ching her every night. Waiting. We see Jennifer puttin g the comb down and examining her hair with a a ppraising eye. NEEDY V.O. (CONT’D) Waiting for her to get weak and dull. Waiting for her to burn through the l ife-force she’d stolen from Chip. Needy creeps away from the window. NEEDY V.O. (CONT’D) It took weeks, b ut I finally made my move. Remember?",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. JENNIFER’S HOUSE - NIGHT We’re seeing a FLASHBACK of the night Needy slaughtered Jennifer. Needy plunging through the window. Jenni fer thrashing. The blood. The struggle. The le vitation. The arrival of the police. NEEDY V.O. Even in her l ast moments of life, she somehow m anaged to be cooler than me. We see, for a mo ment, Jennifer’s sly, challeng ing smile as Needy raises the boxcutter to slash her. That signature look of m astery and control.110. CONTINUED: (CONTINUED) NEEDY She left an insa nely hot corpse. We see Jennifer’s mother holdin g her again, screaming, though all we he ar is SILENCE and STA TIC. Sure enough, Jennifer’s bl eeding body see ms to be artfully, sensually draped in her mothe r’s arms. She almost seems to be SMIRKING at us.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. “THE HOL E” - NIGHT We’re back in so litary confinement, w here Needy has been narrating the whole sordid tale. She has n’t moved a muscle since beginn ing her stor y. Only a singl e shaft of moonlight illumi nates the room. An orderly shoves DINNER through a slot in the door. It’s a pile of mystery m eat. Needy wrin kes her nose. NEEDY V.O. I don’t even know who Needy Lesnicki is a nymore. I’m a different per son now. A person who uses curse wo rds and kicks orderlies and and sees th ings that aren’t there. A very bad, very damaged person. Needy reaches up and distracted ly pulls back the neckline of her shirt... NEEDY V.O. (CONT’D) But sometimes, change can be good. For instance, most occult scholars don’t know this, but if you’re bitten by a demon-- and you live-- you just might a bsorb some of the demon’s abilities. In the moonlight, we s ee Needy still has a infected- looking BITEMARK near her shoul der. She scr atches it, wincing. NEEDY V.O. (CONT’D) You just might g et lucky for once in your mi serable life. PULL BACK to reveal that Needy, still cross-legged is HOVERING five feet off the f loor. Effortlessly. With visible con centration, she slowly flies up toward a narrow WINDOW positioned up near t he ceiling. To anyone with normal a bilities, it wo uld be impos sible to access.111. CONTINUED: (CONTINUED) Needy reaches the w indow, gazes at it for a moment, then SMASHES it with surprising strength.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. LEECH LA KE HOSPITAL - FIVE MINUTES LATER Needy strolls across the grounds in her bunny slippers. She heads confidently toward the SECU RITY FENCE and passes through it a fter casually mangling the bars. Only a Needy-shaped hole remains.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. COUNTY R OAD 9 - TEN MINUTES LATER Needy is striding purposefully down a dark countr y road. The hospital recedes in the background. A few RACCOONS gath er by the side of the road, watching Needy as s he walks past. A PICKUP TRUCK whiz zes by with its wi ndows rolled down. “Through the Tre es” blasts from the radio. Needy begins to sin g, a lopsided grin on her face. NEEDY (singing) “Through t he trees, I will find you. Heal the ru ins left inside you...”",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MURPHY POOL - NIGHT Devil's Kettle citizens are gathered around Murphy Pool, crying. It’s a C ANDLELIGHT MEMO RIAL for Chi p. Their faces are weary and sorro wful. Photos of Chip have been arranged around the edge of the fence. We s ee a picture of CHIP AND N EEDY on the end. Someone has b rought a CD pla yer, and the mourners sing along, their voi ces soaring. VIGIL ATTENDEES (singing) “...And the stars will remind you, we’ll meet again...”",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. COUNTY ROAD 9 - CONTINUOUS Needy holds h er thumb aloft as she wa lks down the remote country highway. 112. CONTINUED: (CONTINUED) NEEDY (singing) “...We’ll mee t again.” A small creek empty ing into a s tream runs para llel to the road. Needy seems something glinting at the mouth of the creek and stoops to pick it up. It ’s Nikolai’s BOWIE KNIFE, the one he t hrew into De vil’s Kettle, n ever to be seen again. Needy picks it up and tucks it into h er waistband. A STATION WAGON comes rattling up the road. Needy sticks her thumb out again. The wagon pulls over to the side of t he road. The driver, a grizzled older man, rolls down the window. He eyes Needy lasciviously. OLD MAN Where you lookin g to go, young lady? NEEDY East, towa rd Madison. OLD MAN East, huh? Guess I’m headed that way. But I’m gon na need you to pay me in ass, gas or grass. Got that? No free rides in this wagon. NEEDY I don’t have any money or drugs, so you’ll have to settle for ass. OLD MAN Fair enough. Hop in my chariot. Needy gratefully hurries into t he driver’s seat. OLD MAN (CONT’D) So why you headed East? NEEDY I’m following th is rock band. OLD MAN Huh. Must be a h ell of a group. NEEDY Tonight’s gonna be their last show.113. CONTINUED: (CONTINUED) Needy smiles bli thely and pops the clear Li fesaver into her mouth. The station w agon pulls off. As it sputters off into the distance, we see a road sign that reads, ir onically, SOFT SHOULDER. We hear the song on the radio end, segueing in to the DJ’s bumper. RADIO DJ What a song. Tho ught we’d play that one in h onor of Soft Shoulder. They’re playing in Madison tonig ht. Should be a night to remember... The DJ’s voice fades out as the car vanishe s into the horizon. THE END 114. CONTINUED: (2)",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BATHROOM - MORNING BRYNN practices smiling in the mirror. She’s not particularly convincing. Adds a wave for good measure. Trying to look casual and pleasant- But just looking nervous and uncomfortable. Tries again before frowning and fixing her hair, st ill in her nightgown.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BEDROOM - MORNING Brynn stares at two dress options. She made them both. After some debate, she picks one. Then changes her mind and goes with the other.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. THE FAMILY ROOM - MORNING It’s clear that Brynn lives here alone. In her earl y twenties. She heads downstairs into her immaculately designed home. It’s decorated cutely with Halloween trinkets. She passes a LeMax halloween village of different s pooky buildings which is just a liiiiittle too big. She turns their lights on and admires the little sp ooky world she’s made for herself proudly.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. BASEMENT - DAY This is where she works. Reams of fabric. Drawers of buttons. Sewing machine . A list of her Etsy orders. Brynn does a little more work on a dress. The work makes her happy. 2. She finishes off a dress and carefully folds it. Wraps a bow around it. Like it was the most special thing in the world. Hand writes a thank you note and pins it to the ribbon. She places the dress delicately in a bubbled envelo pe. Already addressed with incredible penmanship. She prints out a stamp herself. A vintage alarm clock rings. She hits it and gather s her things.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FRONT YARD - DAY Brynn writes a letter under a tree, lounging agains t the trunk. Dear Maude, Her home is very well kept. Surrounded by thick woo ds. There are garden boxes of vegetables by a small she d. Brynn looks up from her letter when she hears somet hing. Turns towards the street. The sound of a car. She smiles. It’s here. She huddles against the tree, making herself small- So the MAILMAN can’t see her when he pulls up to her mailbox at the end of her driveway. He chucks in some letters. Then reaches into the back and pulls out- A hand-wrapped BROWN BOX . For a moment, he considers putting it in the mailbo x... But not seeing anyone around- He aggressively dumps it on the ground with a smirk . Brynn hears it thump and winces as- The mail truck heads further down the road.2. 3. Brynn peeks to make sure the coast is clear. Then gets up and hurries to her mailbox. She gently picks the box up. Tosses the letters under her arm. And heads back to her home. Skipping with excitement.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. THE FAMILY ROOM - MOMENTS LATER She carefully cuts open the box with scissors, fina lly revealing- An ungodly amount of bubble wrap inside. She laughs victoriously at her flawless defeat of t he mailman. She carefully reaches inside and pulls out- A small LeMax box of a HALLOWEEN VILLAGE BUILDING . She grins, carefully opens it so as not to ruin the packaging- Places it proudly on its designated spot in her vil lage.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. CLOSET - MOMENTS LATER Brynn carefully places the empty box on a row of si milar boxes. Rows of Christmas Village buildings wait their turn .,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FRONT YARD - DAY The sun is beginning to set. Brynn sets her packages in her small car. She moves over to a flower bed and carefully cuts a few stems- Pauses when she sees a STRANGE BURNED CIRCLE in her grass and part of her flowerbed. Brynn groans, looking closer. 3. 4. Not burned necessarily. Just like everything dried up in a perfect 8 foot wide circle. She sighs and waters it with a hose before she goes .",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. CAR - DAY She listens to oldies while she drives. Strangely full of anxiety. She looks into her rear-view mirror and practices t hat smile again.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. POST OFFICE - DAY She drives up to a mailbox- But before she lowers the window- She puts on a hat and sunglasses to obscure her fac e. Then she lowers the window and quickly drops off he r mail. Before zipping away quickly.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. PARKING LOT - SUNSET Brynn gets out of her car. The parking lot a little too full for her liking. She carries the flowers with her.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. GRAVEYARD - SUNSET Brynn replaces the not-too-dead flowers in a vase b y the headstone that reads Sarah Adams, Wife to Hugh, Mother to Brynn. She spends some time with her mother, before feelin g that awful sensation that she’s being watched. She slowly turns and sees a group of women across t he graveyard at a funeral- Looking at her, talking amongst themselves. Brynn quickly stands and begins walking out of the graveyard.4. 5. Has to move past them to do so. And when she does, she gives them her rehearsed smi le and wave- As if everything was totally fine. It’s not very convincing.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PARKING LOT - SUNSET When Brynn returns to her car, she sees a small SCRATCH along its side. She doesn’t remember that being there before. Looks back towards the funeral, unsure of how to re act- Before getting back into her car and driving away.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RECORD PLAYER - EVENING Brynn carefully selects a record from her shelf of oldies. She puts one on. The speakers crackle and the jazzy waltz begins. Brynn happily sways in her dress, all the anxiety f rom leaving the house gone as she dances-",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. KITCHEN - EVENING Into her kitchen. Pulls the cork off a bottle. Pours herself some red. Opens her laptop. And begins cooking a dinner for one. The ‘30s music carries her through as she- Sautés vegetables. Broils chicken. Practices WALTZ steps from a vintage dance book. Drinks more red (but never irresponsibly so). 5. 6. Chats on iChat with someone named “LeMaxter85”. It’s flirty but in a homeschooled kind of way. When her dinner is ready, she dutifully- Closes her laptop and eats alone. When her record gets to the end, she gets up- Flips it- And resumes her meal. She stares out the glass sliding doors into her bac kyard, into her woods. Lonely, but happy.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. FREEZER - NIGHT She pulls out some cookie dough ice cream. Photo of a WOMAN and KID outside that house on the fridge door. Brynn and her mom.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. THE FAMILY ROOM - NIGHT She sits down on her couch. Clicks on TCM. Watches a black and white romance. She loves it with all of her heart.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. KITCHEN - NIGHT Polishes off the red. Does all of her dishes. Washed and dried. Bottle into the recycling. Ties up the trash.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. BACK OF THE HOUSE - NIGHT She puts her bags neatly in their respective bins. Looks up at her house in the dark. Can faintly see remnants of painted over graffiti o n her wall. Unclear what it says.6. 7. Brynn frowns. Problems for another a day.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. KITCHEN - NIGHT Brynn wishes LeMaxter85 sweet dreams and closes her laptop. Finishes the letter she was writing. Seals it in an envelope. Takes it with her upstairs. The computer never travels upstairs with her.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. UPSTAIRS HALLWAY - NIGHT Brynn carries the letter into a room. She’s only in there for a few seconds. And when she returns to the hallway, there is no le tter in her hand.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. BATHROOM - NIGHT She brushes her teeth. Brushes her long hair. Puts on face cream.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. BEDROOM - NIGHT Breeze flutters into her room from the window. Curtains billow. The drone of crickets. She reads late into the night. No cellphone or iPad or TV in here. Just the soft glow of her bedside reading lamp. An owl hoots outside. She raises her eyes and smile s. Places her bookmark and sets the book down. Turns o ff the lamp and curls under the covers. And closes her eyes. It was a good day. 7. 8. The First Night . . . . . . . . . . . . . . . .8. 9.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BRYNN’S BEDROOM - 3:27 A.M. Brynn is fast asleep. Breeze still ruffling the curtains. Crickets still performing. Until- A large gust of wind comes through the room. Curtains flow. Brynn stirs but doesn’t wake. Fast asleep when the crickets completely stop. Then- The sound of birds quickly flying from their nests. Too many birds . And then once again everything is quiet. Too quiet. Just the breeze. But suddenly ALL OF THE LIGHTS TURN ON. The sound of the TV and the record player downstair s and then- Even less than half a second after they turned on- They’re OFF. It’s quiet again. Brynn none the wiser. Doesn’t even fidget in her sleep. Not even when there’s- The sound of THE DOOR HANDLE DOWNSTAIRS BEING JOSTLED . Slowly at first. Then faster and faster- Unnaturally so-9. 10. Until finally- It stops. Followed by the soft creak of THE FRONT DOOR OPENING. Brynn keeps sleeping peacefully. An odd thwap-thwapping repeats downstairs. The sound of FEET. But definitely not shoes. They keep roaming around downstairs. The fridge door opening. Then closing. Then opening . Then closing. Then opening. Then SLAMMED shut. Brynn’s eyes flutter open. She rolls over, trying to get comfortable again whe n- Thwap-thwap. Thwap-thwap. Thwap-thwap. She comes to a little bit more. Trying to figure out what that strange sound is whe n- Something clearly bumps into something else downsta irs. She GASPS- Covers her mouth- Everything is silent downstairs. And then just as casually as before- Thwap-thwap. Thwap-thwap. Thwap-thwap. Brynn is terrified. There’s someone in her house. She looks around her room for anything to defend he rself with. Slim pickings.10. 11. She spots a CURLING IRON on her dresser and decides it’s her best option. Thwap-thwap. Thwap-thwap. Thwap-thwap. And then the front door of her house creaks open ag ain- And SHUTS gently. Brynn quietly- Quietly- Sneaks out of her bed and leans towards her window. Curtains billowing in the breeze. She cranes forward and peers outside. There is no sign of anyone. She leaves the window and tip toes in her bare feet to the dresser- Grabs the curling iron.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. UPSTAIRS HALLWAY - CONTINUOUS She walks slowly- Slowly- Across her wooden floors. Towards the stairs at the end of the hall. Passing closed doors on either side. She reaches the top of the stairs and looks below. Nothing. She takes a cautious step down. Nothing. And then a second step down when- A FIGURE HURRIES ACROSS THE ROOM. A figure that is decidedly NOT HUMAN . It walks on two legs, with two arms and a bulbous h ead-11. 12. Brynn only sees it for a second as it scurries by- Marching deeper into her home. Thwap-thwap thwap-thwap thwap-thwap. In absolute horror she DROPS the curling iron. It falls to the floor- About to hit the step when- Brynn GRASPS THE CORD. Inches away. It dangles there, swaying aimlessly. Shaking, Brynn coils it back up to her hands. Gripping it like her life depended on it. She takes a slow step backwards- Up the stair- Back on the wooden floor. Trembling. The ALIEN still rummaging down there. It makes little GRUNTS and noises. Like it was talking to itself. Brynn turns and starts heading back to her bedroom- Not sure where else to go. Sweating. She moves as fast as she can without making noise. Which is not very fast at all. Footstep by footstep. As she nears her room- She causes the slightest of creaks on the floorboard- She cringes-12. 13. Looks down- Holds her breath- There is no sound from downstairs at all. Until- Thwapthwapthwapthwapthwapthwapthwapthwapt- It’s RUNNING. Towards the stairs. Brynn almost dies where she stands. Holds back a petrified whimper and- Forces herself into her room as the Alien reaches t he stairs and races up- But before it reaches the top stair- Her bedroom door is closed. And the Alien is on the second floor. Standing there, silently, an unmoving silhouette.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. UNDER BRYNN’S BED - NIGHT Brynn squeezes herself under- Reaches and pulls her blanket down to obstruct her view as- Her bedroom door is pushed open. But there’s no footsteps yet. She turns her head to face the door- Tears in her eyes and- Sees the TWO GREY LEGS enter the door frame. No denying what she’s seeing now. It doesn’t move for a long time. A long time. But it does seem to be talking.13. 14. A strange, off-key melodic- chka-chka mmMMm chka-chka As it sways in place before- Rushing forward in a flash and- Doesn’t look to see Brynn- But instead hops on top of the bed. The springs pushing down above Brynn. Her head tilted to the side so the bed doesn’t touc h her. The Alien stops moving for a moment- And then resumes- Walking around in circles on the bed. Just round and round it goes. Brynn holds her breath as best she can when- The Alien seems to... lie down? As if it were testing the bed out. It coos to itself. Wrestles with some blankets. Making Brynn painfully more visible. With a final contented snort- It hops off the bed, landing with a soft thump near the window. Brynn slowly- Slowly- Turns her head and watches as it peers out into the night- And then suddenly- It calls out the window- Uck-Uck-Uck-Uck-Uck! Brynn winces-14. 15. Surprised at how loud it is. How disgustingly not human it sounds. Then the Alien just seems to- Hop- Right out the second story window. Brynn is stunned- Too smart to be hopeful. But there’s no return. No more awful calls in the dark. Nothing but silence. She works on being calm. Wipes tear trails from her cheeks. And after another excruciating moment- Begins to drag herself out from under the bed.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BRYNN’S BEDROOM - CONTINUOUS She slowly lifts her head- Peering above the bed- And sees nothing. Just the breeze through her curtains. She swallows. Takes a deep breath and- Rushes to the window- Where she quickly and quietly pushes it closed- Locking it. She dodges out of view, expecting some kind of reac tion but- There is nothing. Just silence. 15. 16. She grips her curling iron with bleach-white knuckl es. Trying to will herself to move- But having a hell of a time finding the courage.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. UPSTAIRS HALLWAY - NIGHT Brynn walks with the curling iron raised over her h ead like a baseball bat. Shuffling down the hall- Towards the stairs- She reaches the top of the stairs again- Sees the front door open down below. Leans forward to see if the coast is clear- Seems to be- So she takes a few sharp breaths and- RUNS to the door-,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. THE FAMILY ROOM - NIGHT She pushes it closed and locks both locks. Backing away from it- Expecting something to happen- Some reaction- But there is nothing. She keeps backing away when- Again, ALL THE LIGHTS TURN ON . The TV and the record player. Horrifically loud. She SCREAMS! This time they don’t turn off. She runs over to the TV and rips the plug out-16. 17. Then rushes to the record player- Tries to turn it off but it just goes crazy. Radio channels flying by until she’s able to reach behind the counter and unplug it. She rushes to the light switches on the wall by the staircase to turn them off too- Frantically slams them down- Too freaked out to look up- And see THE TWO GREY LEGS standing at the top of the stairs. Not moving. Just simply watching. Brynn none the wiser. And it’s dark and quiet once again. She passes by her LeMax village. The tiny electrical lights inside blinking. She pauses and notices. Not sure what it means. Or why it’s happening. She kneels down to turn off the power switch when- C r e a k- She hears something upstairs. She looks up- Towards the steps. Is that a shadow? Or was that always there? She softly unplugs the power strip. The tiny orange lights in her tiny little world go out. And the shadow on the staircase does not move. 17. 18. She looks behind her- Towards the kitchen- Where she can see the cord of her landline. Deep breath. Here we go. She slinks across the floor and into-",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. KITCHEN - CONTINUOUS Where she presses her body flush against the wall. Waiting to hear anything but- Nothing. She looks ahead- The glass doors to her backyard. The trees of the woods swaying ominously. Full of shadow and darkness. She tears her eyes away and looks towards the ceili ng. The phone cord above her. She slides her back up the wall. And reaches for her retro phone. She pulls it off the receiver and- SCREECHING ERUPTS FROM THE PHONE. Brynn yelps and drops it as- Everything in her home goes NUTS. Even unplugged, the TV and Record Player turn on at full blast. The lights strobe. The refrigerator door bangs. The heat rises.18. 19. The sliding glass doors fog. Brynn covers her ears and- Sees that shadow on the stairs move. Her eyes go wide. She springs for the sliding door but- The handle is so hot it BURNS her hand. She yelps and pulls it back. Can’t find anything to cover her hand- Thwapthwapthwapthwapthwapthwapthwapthwapt- It’s coming. Her eyes dart around the insanity- Looking for a place to hide- There! Beside the fridge! She throws her body into the tight space where she keeps her brooms and- Closes the fridge door- Makes herself small as- Once again- Everything goes back to normal. Everything is dark. Everything is quiet. Except for the noise coming from the telephone. It dangles there, softly bumping the wall. Brynn too scared to look- Leaning back fully in the little corner- But she can see the reflection of the phone in the fogged sliding doors.19. 20. Condensation tears streak as the room begins to coo l again. When- Oh God- A SMALL ALIEN HAND with long boney fingers reaches out from the darkness. And takes hold of the phone. And slowly- Slowly- Places the phone back on the receiver. Brynn’s eyes watch the phone go up in the reflectio n- And then realizes- That the Alien is staring right back at her. Just the glint of its two black eyes visible in the dark. Brynn wants to throw up. They stay in their respective spots- Staring at each other’s reflections when- The refrigerator door suddenly pops opens- Golden light obstructing the reflections- Flooding the dark kitchen- Brynn covers her mouth as it gently glides open. Too scared to move a muscle. Still gripping the curling iron- But- Nothing happens. It’s just an open refrigerator door. The only sound the hummmm of the fridge. Brynn doesn’t breathe. She looks up to the top of the refrigerator door-20. 21. Nothing to see. She looks to the bottom of the refrigerator door an d- Sees the tips of several TOES waiting underneath. They wriggle. The Alien crouched behind the door. Waiting. Fffffffucking with her. And something about knowing that she’s being played with- Toyed with- Eases her fear just a tiny bit- Replacing it with fury. The toes wriggle again. Ugly fingers on the top of the refrigerator door- Like it’s getting ready to pounce. But not knowing what else to do- Brynn pounces first. She pushes forward- KNOCKING into the door and throwing the Alien back- As she runs away barefoot- The glint of the Alien’s eyes casually watch her go as-",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. THE FAMILY ROOM - CONTINUOUS She heads for the front door- Gasping as she goes when- All the lights, the tv, the record player- All TURN ON but with way too much power- Bulbs EXPLODE- She yelps at the raining glass-21. 22. Pixels in the TV burn through- Speakers on the record player blow out- But Brynn keeps running towards that door- But as she reaches for it- The front door BLASTS OFF ITS HINGES - Barreling into Brynn! Knocking her violently back as it slams through the room- Destroying her village. She lands on the ground in a heap. Blood dripping from her forehead- She forces herself onto her hands and knees- Before SHE GETS DRAGGED BACKWARDS by an unseen force- She tries scrambling forward- Looking for anything to grab hold of- Fingernails breaking in the floor- The rubble of her village scattered about- With a violent tug she shoots backwards across the floor- Grabbing a cracked halloween town house- She gets JERKED to her feet- And SPUN around- SCREAMING - She’s face to face with the Alien- And flailing- She does the only thing she can- And hits at the side of the creature’s head- Where the splinter of the house she was gripping si nks inside its skin with a- Squelch22. 23. And for a moment nothing happens- Brynn’s eyes clenched closed- Her home still- And quiet. Just the sound of the night. And after a terrible beat, Brynn can’t help but be curious as to why nothing is happening- She opens her eyes- And sees the LeMax house SUNK HALFWAY INTO THE ALIEN’S SKULL - The Alien’s legs gives out from underneath it- Brynn lets go of the house and desperately- Backs away against the wall as- The Alien slips to the ground- Slumping face forward. House still lodged in its head. Thuds when it hits the floor. And the Alien lays there- Motionless- DEAD. Brynn doesn’t move for a second- Before sliding down the wall to the floor- Shaking. Picks up a broken table leg. Holds it weakly like a weapon- Looking around to see if something else might happe n. But nothing happens. Nothing happens for the rest of the night. Brynn stares at the body on her floor. Tomorrow will be worse. 23. 24. The Next Day . . . . . . . . . . . . . . . . .24. 25.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. THE FAMILY ROOM - DAY Brynn hasn’t moved in hours. She shivers from cold. Still in shock. Traumatized. The Alien still very dead in the middle of her livi ng room. Brynn blinks and finally realizes how cold she is. Sniffles. Dried blood on her face and in her hair. She looks down towards her feet and sees- A shard of LIGHTBULB lodged there. She wiggles her faintly blue toes. She drags her foot towards her and with a grimace- Pulls out the shard. Places it neatly beside her. Half of it red. She looks up again at the body. Can’t believe it’s real. Can’t believe it’s dead. She gets to her feet- Hobbles nervously over to it. Dried brown blood crusted around the building stuck in its head. GREY skin like marble. Brynn runs a shaking hand through her hair- Feels the sticky dried BLOOD for the first time. Looks at her hand- Then beyond that-25. 26. Her front door, broken in the middle of the room- And then, beyond that- At the wreckage of her little village. Her shoulders drop. And she gives a long, heartbroken sigh.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. KITCHEN - MOMENTS LATER The phone on the wall. Brynn stares at it nervously. Glances around. Fridge door open- No light on inside. Spilled drinks and food on the floor. Eyes back to the corpse. Still dead. Eyes back to the phone. A nervous step forward. She reaches out her hand. Deep breath and- Grabs the phone off the receiver- No noise. No screeching. She gives a quick sigh of relief and- Dials 9-1-1- Phone to ear and- There’s NO DIAL TONE . She looks at it. Huh.26. 27. Clicks the receiver. Nothing. Again. Again. Again. Nothing. Checks the cord. It’s fine. Huh. Eyes back to the fridge and its open door- NO LIGHT on inside. Eyes go wide and- Fuuuuu-,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. LAPTOP - CONTINUOUS She throws open her laptop. Nothing. Jams the power key. Nothing. Plugs it in. No green light. Nonononono-,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. CLOSET - CONTINUOUS She pulls the light string- Nothing. Looks down. Sees bulb glass. Ughhhh-27. 28.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. LAUNDRY ROOM - CONTINUOUS Hobbles into the laundry room- Tries the light switches. Nothing. No power to the washer or dryer.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. DOWNSTAIRS BATHROOM - CONTINUOUS No power in the tiny bathroom-,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. BASEMENT - CONTINUOUS Opens the door to the basement and flicks the light s. Nothing either. Hurries downstairs. Roots through a drawer- Pulls out an old FLIP PHONE . Dead. Glass on the floor. Sewing machine fried. Brynn groans and runs back upstairs-,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. UPSTAIRS HALLWAY - CONTINUOUS She scampers into that room she left the letter in. No luck in there either as she comes back out. Tip-toeing around glass as best she can as she hurr ies into-,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BEDROOM - CONTINUOUS Nothing in the bedroom either. She opens a dresser drawer and pulls out- An old POLAROID CAMERA and discovers that-28. 29. All the polaroids discharged overnight. There are no photos left. Angry, she tosses it roughly back in the drawer- Slamming it shut- She leaves- Then comes back and looks at her sheets, still jumb led from when the Alien played in them. She squints-",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. TRASH BAG - CONTINUOUS She puts them all in a trash bag. But doesn’t throw them out. She ties the bag neatly and sets it in the corner o f her room. Evidence.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MASTER BATHROOM - CONTINUOUS No power in the upstairs bathroom. She catches her reflection in the mirror. She looks like a mess. Quickly moves away. More important things to deal with first.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. THE FAMILY ROOM - CONTINUOUS This room is a disaster. She stumbles around- Trying not to look at the corpse- Trying to figure out what might have power- Has a thought and runs out the front space where th e door used to be to-29. 30.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. BACK OF THE HOUSE - CONTINUOUS Where the fusebox is. She opens it up. Tries turning it off and on. Makes no difference. She groans and whines and then- Has a terrible thought.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. KITCHEN - CONTINUOUS Scrambles through some of the mess to find- Her CAR KEYS .,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. DRIVEWAY - CONTINUOUS Hobbles with her sore bare foot to the car as quick as she can. Hits the unlock button but- Nothing happens. Hits it over and over and over- Nothing. Desperate and frustrated she unlocks it with the ke y like a goddamn peasant- And dives inside.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. CAR - CONTINUOUS Sits in the front seat. Deep breath and prayers and- Turns the ignition. FUCKING NOTHING HAPPENS. She tries again and again until- She breaks down-30. 31. Slamming her fists on the steering wheel and scream ing. When she’s done- She doesn’t feel better. Her eyes drift to the back of the car- And her tiny shed behind the car.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. SHED - CONTINUOUS She pulls out her BICYCLE and sets it outside. Surveys what’s inside. Lots of gardening equipment. Shears. Soil. Shovel. A lawn mower.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. FRONT YARD - DAY She grabs her bike- Hopping on- And then as soon as her bare foot hits the pedal- Quickly stumbling off. Wincing. Rubbing her poor bare foot. She catches her disheveled reflection in the car wi ndow. Pats down her hair. Knows exactly how it will go for her if anyone in t own sees her looking like this. Frowns.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SHOWER - DAY Still in her nightgown, she scrubs her foot clean. It hurts. She scrubs her head clean.31. 32. It hurts. Big ol’ cut and bruise where the door hit her. She pokes it curiously. There will be more.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BEDROOM CLOSET - DAY She opens her closet, wrapped in a robe, and pulls out options of what to wear. It fills her with a TREMENDOUS amount of anxiety. She bites her lip and stares at three options displ ayed on her bed while she quickly combs her hair. She chooses one and puts it on. She applies Neosporin and bandages to her foot and face. Carefully puts hiking boots on over the cut foot. Combs her hair to cover her bandage. Looks at herself in the mirror. Fingers tap at her sides nervously and- Fuck this. She quickly takes off her boots- And goes with a different outfit. Groaning to herself as she gets dressed.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. THE FAMILY ROOM - DAY She stares at the corpse. Then out the front door shaped hole at her bike. Then back at the corpse. There are flies buzzing around it. Scrunches up her face. Well it’s not going with her on that bike so she-32. 33.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. LINEN CLOSET - DAY Finds the blanket she likes the least.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. THE FAMILY ROOM - DAY Lays it over the Alien. Then sprays a ton of air freshener around it. Heads for the door-hole and- Stops. Realizes that anything could get in. Think think think- She moves to her couch- Pushes it as hard as she can- Grunts and sweats as- It finally budges and- She blocks part of the door with it.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. FRONT YARD - CONTINUOUS She crawls over it to land outside. Reaches back in and props up some cushions to block the entrance a little bit. Surveys her work. It’ll do. Then- A NOISE from the woods. Her eyes dart there in fear- But sees nothing. Maybe it was just a bird. She stares intensely into the distance- Nothing now but shadows and the creaking of trees.33. 34. Then Brynn slowly moves her eyes skyward. To the clouds. To where it came from. She keeps gazing. The fear building more and more until-,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. ROAD - MOMENTS LATER Brynn zips down the road on her bike. Long hair in the wind. Determined like she’s never been before.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MAIN STREET - DAY She bikes down a quaint, boring American main stree t. A couple people notice her go past- But even though she clearly notices- She doesn’t stop.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. THE POLICE STATION - DAY She locks her bicycle at a rack to the side of the station. She stands there, trying to psych herself up. Shaking. Scared as hell. But she summons every bit of courage she has- Lowers her head and- Walks inside.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. THE POLICE STATION - CONTINUOUS She opens the door and- Comes face to face with MRS. COLLINS and her husband, THE POLICE CHIEF. In their sixties.34. 35. They stare at her- Startled. Literally no one in the world they’d rather see les s than her- And literally no one Brynn would be more scared to see right now than them. The rest of the station hushes up to watch the unfo rtunate encounter. Brynn looks down- Mortified- Embarrassed. Tugs at her hair- Looks up at them- Opens her mouth to speak and- MRS. COLLINS SPITS IN HER FACE. Brynn gasps. And after a hideous beat- Mrs. Collins passes her and heads out the door. The Police Chief stays for a moment- Like he knows he should apologize- But honestly- Honestly- He just really doesn’t fucking want to. So he follows his wife out the door. Brynn stands there, spit on her face- She looks up at the quiet station- The other officers that see her- And then one by one- They go back to work-35. 36. And it’s suddenly very clear that Brynn is incredib ly- Incredibly- Hated in this town.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. THE POLICE STATION - MOMENTS LATER Brynn stumbles out of the station- Wiping her face- Humiliated and mortified- Hurries to her bike- Kneels to unlock it and- Breaks down into SOBS. She can’t help it. It all just pours out of her. She tries to make herself stop. Balling up her fists- Hitting her leg. Wipes her face again. Tries taking deep breaths. She looks up and- Sees TWO COPS staring at her- She doesn’t break eye contact with them- Tears down her cheeks and- Soon they resume talking amongst themselves as they get into their car. Not interested in helping her. She sniffles. Finishes unlocking her bike and stands up. Straightens her hair and her clothes. 36. 37. Closes her eyes, trying to think. When- There’s that SOUND again. From the woods in the distance. Did something- Did something fucking FOLLOW her? She looks around- Trying to find the source of the sound- But as always- Nothing. That will change. And she knows it. She glances around, wracked with fear- And sees a BUS drive by. She watches it go. A BUS! That’s a good idea. That’s a fucking GREAT idea.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. BUS STATION - DAY Brynn walks with a BUS TICKET to Tulsa clenched in her hand. Keeps her head down. Just trying to get out.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. STORE AT THE BUS STATION - DAY She quickly dashes into a convenience store- Grabs a baseball hat- Sunglasses-37. 38. Someone is watching her. She crosses an aisle- Grabs a sweatshirt- Toothbrush- Toothpaste- A watch- A man at the end of the aisle. Gum- Chips- Snacks- Whatever it takes to get to tomorrow- There is something different about this guy. Something... off. Not like the cops. Or the other people. Not offended by her presence. Something... just off. AT THE CHECK-OUT- The TEENAGE CASHIER rings each item up. She looks at Brynn while she does it. Recognizes her. Knows exactly who she is. Brynn looks back at her. And has a sudden yawn. Cashier keeps ringing her up. Brynn ducks away to a small fridge by the counter. And places a Monster energy drink on the belt. 38. 39. Then a Red Bull. Then a Rock Star. Then grabs a handful of 5 Hour Energy Shots. Then another handful. The cashier looks at Brynn. Not scanning anything for a moment. So- Brynn scans the Red Bull on her own. Then cracks it open and begins chugging it. The other people in the store watch. Brynn finishes the can and- Reaches over the counter- The cashier FLINCHES - But all Brynn does is throw the can away. Feels kinda bad about scaring the kid though- Until the cashier begins scanning the next items- Quicker- Minding her own fucking business. Brynn smiles, pleased with herself. AS SHE LEAVES THE STORE- Carrying her bags- The man hobbles after her. Watching her. It’s THE MAIL MAN from yesterday. But something about him has changed. His walking is... off. But that doesn’t really matter-39. 40. Because he’s following her.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BUS - DAY Brynn sits against the window on the sparsely popul ated bus. Foot tapping anxiously. No one in the seat beside her. Just her bags of supplies. Hat down. Sunglasses on. That MAIL MAN sitting a few rows behind her. Out of focus but clearly staring at her when- The bus lurches forward. And the journey begins. Brynn lets out a small, victorious breath. Good plan, Brynn. She leans her head against the window. Trying to calm her nerves for the first time. BUT SHORTLY INTO THE JOURNEY- The man behind Brynn gets up and moves- To the row behind her, across the aisle. Still staring. She hasn’t noticed him yet. But then, soon enough- She feels his eyes burrowing into her- She sends a quick glance his way- He doesn’t look away from her- She spins back towards the window-40. 41. Alarmed but not sure what to do or what his deal mi ght be- Until he moves and sits directly behind her. Now she’s spooked. She can hear his weird arrhythmic breathing. What the shit. He doesn’t move or seem to be doing anything else. Just... breathing weird. Breathing... off. She calmly reaches to the seat beside her- Gently grabs her bags- And with a deep breath- Stands up to find a different seat. She moves across the row and- HE GRABS HER BY THE ELBOW - Not too aggressively- But definitely enough to be startling- She tries to pull away but- He pulls her in close and leans to her ear- To whisper- She’s scared- But not as scared as she gets when- The man doesn’t say anything. Her eyes peer to their edges and see him- Just moving his mouth open and closed- Before he starts making STRANGE GUTTURAL NOISES . Uck-Uck-Uck-Uck-Uck- Like he hasn’t figured out how to use his voice yet .41. 42. Terrified- Brynn tries to pull away again- But he grabs her elbow tighter- His noises weirder and more intense until- She aggressively PUSHES him away- He FALLS BACK IN THE SEAT. Everyone in the bus staring at Brynn- As she stumbles into the aisle- Looks back towards him and- Brynn’s eyes go wide as- The Mail Man begins CRAWLING over a row of seats. UCK-UCK-UCK-UCK-UCK! Other passengers start freaking out- Shouting. As Brynn runs for the bus door as fast as she can.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. STREET - DAY The bus makes an unplanned stop and- Brynn BOLTS out of there- High-tailing it as fast as she can away. And after a long, drawn out moment- The MAIL MAN stumbles off the bus. He watches her go. Then turns and walks the other direction- Mumbling to himself.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. TOWN - DAY Out of breath and sweaty-42. 43. Brynn finally slows down. Hands on her knees. Deep breaths. She looks back- No sign of the man. Well that’s something. But now there’s even less of a scrap of a plan- When something catches her eye to the right- She looks and- Sees a CLOTHING STORE - And the CLERK inside- Flipping the open sign- To CLOSED. Confused, Brynn looks at her watch. It’s 5pm. She double checks. Sees another CLOSED sign going up. Stands up in alarm. Looks skyward. Sunset. SUNSET. FUCK. Brynn grasps her head- Panicking- She’s all alone- With nowhere to go- Out in the open- 43. 44. And they might come back for her. Of course they’ll fucking come back for her. She killed one of them. And it’s almost night. So- RUN, BRYNN! Adrenaline replaces exhaustion as she hurtles down the street. Everything around her closing- Like any of them would take her in anyway.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. ROAD - DAY Brynn hurries homeward- Shuffling more than running at this po,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int. She reaches into her bag and pulls out- Another 5 hour energy shot. Downs it. Puts the empty carcass back in the bag. A TRUCK is coming down the road from behind her. She stops and holds out her thumb, hopeful- But the truck doesn’t stop- In frustration and desperation- Brynn SLAMS the plastic bag onto the ground. More deep breaths- Trying to calm herself down- When- That SOUND again. She looks up-44. 45. Sees another strange BURNED IN CIRCLE in the grass by the side of the road. Takes a few curious steps towards the forest- Something unseen in there MOVES away quickly- Something that feels BIG. She takes some alarmed steps back- Wasn’t expecting... that. But the trees are still. The woods are quiet. Brynn can’t see anything. Nothing is coming. She picks up her bag and continues onward- It’s just another normal October afternoon. Except for all the ways it really fucking isn’t.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CHURCH - EVENING Further down the road she sees it- An OLD CHURCH - And with a faint smile, heads towards it- She reaches the door and pulls the handle- But- It’s LOCKED. Brynn groans and looks inside. Sees a church bulletin board, the worship hall behi nd it. Some MISSING PERSON fliers. But no one inside. Completely dark. She takes a step back and sees- The parking lot is empty. 45. 46. Beyond that a graveyard- Brynn clocks it- Stares at it for a second too long before- Tearing her eyes away. She rushes around the building. Checking for an open door or window- Goes the whole way around- Nothing. Shit. The soft ding-ding of flags bumping against flagpoles. Catches sight of the graveyard again. Trying NOT to look- But- Eventually she does- Peeking through her hair at it. And the ocean of regret that resides in there. Stares at it for a long moment. Wipes her brow and decides- Fuck it.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. THE TINY GRAVEYARD - CONTINUOUS She slowly makes her way in- Checking each headstone’s name when- She spots it. A few rows ahead of her. Maude Collins She stares at it for a very long seconds. Until THUNDER rumbles in the distance.46. 47. She looks up. Storm clouds coming in. Wind picking up- The flags rippling. But at a longer look- Those clouds don’t feel quite natural. Strange colors illuminating within them. Oh hell. Brynn knows what’s in those clouds. And why it feels like they’re moving straight towar ds her. Eyes wide-,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CHURCH - MOMENTS LATER She looks desperately around the church- Sees a ROCK. Grabs it- Heads back to the church door and- THROWS IT so she can break in- Fucking thing bounces off- So she picks it back up and really chucks it- This time, it shatters the- RI-RI-RI-RI-RI-RI-RI-RI-RI-RI-RI-RI-RI-RI-RI-RI-RI- RI-RI-RI! The alarm is deafening. She covers her ears- Eyes dart back up to the storm clouds- They are closer now. 47. 48.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. THE ROAD - EVENING Brynn runs faster than she has ever run in her life . The clouds follow steadily. There’s only one place left for Brynn to go-,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. THE ROAD - EVENING And that’s her HOME. From the road, she stares up at her house like it’s the most haunted place in the world. She looks at her watch. 6:36. There is no sun left in the sky. She taps her watch a few times, wishing it was earl ier. And that she had more time. But she doesn’t. So she moves with the weight of the world on her sh oulders down her driveway. Ignores the mail in her mailbox. And on the ground beside her mailbox.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. FRONT YARD - EVENING She slows down as she approaches her house- Craning her neck forward nervously to see if the co uch blockade is still at her door... It is. She exhales. Small blessings.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. THE FAMILY ROOM - CONTINUOUS She pushes the cushions out of the way and- The STENCH instantly hits her.48. 49. Yugh. She covers her mouth and sees- The Alien under the blanket still. But even more flies. It’s... souring. Brynn almost throws up until- There’s another rumble of strange thunder outside. And she snaps to. There’s too much work to be done. And nowhere near enough time to do it. Taps her foot. Eyes clenched shut- Thinkthinkthink - Tiny moans as her brain tries making a halfway dece nt plan- And- Her eyes pop open. Okay. There it is. Off she goes. Back outside.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. SHED - EVENING Dumps out the contents of her shed. Lawnmower. Leaf blower. Generator. Ladder. Hammer. Taps her foot while staring at them. Looks back at her dead car. 49. 50. That could work. So she begins to unscrew the cap on her lawnmower.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CAR - EVENING She pops up from behind the car, having done someth ing underneath. Wipes her hands on her pants and gets in- She makes sure all the car doors are unlocked. Then, to be extra safe, makes sure all the doors ar e just barely left open.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. BACK OF THE HOUSE - DAY She rips out all of the FUSES from the fusebox. Just drops them on the ground. Leaves- But returns quickly- Gathering them up. Feeling bad about littering.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. GARBAGE CANS - DAY Drops them in the garbage. Closes the lid- Sees that little bit of graffiti still peaking thro ugh the layers of paint she covered it up with in the past. Another frown. She looks down at the STORM DOORS leading to the basement. She darts away, motivation renewed. Still so much to do.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. BEDROOM - DAY Wraps a scarf around her nose and mouth.50. 51.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. THE FAMILY ROOM - DAY A scented candle is lit. Then a second. And a third . Broken glass and broken village all over the floor. Fucking front door on the floor. Brynn tries her best to ignore the Alien for now. Moves to pick up the door- It breaks apart as soon as she lifts it into two sp lintered pieces. Fucking useless. But gives her an idea- SO- She hacks it into pieces with her hatchet.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. VARIOUS ROOMS - DAY She leaves chunks of door in various places of vari ous rooms.,NOTHING +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. KITCHEN - CONTINUOUS Looks through the contents of her kitchen cupboards . Knives. Pots. Pans. An old lighter. She flicks it. Flame. Good. Pockets it.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. FREEZER - DAY She opens the freezer- Everything thawed. She turns back and looks at her oven.51. 52.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. KITCHEN - DAY Turns the dial- FLAME! She jumps in the air with glee. Fills four pots with water. Sets them to boil. More ideas-,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. DOWNSTAIRS BATHROOM - NIGHT Takes the hand-held shower off its holder- Turns on the water- All the way hot. Leaves it there in the tub. Steam billows.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. BASEMENT - NIGHT Her work space. Those big storm doors. Barricades the handles with a pipe. Then digs trough incredibly well-manicured drawers and finds- Superglue- Shrugs. Pours it all over the steps on her way back upstair s.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FRONT DOOR - NIGHT She begins barricading her open wound of a front do or with layers of saran wrap, duct taping it in place. Starting from the top. Moving side to side. Working her way down. About a yard from the bottom she stops. 52. 53. Pushes the couch back in front of it. Surveys her work. It’s... kinda shit. She sighs. Hugs herself. Because no one else is going to. And so, she runs up the stairs-",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. THE BEDROOM - NIGHT That trash bag in the corner. Hurries into her bathroom and gets the shower going in there- But does NOT see- The COLORFUL LIGHTS illuminate through her window outside- And by the time she comes back- The lights have moved on, and the bedroom is dark o nce again.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HALLWAY - NIGHT Brynn hurries back down the hallway- Never noticing the LIGHTS that silently illuminate through the windows of the rooms she passes. She runs back down the stairs-,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. THE FAMILY ROOM - CONTINUOUS Through the living room- Hand over her mouth and nose as she passes the carc ass- A girl on a mission as she enters-,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. KITCHEN - CONTINUOUS Where she heads to the pots of boiling water on the stove when- THWUMMMPPPP!53. 54. A BLINDING WHITE LIGHT powers through the front door! Brynn dives for cover, never in the path of the bea m. A droning HMMMMMMMMM accompanies it- Brynn covers her ears- Squinting through the brightness even though it’s n ot directly on her- The light so hot that it MELTS the cellophane wrap over the door- So much for that plan. Brynn casts her eyes to the ground and sees- A FLY, frozen in the beam, trembling against its will- And then- Everything in the beam’s path RISES IN THE AIR - Including the COUCH BLOCKING THE DOOR - Including THE ALIEN UNDER THE BLANKET - After a moment- The couch gets PUSHED out of the path of the door- It THUMPS uselessly on the floor- While the Alien begins MOVING through the light. Pulled out of her home. Brynn stays motionless. Trying to keep her breathing calm. The body is out of her house and then- Silently- That awful light DISAPPEARS in a blink- And all is still. And dark. And quiet. 54. 55. Brynn too smart to move. Or hope. But maybe... maybe they took what they came for and left. Maybe. Creak- Brynn doesn’t react to the sound. Creak- And it happens again. Slowly she leans her head to peer into the room and - Sees nothing. Until- The rocking chair moves- Creak- Rocking forward once... And then back to its resting position. Creak- And then she sees- The bizarre, long limbed ARM- Reach out from behind the chair- Brynn looks away. Staying out of potential eyesight. Hears the chair creak again- Followed by a gravel voice that grumbles out a- eeeuk Sends her blood ice cold. The shape of this creature different from yesterday’s. Smaller, more sinewy. 55. 56. Brynn’s eyes on her glass back doors. Really wishes she had time to cover them earlier. Feeling exposed and out in the open- She checks the creature again- It seems like its turned away from her. So while it’s distracted- Brynn takes her moment- Scurries across the floor- It doesn’t notice her. She reaches the door to her basement- And quietly pulls it open.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BASEMENT - NIGHT She closes the door behind her. Locks it. It’s darker down here. She carefully lifts herself over the spilled glue- Lowering herself gently onto the floor- The little scratching sounds from the living room a bove her. She stands there, not sure where to go when- She heads to her work drawers- Quietly opens one- Pulls out a BOX CUTTER . Pockets it. She sees LIGHT move across the basement windows. Then rest at the storm doors. Nothing- Until the doors start BULGING INWARDS .56. 57. The pipe taking the pressure- But starting to bend. Brynn takes a cautious step back as- BAM! The pipe SNAPS IN TWO ! Launching forward- One piece narrowly missing Brynn- Before both pieces CLANG on the floor loudly. Light pouring in through the broken storm doors and then- Disappears- Revealing the shuffling FIGURE approaching the steps. Brynn dodges out of its line of sight- Grabbing a piece of the pipe and- Squeezing under a table as- The Alien enters the basement. The same size and shape as the one she killed. Brynn hides as it investigates this room. Thwap-thwap. Thwap-thwap. She hears it rummaging- Investigating- And then- She sees its leg- As it enters her field of vision from under the tab le. It shuffles around some more- Like a tourist at a museum. Not seeming to suspect or notice Brynn hiding nearb y. She doesn’t breathe. 57. 58. It leaves her sight. She hears it on the steps. The creaking of wood. And then she doesn’t hear any- IT LEANS DOWN AND STARES STRAIGHT AT HER. A couple yards away. Just the gleam of those awful black eyes in the dar k. Brynn doesn’t move. Immobilized in terror. It doesn’t move. It just gazes at her. With those awful fucking eyes. It speaks. Hrmmmm-Uhck. Brynn doesn’t respond. Just sweats. Shallow breaths. It shuffles a little closer to her. The way someone might approach a stray cat. Brynn backs up harder against the wall. Head pushing against the bottom of the table. Alien still staring. Brynn still shaking. Then... The Alien starts shaking. Trembling. It opens its mouth-58. 59. Like it’s going to throw up. It’s fucking weird. Brynn doesn’t knows what the fuck is happening- Or what to do- So she just- Raises the pipe in her hand- Not even in a threatening manner. Just like... a distraction. The Alien stops shaking. Slowly closes its mouth. Curious. Brynn tilts the pipe left. The Alien’s eyes follow. Tilts it back right. The Alien’s eyes follow. Then left again- Then Brynn tosses it- Not at the Alien- Just through the room- The Alien turns and watches it go- But before it can hit the ground- And clang- It FREEZES mid-air. The Alien’s eyes on it- And not on Brynn as she- Throws herself towards the stairs- The Alien turns and-59. 60. Sees her reach the bottom step- Brynn grabs the stair rail and- Hoists herself over the glue when- THE PIPE SLAMS INTO THE WALL ! Narrrrrrowly missing her. She yelps, covers herself with her arms- Reaches the door- Unlocks it and- Throws herself through- The Alien watching it all oh so casually.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HALLWAY - CONTINUOUS Brynn hits the wall opposite the door- Slamming it closed when- Something SHRIEKS! As whatever the fuck was behind her rocking chair SPRINTS TOWARDS HER- Half as tall as the other aliens- But with hideous long skeleton arms raised- Talons out. Brynn scrambles back but not fast enough as- The little fucker POUNCES! Brynn grabs both its wrists as it tries to hack and slash at her- She’s able to keep it far enough away from her face as they wrestle for dominance- Brynn losing balance as the fucker flails about- Its talons getting closer and closer- And out of options-60. 61. Brynn does the only thing she can think to do- She opens her mouth and- BITES DOWN as hard as she can into the fucker’s arm- It SQUEALS in agony as it tries to get away from her- Until finally- She lets go- And they separate at opposite ends of the hallway. The Alien licking its wound like a sad dog. Brynn catching her breath- Until she tastes what’s in her mouth- And starts gagging and dry-heaving. Spitting the brown blood onto her floor. They lock eyes at opposite ends of the hallway- The little fucker getting its anger back and- Brynn turns and-,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. KITCHEN - CONTINUOUS Barrels into the kitchen- Towards the stove- Alien fucker screaming behind her- Brynn grabs a towel- Grabs a pot of boiling water and- Pivots- Slinging it into the fucker’s face- It SHRIEKS again as the water burns into its face. It stumbles back, pawing its eyes when- Brynn SWINGS the pot at it- But keeps missing as it scurries about on the floor -61. 62. She finally connects- Hitting its leg- But it just WHINES loudly before it- Staggers out the front door- Leaving Brynn breathless, holding a burning hot pot with a thin towel- She realizes how much it’s starting to burn her han d and drops it- Shaking her hand when- That NOISE- That noise she kept hearing all fucking day- And it’s very clearly coming from outside her house . And coming closer. Feeling very exposed in the middle of the kitchen- She darts off down-",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. THE HALLWAY - CONTINUOUS Past the basement door and into-,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. THE BATHROOM - CONTINUOUS The bathroom- Full of steam from the shower. She locks the door and- Backs up against the wall- Grabbing the shower head- Spraying it into the tub- Waiting for the worst- That noise again- INSIDE her house-62. 63. Brynn whimpers. Terrified- There’s a scratching at the door- Skrrrriiiiiiiitcccchhhh- Oh God- Skrrrriiiiiiiitcccchhhh- Brynn braces herself and then- BANG BANG BANG It clobbers into the door- Splintering it- Until- BANG! It breaks through- And a hideous long arm- Like a SPIDER-LEG- Comes through the door- Shredding at the rest of the door- Tearing it apart- Trying to fit in as- Brynn gets a look at what can only be called a DADDY-LONG-LEG ABOMINATION. Four disgustingly long limbs- But a tiny alien body at its center- Screaming face- Probably nine or ten feet tall on all fours- God it’s fucking disgusting-63. 64. Brynn scrambles- Spraying it with the shower head and- It does fucking nothing. No reaction- And Brynn realizes how totally fucked she is as the creature grasps at her- Getting closer and closer to destroying the door- Brynn looks up- Window. WINDOW! She rushes to her feet and pushes it open- It’s a small window but she can fit- She pulls herself through it- Almost out when- The abomination GRABS HER LEG. It jerks her back violently- She slams into the wall outside- Scratching her stomach on the window sill- Grasping for something to hold onto- It gets her back into the bathroom- She’s screaming- Grabs the window frame for dear life- Flailing and kicking- Surviving this long just because the fucking thing can’t FIT in this room- It gives some ferocious tugs- Brynn feels like her arms are gonna come out of her sockets- But she holds on somehow-64. 65. Fighting back- Until- She gets free! And launches herself outside!,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BACK OF THE HOUSE - CONTINUOUS It hurts like hell when she lands- She exhales into the grass- Alien hands reaching through the window uselessly f or her. Brynn groans as she rolls onto her back. She doesn’t see the woods in the distance behind he r. And she doesn’t hear the SECOND DADDY-LONG-LEG coming out of those woods- Galloping towards her on all fours. She gingerly gets to her feet- Still not hearing it. She looks to the sky- Searching- But still not hearing it- Until finally- She hears its huff and puff- She slowly- Agonizingly- Looks back- Oh God it’s so close- She takes off running- More like limping- Desperate oomfs as she tries to move her sore bones faster-65. 66. Gaining on her- Fuckity fuck- But she has a plan for this- Turning the corner of her house- Sees- HER CAR. Just sitting there. She grunts towards it- The abomination roars- Brynn pushes herself faster- Gets to her car- It’s right behind her- Brynn throws open the passenger door and- Dives inside- Brynn doesn’t close the door- Leaving it open as- The abomination tries to burst in after her It tries to squeeze its body in- As she tumbles out the driver door- Lands rough on hands and knees- Scrambles away from the creature’s swipes- Towards the gas-cap- Which has been stuffed with a GASOLINE DRENCHED RAG. Fucking A, Brynn! She roots through her pocket- Lighter! She flicks it and-66. 67. Fla- The abomination RIPS THROUGH HER BACK WITH ITS CLAWS . Brynn spasms forward- Blood. Lighter flying out of her hand. Bouncing away from her on the ground. Abomination stuck halfway through the car. Brynn forces herself to crawl- C r a w l- Gets her hand on the lighter- Stumbles to her feet- Flick- Flick- Flame- Fire on the rag. Brynn’s eyes grab the abomination, still struggling to get towards her again. Heh. Then remembers what the fuck she just did. Eyes wide. She moves away and- BOOOOM! THE CAR EXPLODES UPWARDS IN A BALL OF FLAME. The blast knocks her forwards- Ooof. She rolls onto her back and- Admires the carnage she hath wrought. Fire burning in her eyes.67. 68. The Abomination still and quiet. Her car dead and burning- THWUMMMPPPP! That awful light HITS the car directly from above. The fire instantly snuffed out. Brynn cranes her neck to see the source- But the light is too blinding to make anything else out from above. Then just as quickly and silently as it appeared- It’s gone again. Just faint trails of smoke coming from the car- Brynn catches her breath and- Has the terrible realization of why the light went out- She scrambles frantically out of her spot as- THWUMMMPPPP! The light hits where she just was! She gets to her feet and limps awkwardly- Painfully- Back towards her home- The light goes out- And before it can reappear- She’s back inside.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. THE FAMILY ROOM - CONTINUOUS She stumbles into the room when- That noise- Oh yeah. Bathroom abomination. 68. 69. Brynn takes a hard turn and scrambles up the stairs .,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. UPSTAIRS HALLWAY - CONTINUOUS She hears them behind her- Her bedroom at the end of the hall. Not sure if she can make it in time. So she turns left. Into The Room.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. THE ROOM - NIGHT It is quiet in here. Quieter than the rest of the house. Darker too. Shades and curtains drawn. Until the door is pushed open- Jussssst a little. The silhouette of a Grey peering through. Black eyes glisten. Pushes the door open more and- As light comes in the room- It sees what’s actually in here. A bedroom. But beyond that- Mannequins. Two of them. Wearing dresses. Unfinished. And around them are boxes. Boxes upon boxes.69. 70. The Alien investigates. Boxes full of letters. Letters that Brynn wrote. All to one person. Someone named MAUDE. One of the mannequins suddenly- Tips over - The Alien’s head snaps towards it- It STOPS mid-air- It stares at the collapsed mannequin for a confused second- Before Brynn BARRELS INTO IT- Knocking her and The Grey onto the ground- Brynn tries to get up- Tries to hit but- The Alien flicks a finger and-,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. UPSTAIRS HALLWAY - NIGHT Brynn EXPLODES OUT OF THE ROOM - Smashing into the hall. She hits the floor. Coughs. Holy shit that was awful. She grabs her ribs. Something’s probably broken. Something must be broken. But she remains alive. For now. She looks into the room and sees The Alien standing there.70. 71. Just... watching her. As the door slowly closes on them. GO BRYNN GO! She pushes herself up to her feet- Falls down. Forces herself back the fuck up- Stumbles but stays up this time. Probably concussed- Definitely concussed- Using the wall as support. Back still bloody. Makes her way to-,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HER BEDROOM - CONTINUOUS Can hear the shower running in her bathroom still. Reaches for the bed to lean o- THWUMMMPPPP! Brynn is CAUGHT IN THE LIGHT- Blasting through her bedroom window- Paralyzed by it when- She trembles in place- Can’t even move her mouth when- IT FLINGS HER UP. Pinning her against the ceiling. That awful droning the only thing she hears. She can move her eyes. And that’s it. She can’t move. She can’t move. She can’t move.71. 72. shecantmoveshecantmoveshecantmoveshecantmoveshecant moveshecan tmoveshecantmoveshecantmoveshecantmoveshecantmovesh ecantmoves hecantmoveshecantmoveshecantmoveshecantmoveshecantm oveshecant moveshecantmoveshecantmoveshecantmoveshecantmoveshe cantmovesh Her.door.is.pushed.open.ecantmoveshecantmoveshecantmoveshecan tmoveshecantmoveshecantmoveshecantmoveshecantmovesh ecantmoves hecantmoveshecantmoveshecantmoveshecantmoveshecantm oveshecant moveshecantmoveshecantmoveshecantmoveshecantmoveshe cantmovesh ecantmoveshecantmovesheca .The.Grey.is.there.ntmoveshecantmove shecantmoveshecantmoveshecantmoveshecantmoveshecant moveshecan tmoveshecantmoveshecantmoveshecantmoveshecantmovesh ecantmoves hecantmoveshecantmoveshecantmoveshecantmoveshecantm oveshecant moveshecantmoveshecantmoveshecantmoveshecantmoveshe cantmovesh ecantmo.It.moves.slowly.towards.her.veshecantmoveshecantmoves hecantmoveshecantmoveshecantmoveshecantmoveshecantm oveshecant moveshecantmoveshecantmoveshecantmoveshecantmoveshe cantmovesh ecantmoveshecantmoveshecantmoveshecantmoveshecantmo veshecantm oveshecant .Then.rises.in.the.light.emoveshecantmoveshecantmov eshecantmoveshecantmoveshecantmoveshecantmoveshecan tmovesheca ntmoveshecantmoveshecantmoveshecantm .Rising.up.to.her.oveshec antmoveshecantmoveshecantmoveshecantmoveshecantmove shecantmov eshecantmoveshecantmoveshecantmoveshecantmoveshecan tmovesheca ntmoveshecantmoveshe .They.come.face.to.face.cantmoveshecantmo veshecantmoveshecantmoveshecantmoveshecantmovesheca ntmoveshec antmoves ohgodohgodohgodohgod hecantmoveshecantmoveshecantmoves hecantmoveshecantmoveshecantmoveshecantmoveshecantm oveshecant moveshecantmoveshecantmoveshecantmoveshecantmoveshe cantmovesh eca.The.Alien.opens.its.mouth.ntmoveshecantmoveshecantmoveshe cantmoveshecantmoveshecantmohgodohgodohgodohgodoves hecantmove shecantmoveshecantmoveshecantmoveshecantmoveshecant moveshecan tmoveshecantmoveshecantmoveshecantmove .And.begins.convulsing . ntmoveshecantmoveshecantmoveshecantmoveshecantmoves hecantmove shecantm CONVULSING oveshecantmoveshecantmoveshecantmoveshecant moveshecantmoveshec .Brynn.can’t.even.move.her.mouth.to.scream moveshecantmoveshecantmoveshecantmoveshecantmoveshe cantmovesh ecantmoveshecantmoveshecantmoveshecantmoveshecantmo veshecantm Her.tears.fall.up.her.face.shecantmoveshecantmoveshecantmoves hecantmoveshecantmoveshecantmoveshecantmoveshecantm oveshecant moveshecantmoveshecantmoveshecantmoveshecantmoveshe cantmovesh ecantmoveshecantmoveshecantmoveshecantmoveshecantmo veshecantm oveshecant .Something .is.coming.out.of.its.fucking.mouth.antmo veshecantmoveshecantmoveshecantmoveshecantmovesheca ntmoveshec antmoveshe .SOMETHING .IS.COMING.OUT.OF.ITS.FUCKING.MOUTH.veshe cantmoveshecantmoveshecantmoveshecantmoveshecantmov eshecantmo veshecantm .SOMETHING .IS.COMING.OUT.OF.ITS.FUCKING.MOUTH.ovesh ecantmoveshecantmoveshecantmoveshecantmoveshecantmo veshecantm oveshecantmoveshecantmoveshecantmoveshecantmoveshec antmoveshe And.it’s.fucking.ALIVE.cantmoveshecantmoveshecantmoveshecantm oveshecantmoveshecantmov .Like.a.living.fucking.blood.clot.esh ecantmoveshecantmoveshecantmoveshecantmoveshecantmo veshecantm oveshec.It.screeches .at.Brynn.antmoveshecantmoveshecantmovesh ecantmoveshecantmoveshecantmoveshecantmoveshecantmo veshecantm oveshecantmoveshecantmoveshecantmoveshecantmoveshec antmoveshe cantmoveshecantmoveshecantmo .Before.it.crawls.down.her.throat72. 73.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. BEDROOM - MORNING Brynn SCREAMS when she wakes up in her bed. Hair a mess from the nightmare. The... nightmare? It takes her a few seconds to calm down. There’s no one else in her room. It’s morning. She’s in her bed. In her nightgown. Birds chirp outside. She grasps at her back- It’s dry. No cuts. She jumps out of bed- Still alarmed- But starting to slowly realize that- Everything is absolutely fine. And it’s just another normal October day. She sits on her bed. Dazed. Almost laughs. But instead can’t help but cry. She stops when she hears something downstairs. Something... pleasant.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. UPSTAIRS HALLWAY - DAY Her house just the way it always was.73. 74.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. THE FAMILY ROOM - DAY Her LeMax village just the way it always was. She looks at it for a moment before- She hears that sound again- Humming. Coming from the kitchen. Nervously, she walks towards the room. Bare feet on the floor as-",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. KITCHEN - DAY Brynn sees A WOMAN at the stove. Cooking. Humming. She wears a dress. The one Brynn was making. She turns and smiles at Brynn. Brynn chokes out a joyous, shocked cry at seeing he r. At seeing her face. MAUDE awwws and hurries to Brynn- Wrapping her in a hug. Brynn doesn’t hug back for a beat- Eyes wide with surprised tears. Until finally she raises her arms and clutches her back. Burying her face in the woman’s hair. Until the woman parts to get back to cooking. Brynn watches her- Her mind racing- She looks around her home.74. 75. Things are different. Things in different places. Photos on the wall. Brynn takes a step back. Looks into the family room again- Her LeMax village. There amongst them- The building she plunged into the Alien’s skull- And something clicks for Brynn. As sound drops out. And Brynn stares- Becoming more and more aware- Of what is happening- Her attention is pulled by the inaudible voice of h er friend. She stands across from Brynn- Concerned- what’s wrong She takes a step towards Brynn- And Brynn takes a harried step back. To the surprise of her friend. brynn what’s wrong Brynn doesn’t answer. She covers her ears with her hands- Pulling at her hair- Overwhelmed with emotion. Tiny pained groans.75. 76. Tears she’s fighting to keep inside. For every step her friend takes towards her- Brynn takes one back. Until finally- She looks up at Maude. Takes a deep breath. Wipes her eyes. Forces a smile at the woman she’ll never see again. And speaks at barely barely barely barely over a wh isper: i’m sorry Then- She violently reaches into her mouth with her hand- Pushing it as far down her throat as she physically can. Maude screams- And runs to Brynn- But it’s too late. Because Brynn has gotten hold of the parasite.",TWIST +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. THE FAMILY ROOM - NIGHT Brynn comes to- Lying on the floor of the family room. Right where the Alien corpse was. She spits up fluid as her hand comes out of her mou th- That blood-clot thing in her hand. It screeches in panic at Brynn- Before she slams her hand down on the ground- Bringing her other hand over to it- Squishing it into oblivion. 76. 77. Her whole body shaking with rage- Until it’s just another stain on her floor. Brynn gets to her feet- Wobbles- But changed. She looks around- Grabs one of the wooden chunks of her door. And stalks through her house- She turns a corner and-,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HALLWAY - CONTINUOUS A GREY IS RIGHT THERE! Before it can react- She BRINGS the chunk down violently on its head- It tumbles to the ground- Tries to get up but- Before it can do anything- Brynn is wailing on it- Bashing it again and again- Roaring. It reaches out its hand- Trying to do something to save its life- The fire from the stove ERUPTS- Sending the boiling pots crashing into the ceiling- Flames catching the curtains. It cries out- Ukkhhhh! But Brynn keeps beating it to hell until-77. 78. It’s no more. She gasps for air- Drops the wood. Her hand splintered and bloodied. Smoke in the kitchen. Flames growing. She stands and turns- And comes face to face with- Herself. Herself? It takes her a startled second to figure out what- Who- She’s looking at. SHE looks like Brynn if you weren’t wearing glasses. But up close- Things are a little... off. Like she’s... just a little under-baked. Not quite finished yet. It stares blankly at Brynn. Who can’t really comprehend what she’s seeing. Until she looks down. And sees the jagged pipe from the basement that the thing is holding. And how it’s buried deep in Brynn’s stomach. Brynn looks up at the AntiBrynn and- It jabs it in to Brynn’s stomach again. She feels it this time- Lets out a gasp.78. 79. Steps backs- It follows in step. Brynn coughs blood. The two locking eyes with each other. But there’s just... no malice in its eyes. None. Just total casual indifference. Even curiosity. Brynn looks at herself. This cleaner, simpler version of herself. Before she JABS her box cutter into its neck. Its mouth gapes open like a fish that can’t breathe . It staggers about- Sad- Not really sure what to do with its hands- Or how to stop it from hurting. It doesn’t want to die- It just started living- It drops the pipe. Red all over Brynn’s stomach. Brynn grabs her wounds- Looks up and sees the AntiBrynn struggling for air. It sees Brynn- And reaches out for her- Not to hurt her. But for help. Just a scared little girl looking for a mom. 79. 80. The AntiBrynn stumbles on its way towards Brynn- Who catches it in her arms. And cradles her on the floor. It looks up at Brynn- Mouth still gaping. Trying to breathe- Blood flooding its throat- Uck-uck-uck Brynn strokes her hair. Shhhhh As the AntiBrynn dies in her arms. Brynn cries. Holding its body. As her house burns down around her.",TWIST +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. ROAD - NIGHT Grunting with determination- Brynn grips her stomach and shuffles down the road. Fire in the background until- THWUMMMPPPP! The light blasts down from above the house- Snuffing out all of the fire and then- It’s gone. Brynn doesn’t stop or look back. THWUMMMPPPP! Not even when the light hits farther back down the road. THWUMMMPPPP! Not even when it gets closer either.80. 81. It’s looking for her. Lights up ahead. Not those kind of lights though. That TRUCK that passed her earlier. Brynn doesn’t even look at it. Not even when it stops short ahead of her. The DRIVER gets out. Seeing this bloody mess of a girl. Doesn’t even recognize her anymore. Horrified. DRIVER H- THWUMMMPPPP! His back arches as the light hits him- Paralyzing him. Eyes wide open and mouth stretched out. And Brynn doesn’t even react. Keeps on trudging ahead. Never so much as even looked his way. Just grunting and groaning further down the road. Until finally- Finally- THWUMMMPPPP! The light grabs hold of Brynn. Freezing her mid-step. She strains against it. Sweat beading and rolling across her face. And inevitably-81. 82. From the darkness ahead- A Grey begins its walk towards her. Brynn sees it and begins groaning- Deep guttural groans. Until it becomes clear that they aren’t groans at a ll. She’s growling at the Alien. Teeth bared. Eyes bulging- Glaring from beneath her bloody and matted hair. As the Alien stands before her. This girl that feels almost more like a rabid anima l at this po,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",int. The Grey tilts its head at her. Brynn growls louder. Blood floats mid-air from her stomach. From her back. The Grey raises its hand. Long skinny fingers. Not enough fingers. Brynn growls harder- Desperate to fight- To attack- Until the Alien’s fingers touch her forehead. And all the fight drains from her in an instant. Her eyes roll to the back of her head. She jerks her head once. Then again. And then into-82. 83.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. THE WOODS - DAY Two twelve year old girls in skirts go into the woo ds. One of them is Brynn. One of them is Maude.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. THE WOODS - NIGHT Brynn leaves the woods. There is blood on her clothes.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. BRYNN’S HOUSE - NIGHT Brynn’s MOTHER reacts in alarm when she sees her daughter. When she sees the blood.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. BRYNN’S HOUSE - NIGHT Brynn’s mother cries alone. Brynn watches from the backseat of a squad car. The blue flashing lights are almost pretty.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. COURT ROOM - DAY Mrs. Collins and the Police Chief cry in relief as Brynn is sentenced. She looks at them as she’s escorted away.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. JUVENILE DETENTION - DAY Brynn moves in. Brynn eats meals. Brynn’s mom visits. Brynn sleeps. Brynn reads books.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. THERAPY - DAY The faces of smiling therapists. The faces of the people that helped her understand.83. 84. Eventually Brynn breaks down into tears. Processes. Progress.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BUNK - NIGHT Brynn writes a letter. Dear Maude,",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. FUNERAL - DAY Brynn gets to attend her mother’s funeral. A guard is nearby. All eyes on Brynn. Her eyes on the casket. A headstone that says Mother of Brynn.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. PARKING LOT - DAY Brynn is released. Older and healthier and wiser and stronger. There’s no one waiting for her.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT./,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BRYNN’S HOUSE - DAY Brynn gets home. The house in a state of disrepair. Boxes of backed-up mail. All of the letters to Maude, mailed here.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. TOWN - DAY Brynn walks down Main Street. Everyone watches her. Everyone hates her. Her hands shake.84. 85.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. BRYNN’S HOUSE - DAY Brynn cleans her house. Makes it her own. Makes it perfect.,SENTI +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. BRYNN’S HOUSE - NIGHT Brynn scrubs “Murderer” off the side of her house.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. BRYNN’S HOUSE - DAY Brynn gets her first LeMax house. Sets it up proudl y.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. BRYNN’S HOUSE - DAY The LeMax village grows. And grows.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. THE ROOM - DAY The collection of letters grows. And grows.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. THE FAMILY ROOM - DAY Brynn sets the fateful LeMax building down. You kno w the one. She smiles.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ROAD - NIGHT Brynn’s eyes snap back to focus- As the Grey before her- Lowers its hand. Brynn not growling anymore. Just long- Deep- Breaths. As the two regard each other. Some kind of clarity between them. And then-85. 86. The light from above disappears- And Brynn falls to the ground. Ooomf. She stays there, face down for a few seconds. Just trying to breathe. When she looks up- The Alien is gone. And there is no light in the sky. Everything is quiet. Everything is still. Everything is peaceful. With a painful force of energy- Brynn rolls onto her black. Staring up at the night sky. Holding her bleeding stomach. Starts laughing. Just a little. Because the sky is full of stars. And as her laughter builds and builds. Louder and louder. Those ALIEN LIGHTS return. Not over her at all. But all over the little town, all the little people that couldn’t save themselves. And Brynn keeps laughing. Because it’s just another normal October night. Except for all the ways- It really fucking hasn’t been.86. 87. 1 2 3 4 5 6 7 8 9 December . . . . . . . . . . . . . .87. 88.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. RECORD PLAYER - EVENING Two gloved hands place a record on the player. Brings down the needle. The audio crackles and then- The WALTZ begins. Brynn moves away. Looking classy as hell in a winter coat and a dress . She smiles to herself, swaying with the music, reve aling that- She’s in the middle of the road. On MAIN STREET. Newly painted. Newly manicured. Christmas lights twinkling overhead. She surveys it all proudly. Because SHE DID ALL OF THIS . And then- She begins DANCING- Alone at first- Until she sees PEOPLE- Standing off to the side of the streets- You’d recognize some of them. The Mail Man. The Teenage Cashier. The Women from the funeral. Something a little... Off about them. ALL OF THEM. As if they were all getting used to their new bodie s.88. 89. Because they are. Brynn twirls and a MAN is waiting in front of her- They begin to dance. Her smiles, still getting the hang of it. It’s not great, but he’ll figure it out with her he lp. And after a few moments- A WOMAN is waiting for them- She replaces the man- And her and Brynn dance. Brynn having the time of her life. Having a community. A home. All of her own. She smiles, full of contentment and joy, nothing aw kward of forced about it anymore. It’s been a good day. THE END.89.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MIDDLE OF THE NIGHT 1 1 Black screen. A rumbling sound. It intensifies.A woman’s face appears suddenly in close up, shocked, disoriented. It is AMELIA (late 30s.) She travels fast, pinned back to what could be a car seat. It’s not clear. She is suddenly lifted up and around, her face tumbling as if in a dryer, 360 degrees. The image slows down as she shuts her eyes. Bits of dirt and debris fly past her face. There’s no sound. The effect is strangely beautiful. BOY’S VOICE (O.S.) (Nearly inaudible.) Mummy.... Amelia tries to open her eyes, she continues to spin. Her face stops tumbling and comes to an upright position. A skidding sound builds in intensity. Her hand reaches above to brace herself for the impact. She turns to look beside her. Time is stretched. She sees a man staring ahead. He looks terrified. A light grows brighter. The skidding sound is almost deafening. Amelia instinctively looks away from him, closing her eyes. The terrible sound peaks, then slowly recedes. BOY’S VOICE (O.S.) (CONT’D) (Louder still) MUM. Amelia hears the boy’s voice for the first time. She opens her eyes as she ‘falls’ slowly back into space. Finally, she ‘lands’. There is complete silence.Amelia is lying on a pillow. She looks at the ceiling, dazed. Her breathing is erratic. BOY’S VOICE (CONT’D) (Very loud) MUMMY! She sees her six year old son, SAMUEL, bedside. He’s small for his age, intense. A panicked look on his face. SAMUEL I had the dream again. Amelia makes one mighty effort to get up. Her fluffy Maltese terrier, BUGSY, jumps off the bed with her. She scrambles to her feet, stumbling on the way to her son.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SAMUEL’S ROOM - NIGHT 2 2 POV under the bed. The doona is lifted. Amelia and Samuel peer underneath. The doona is dropped back into place. Black. Closet doors open, Amelia takes a quick look inside, Samuel checks everywhere. Amelia closes it. Amelia is dark haired and wiry. Pretty, but nervous looking. Samuel’s little face is white with anxiety. He moves back and forth from one foot to the other. SAMUEL Can we check under the bed? AMELIA (Patient) What did it look like? Samuel shrugs his shoulders. He can’t remember. AMELIA (CONT’D) Remember what we said? If you can’t see it, then it mustn’t be real. SAMUEL It said it’s coming to kill us both. His comment unnerves Amelia. She recovers quickly. AMELIA (Very gentle) It’s just a silly dream.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SAMUEL’S ROOM - NIGHT 3 3 Amelia searches through the bookshelf. Samuel clings to her waist, not letting go. Bugsy follows them.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. AMELIA’S BEDROOM - A SHORT WHILE LATER 4 4 Amelia sits up in bed, Samuel in her lap, the doona surrounds them like a giant caterpillar. Amelia gives the book everything she’s got, fighting her tiredness.2. AMELIA (In the voice of the wolf) â���˜Well I’ll climb down your chimney you fat little pigs!’ And he climbed down that chimney, straight into the huge black pot . And that was the end of the big-bad-wolf ! She closes the book. Samuel is still anxious. SAMUEL Did they really get the wolf? AMELIA (Reassuring) I’m sure they did. SAMUEL I’m gonna kill the monster if it tries to hurt you Mum. AMELIA (Gentle) Nothing’s going to hurt me Sam. SAMUEL I’ll bash it to pieces when it comes. AMELIA Time for bed now, OK? It’s very late. Samuel flips the pages straight back to the beginning. SAMUEL Just one more time... Then I’ll sleep. He won’t take no for an answer. She gives in to another read. Samuel snuggles in close to her, wide awake. AMELIA (As bright as she can) A long time ago, just yesterday in fact, there were three little pigs and one nasty big wolf.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. AMELIA’S BEDROOM - A SHORT WHILE LATER 5 5 Little legs wrapped tightly around Amelia’s waist. Samuel’s face tucked in behind his mother’s. He’s fast asleep, she’s wide awake. His mouth, chewing at nothing, grinding away. The sound goes right through Amelia. His breath irritates her neck. His hand plays with her ear in his sleep. She peels it away, puts it by his side. 3. She unwraps his legs, making sure she doesn’t wake him. Amelia inches silently away from her son, her back to him. Samuel doesn’t wake up. The gap between them widens. Amelia curls up on the other side of the bed, her knees to her chest, alone. TITLE - THE BABADOOK 6 6",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. AMELIA’S BEDROOM/BASEMENT/LOUNGE/KITCHEN - MORNING 7 7 - Bedroom. A blaring alarm sounds. A lifeless arm pokes out from under the doona, hanging over the bed. It’s hard to believe someone could sleep through this noise. - Basement. Child’s hands grip a large hammer. The hammer is raised and comes down hard on a rusty nail. Little hands pushing down on a join in two pieces of wood, testing it for strength. - Bedroom. The alarm keeps going. The arm has not moved.- Basement. A cricket ball is loaded into a large plastic cup, the cup is tied to a wooden plank. A metal contraption being fitted onto skinny shoulders. Samuel grunts with the effort. Samuel’s serious face as he checks the apparatus. His legs running up the stairs.- Lounge room. Samuel’s head pokes out of the basement, checking to see if the coast is clear. It is. He pushes a key into the basement door, locking it up. - Kitchen. Samuel’s skinny legs standing on a chair, his top half obscured by an open cupboard door. His hand carefully placing the key back on a key rack.Samuel peers around the cupboard door, watching for his mother. He closes it quick and jumps down out of sight. - Bedroom. The arm is still there. Alarm still blaring. A crashing sound downstairs. The arm retracts quickly, like a crab in a shell. Amelia pops out from under the covers, looking like shit. She slaps the alarm off, listening. Another crashing sound, a bigger one. 4. She leaps out of bed, racing out of the room.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LOUNGE ROOM - MORNING 8 8 Amelia reaches the bottom stairs. Sam’s catapult covers his body, comes up over his head. At the top sits a plastic cup with a cricket ball in it. The lounge room is a mess, swords, toy soldiers and other ‘boy war paraphernalia’ everywhere. The big old tube TV has been knocked off its stand and lies on its side. Bugsy is in the midst of it, barking, wagging his tail.Amelia struggles with all her might to hold her temper. SAMUEL It’s not broken! It just slipped. She calmly walks to the TV, her movements controlled. AMELIA (Reasonable) I don’t want you using the hammer and nails- SAMUEL Wait look at this! When the monster comes in the room- AMELIA Not inside the house Samuel- SAMUEL I push down here- He pushes down hard, a lever rises and launches the ball. AMELIA Don’t! It smashes a perfect hole in one of the windows. Amelia stares at the hole, imploding. Samuel’s face crumples with anxiety.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SAMUEL’S ROOM - MORNING 9 9 Samuel waves his hands in the air. He has his school uniform on finished off by a sparkly magician’s hat. Bugsy is jumping up and down and barking.5. SAMUEL Nothing in my hands. Nothing in my hands. Amelia kneels at Sam’s feet trying to do up his laces. AMELIA Stand still please.. He does. For three seconds. AMELIA (CONT’D) I don’t want you making weapons anymore. SAMUEL You have to look at me. Mum? It doesn’t work if you- She pins him with her gaze. AMELIA (Gentle) This monster thing has got to stop. Alright? Samuel waves his arms about. Bugsy continues to bark. SAMUEL Nothing in my hands. AMELIA (Firmer) Samuel? POOF! A beautiful bunch of paper flowers pops into Samuel’s hands, seemingly out of nowhere. Amelia smiles in spite of herself. She takes the paper bouquet. Sam touches her cheek very gently. She softens. AMELIA (CONT’D) (Closing her eyes) That feels nice. Sam hugs her, she hugs him back. He kisses her cheeks, grips her tighter and tighter. She hides her annoyance. AMELIA (CONT’D) (Restrained) That’s enough now.. Samuel won’t stop, he hugs her really tight. She recoils. AMELIA (CONT’D) (Snapping) Don’t do that! Sam stops in his tracks. Amelia immediately looks guilty.6.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAR - MORNING 10 10 The car is a junk heap, inside and out. Takeaway coffee cups, lolly wrappers, plastic containers, kid’s socks. Amelia focuses on getting through the traffic. Samuel focuses on the back of his mum’s head. SAMUEL If I fired nails into its chest, would that kill it? AMELIA (Miles away) Kill what? SAMUEL (Annoyed) The monster in my dream. AMELIA It certainly wouldn’t make it happy. SAMUEL What about if I fired them into its head? AMELIA That’d probably do it. SAMUEL If I fired them into its chest- AMELIA Let’s talk about something else, alright? Samuel looks out the window. Amelia keeps her eyes straight ahead. Silence. SAMUEL (Quiet) If I fired them into its eyes, I could run away because it’d be blinded. Amelia stares straight ahead, choosing to ignore him. SAMUEL (CONT’D) Mum?",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. SCHOOL ENTRANCE/,NOTHING +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAR - MORNING 11 11 The decrepit hatchback rolls to a stop, standing out like a sore thumb amongst the Mercs and Audis. Samuel climbs over the front seat, just to kiss his mum. AMELIA Off you go. You’re late already.7. He climbs back over, grabs his bag. It’s really heavy. AMELIA (CONT’D) What have you got in there? SAMUEL See you later alligator!",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAR - MORNING 12 12 Amelia has very upbeat music playing full blast in her car bubble. She sings along without inhibition, happy. She glances down, notices a small cockroach on her leg. She immediately stops singing, sweeps it away in disgust. Then straight back into it, singing her heart out.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. NURSING HOME - MORNING 13 13 An ancient woman’s sleeping face, her mouth hangs open. Another very old lady, her head in her shaky hand.Cheery music plays in the background. Despite this, the atmosphere is funereal. An elderly man without his teeth in. He watches Amelia as she arrives with a warm smile and two cups of tea. AMELIA Here you go Ron. Nice cup of tea. He takes the tea offered, chewing on his gums absently. Amelia moves to the ancient woman, staring into space. AMELIA (CONT’D) (Speaks lovingly, close to her ear) And one for you Norma, that’s got milk in it. NORMA What? AMELIA (Still loving) THAT’S GOT MILK IN IT. NORMA (Confused) I don’t want milk. AMELIA (In her ear) YOU SAID YOU WANTED MILK.8. NORMA No, I don’t want that. AMELIA NOT TO WORRY, I’LL MAKE YOU ANOTHER ONE. Amelia gives the befuddled Norma a friendly smile.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. NURSING HOME KITCHEN - DAY 14 14 Amelia focuses on stacking the dishwasher, serious. Robbie, a sweet, slightly chubby (male) nurse enters. ROBBIE Just where a woman should be, in the kitchen. Amelia gets the joke, brightens up. AMELIA (Responding) ‘Get to work, woman!’ They laugh. Robbie fills a mug with water and drinks it. AMELIA (CONT’D) Do you want a cuppa? ROBBIE Nah, I’m heading for the Dementia ward. AMELIA You’ve got a few years before you end up there. He laughs. Amelia smiles. Robbie hovers. Amelia stacks the dishwasher, shy. Robbie eventually puts his cup in the dishwasher and leaves. Amelia relaxes slightly when he’s gone.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. NURSING HOME - AFTERNOON 15 15 Amelia is playing ‘colour shape lotto’ at the games table. One of the old ladies places a card on the board. Pause. Amelia waits very patiently. AMELIA (Eventually) That’s it Larry, your go. Pause. He doesn’t put anything down. Pause. 9. The woman next to him, head in hand, emits a low wailing sound. Amelia politely ignores it. AMELIA (CONT’D) (To Larry) Same colour or same shape or both. (Beat.) I can help you if you like. The woman’s wail rises in pitch and volume. The players become agitated. Amelia can’t ignore it any longer. AMELIA (CONT’D) (Very patient) It’s alright Mrs Winter, you don’t have to play. It’s OK. The old woman wails like someone being murdered. Amelia rubs her back tenderly, hiding every ounce of stress.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. WORK KITCHEN - AFTERNOON 16 16 Amelia is on her knees with her head inside an empty cupboard. She scrubs as if her life depended on it. Amelia’s supervisor Beverly arrives, irritated. BEVERLY (O.S.) Amelia. Amelia bumps her head as she backs out. BEVERLY (CONT’D) (Curt) Your son’s school is on the phone. Amelia looks worried.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PRINCIPAL’S OFFICE - AFTERNOON 17 17 Amelia sits opposite the principal, a tired looking man in his 50s, and Sam’s teacher, a dour, middle aged woman. The principal is grave, the teacher looks traumatized. The principal lays down a sinister contraption made from a belt, with some wood, screws and nails attached to it. Amelia’s face falls. This is worse than she imagined. PRINCIPAL This is the home made gun he demonstrated in class today. It fires off nails. AMELIA Oh my God. Did he hurt anyone?10. TEACHER The nails could have gone right into a child’s eye. Or worse. Amelia studies the gun, parental shame creeping over her. AMELIA (Genuine) I’m so sorry. I had no idea. I’m going to have a serious talk with him- PRINCIPAL Mrs Vanek, we’ve had the talks, we’ve had the sessions with the counsellor... Miss Bowen can’t have the boy in her class anymore without supervision, it’s just too dangerous. (Carefully) We’re going to have to employ a monitor for him. AMELIA A monitor? PRINCIPAL He’ll still be in the class, but he’ll be separated from the other children. The monitor will supervise him one on one. AMELIA All the time? PRINCIPAL Yes... Amelia searches both their faces, becoming desperate. AMELIA Please. Samuel won’t cope with this. He already feels so different. PRINCIPAL I understand your concern, but this is the only way we can keep him in school. AMELIA (Desperate) I’ll have a talk to him- PRINCIPAL Mrs Vanek... AMELIA I’ll have a serious talk and I know he’ll settle down. PRINCIPAL The boy has significant behavioural problems. (Beat) Miss Bowen and myself realize you’ve had a rough trot so we’ve tried to be as lenient as we can...11. Amelia’s vulnerable demeanour shifts, her face tenses. AMELIA Sorry? Uncomfortable moment. He treads very carefully. PRINCIPAL Sometimes.. boys.. can be very hard to handle when there’s no father around. AMELIA Oh I see. I’m a single mother so I can’t look after my child, is that right? PRINCIPAL No, no that’s not what I meant- AMELIA Samuel doesn’t need a full time monitor, he needs some understanding! TEACHER Are you saying I’m not understanding? AMELIA (Frustrated) I’m just saying he needs more care at the moment, that’s all! TEACHER I have 24 other 1st graders in that class! Would you like me to put them all at risk for your son? PRINCIPAL Please, let’s just keep calm here-TEACHER (CONT’D) I’m not a psychologist! Amelia stands, defensive. AMELIA You know what? I think it’s best I just look for another school. PRINCIPAL (Exasperated) Mrs Vanek, you can’t just take the boy out of school. We’ll have to inform Community Services. AMELIA You do what you need to do, and I’ll find a school that sees my son as a human being, not a problem to be gotten rid of.12. PRINCIPAL That’s very unfair. We’re only trying to help the boy. AMELIA Please stop calling him â��˜the boy.’ His name is Samuel.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SCHOOL HALLWAY - AFTERNOON 18 18 Amelia spies Samuel sitting with a 7th grader on a bench at the end of the hall. She can see he’s been crying. His eyes are red and puffy. She approaches, bracing herself. SAMUEL (Trying not to cry) I wasn’t going to hurt anyone... Amelia crouches down. She chooses her words carefully. AMELIA (Very gentle) We’re going to have a break from school for a little while. Samuel’s face crumbles, his mouth opens wide in a silent scream. Then the wail starts up. It’s devastating. Amelia takes his hand and slowly leads him down the hall. Her look of helplessness says it all.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAR - AFTERNOON 19 19 AMELIA (Trying hard) I’m going to buy you a big tub of ice cream. What would you like? SAMUEL (Finally) Miss Bowen hates me. AMELIA No she doesn’t. You just need a break. Samuel doesn’t respond, just stares out the window. AMELIA (CONT’D) (Beat.) We can see Ruby and Aunty Claire at the park today. Would you like that? Samuel looks out the window, not responding. AMELIA (CONT’D) You can play on that swing you like. For as long as you like. OK?13. He nods, warming up a little. AMELIA (CONT’D) Don’t tell Aunty Claire what happened. I’ll tell her later... SAMUEL Are you gonna stay at home with me all the time now Mum? AMELIA (Smiling) We’ll sort something out. Her smiles sticks, but her eyes look worried.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SUPERMARKET CHECKOUT - AFTERNOON 20 20 Amelia has vagued out. The ‘beep beep’ of the register just white noise in the background. She sees Samuel performing a magic trick for a little girl near the bubble gum dispenser. She pays as quick as she can keeping one eye on her son. The little girl’s mother arrives, looking relieved. Amelia rushes to Samuel at the same time. LITTLE GIRL Watch this Mummy! SAMUEL (Preparing) I can do it again! The mother and Amelia register each other, smiling. AMELIA No Samuel, don’t bother the lady. MOTHER (To her daughter) We’ve got to get home and see Daddy, haven’t we? The mother smiles at Samuel. SAMUEL My Dad’s in the cemetery. The woman’s face drops. Amelia tenses. SAMUEL (CONT’D) He got killed driving Mum to the hospital to have me-14. AMELIA Samuel! (To woman) I’m sorry he just.. MOTHER Oh, that’s.. I... (To Samuel) Well, isn’t your Mum lucky to have you then! She practically runs off, clutching her child’s hand. Amelia watches them leave, embarrassed, sad.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PARK - AFTERNOON 21 21 Samuel climbs up onto the swing seat, looks to his mum. Amelia sits on a bench with her younger sister CLAIRE, a ‘young professional’, immaculately groomed. Claire’s 5 YO daughter RUBY plays close to her mum, a total princess. Amelia watches Samuel, massaging her jaw, preoccupied. CLAIRE The artist was so drunk he vomited right in front of his own installation . We lost all these sales. Robert was beside himself... (Beat) You’re not listening. AMELIA (Snapping to) No no I am listening, you lost all these sales. What happened then? SAMUEL (O.S.) MUM! The women look up at Samuel. SAMUEL (CONT’D) I’m gonna jump on the monster and break it in HALF! Watch... He leaps. Amelia feigns interest, massaging her jaw. CLAIRE Is that tooth still playing up? Amelia immediately stops massaging. CLAIRE (CONT’D) (Irritated) Go to the dentist. AMELIA Two thousand dollars later... CLAIRE Do you need to borrow some money?15. AMELIA (Bright) No, no it’s fine. I just need a good night’s sleep. CLAIRE Ruby don’t play there sweetie it’s wet. Ruby stands up and smooths her skirt down perfectly. AMELIA (Tentative) I was going to ask you for one favour.. I completely forgot there’s a pupil free day tomorrow. Would you be able to look after Samuel for the day? CLAIRE The whole day? AMELIA I can’t get out of work. Claire hesitates for more than a moment. AMELIA (CONT’D) (Bright) That’s OK, I’ll organize something else.CLAIRE ..... Don’t be stupid you dag. I can just put on a DVD for him or something. SAMUEL I can jump from here and smash its head! He’s climbed up higher, jumps, does a forward roll, gets straight up to punch the air. Claire is unimpressed. AMELIA (To Sam) Be careful. (Beat.) What would you like me to do for Wednesday? I can get their birthday cakes, that’s easy. CLAIRE Meels.... I’ve wanted to tell you. I was hoping Ruby would change her mind... Beat. Amelia waits for the bad news. CLAIRE (CONT’D) (Sheepish) She doesn’t want a joint party with Sam this year. It’s stupid I know, their birthdays are so close. AMELIA (Taken aback) Oh...16. CLAIRE She wants her own birthday cake, her own party games. She wants a princess party. AMELIA That’s OK. We don’t have to come. CLAIRE (Gentle) You can still come, stupid. She just doesn’t want to share the day with Sam anymore, that’s all... AMELIA I understand. A little girl needs to feel special on her birthday.. Pause. CLAIRE Now I feel bad. AMELIA You shouldn’t feel bad! (Lying) I’m sure Sam will be OK with it- SAMUEL Mum, I can go really high! They clock him briefly. Samuel climbs higher than before. CLAIRE Maybe you want to celebrate his birthday properly this year anyway. On the day. You’ve still got two weeks to plan it. AMELIA (Tense smile) We’ll think of something. Samuel climbs up to the very top. The women don’t notice. CLAIRE (Annoyed) You know Amelia, I just want you to be happy, then this birthday thing rolls around and I end up feeling awful. Samuel climbs higher and higher. They still don’t see. AMELIA I don’t want you to feel awful Claire. We’ll be fine. We’ll be absolutely fine. SAMUEL MUM! LOOK AT ME!17. The women finally look. Samuel is on the top of the swing with his arms outstretched. He must be 8 feet high. Amelia springs to her feet, frightened. AMELIA SAMUEL!!",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAR - AFTERNOON 22 22 Amelia grips the wheel. Samuel in the background, crying. Amelia makes a conscious effort to not react. Her jaw tightens as her son’s cries get louder and louder.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. AMELIA’S FRONT YARD - AFTERNOON 23 23 Samuel trudges up the path to their crumbling, falling down old terrace. His face is tear stained. Amelia stops at the letter box. A bunch of bills, one has FINAL NOTICE written on the outside. She throws them in her bag without opening them. Mrs Roach, a sweet elderly neighbour, waters her azaleas. Her hands shake with Parkinsons disease. MRS ROACH (Smiling) Who do we have here! SAMUEL (Downbeat) Hello Mrs Roach. MRS ROACH You look tired little one, have you been in the wars today? SAMUEL Yeah. Few wars. He has the keys in hand, he unlocks and opens the door. Bugsy comes rushing out the door, jumping up on Samuel. Sam crouches down to hug the dog, then goes inside. AMELIA (Cheery, covering) He’s had a big day that’s all, he’s just exhausted. MRS ROACH Poor little one... Bugsy comes rushing up to Amelia, she picks him up, cuddles him affectionately.18. MRS ROACH (CONT’D) You look tired too love, are you OK? AMELIA Nothing that 5 years of sleep wouldn’t fix! (Upbeat.) No, I’m fine, work’s pretty busy.. (Changing the subject) I’ll take out the rubbish for you Gracie. MRS ROACH You just got in pet. You have a break. AMELIA No no, I’ll do it now and then it’s done.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FRONT OF MRS ROACH’S HOUSE - AFTERNOON 24 24 Amelia drags out two very full and heavy OTTO bins. Mrs Roach watches, smiling, her hand shakes at her side. MRS ROACH Oh! You’re an absolute angel. Amelia smiles, completely masking the events of the day.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LOUNGE ROOM - AFTERNOON 25 25 Amelia sees Bugsy scratching at the basement door. She freezes, watching him. Bugsy spots Amelia and scurries to her. She picks him up.Amelia looks at the door, her face strained. Pause.In a sudden move she strides over and checks the handle. It’s locked. Relieved, she wanders out snuggling Bugsy.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. KITCHEN TABLE - EVENING 26 26 Dinner in silence. Amelia studies Sam. He shovels food in weakly, his face tired and sad. He looks up to his mum, manages a smile. She smiles back. It fades as soon as he looks away, replaced with worry.19.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SAMUEL’S ROOM - NIGHT 27 27 POV under the bed. The doona comes up, Amelia and Samuel’s faces peering underneath. Black. Closet POV as the doors open. Amelia and Samuel do their nightly routine check for monsters. AMELIA (Bright) OK? Samuel nods, but looks nervous. He has his pyjamas on, his hair is washed and combed to the side. Very cute. AMELIA (CONT’D) You can choose one tonight. Anything you like. He races to the bookshelf, searching through many books. One catches his eye. The spine reads MISTER BABADOOK in bold, black letters . He pulls it out, runs to mum. She takes a look at the cover: a black silhouette of a figure in a coat and top hat. It looks a little strange. AMELIA (CONT’D) (Bemused) Where’d you get this? SAMUEL On the shelf. He jumps up, opens the book. AMELIA (Reads) ‘ If it’s in a word, or it’s in a look, you can’t get rid of The Babadook.’ It’s a pop up book. Looks like it could even be hand made. Amelia turns the page. A pair of black eyes peep out from behind a door, a tall black top hat perched on top. It looks funny. AMELIA (CONT’D) ‘If you’re a really clever one, and you know what it is to see...Then you can make friends with a special one, a friend of you and me.’ Amelia pulls a lever, a black gloved hand pops out from behind the door, waving hello. Samuel’s face lights up.20. AMELIA (CONT’D) ‘His name is Mister Babadook. And this is his book.’ The book is beautifully done, but somehow creepy. AMELIA (CONT’D) We might read another one tonight, hey? SAMUEL (Turns the page) You said I could choose. A little boy next to a big wardrobe, his hand to his ear. The words ‘RUMBLE RUMBLE RUMBLE’ are written around him. AMELIA A rumbling sound, then 3 sharp knocks. ‘ba BA-ba DOOK! DOOK! DOOK!’ That’s when you’ll know that he’s around, you’ll see him if you look. Amelia pulls a lever. The words Ba BA-ba DOOK! DOOK! DOOK! pop up. Samuel quickly turns the page. Mr Babadook in his full form. A black top hat, a long black coat, pointy black gloves. The face is a mask, staring eyes, mouth smiling widely, more like a scream. AMELIA (CONT’D) (Wary) This is what he wears on top. He’s funny, don’t you think? Creepy more like it. Amelia turns the page, very wary. AMELIA (CONT’D) ‘See him in your room at night (reads to herself) and you won’t sleep a wink.’ Mister Babadook falls from the ceiling towards the boy. The speech bubble reads ‘LET ME IN! ’ The boy screams. The image is very disturbing. Samuel is instantly frightened. Amelia hides the book from Sam, skimming it for herself, concerned. He struggles with her, trying to see it. SAMUEL Does it hurt the boy? Mum?? A black silhouette of the Babadook raising its arms like big insect wings. It looks freaky. SAMUEL (CONT’D) (Getting scared) Where does it live? 21. ‘I’ll soon take off my funny disguise (Take heed of what you’ve read...)’ SAMUEL (O.S.) (CONT’D) (Anxiety rising to fever pitch) Does it live under the bed?? Mum?? ‘And once you see what’s underneath..’ SAMUEL (CONT’D) (Starting to cry) Mummy..... She turns the page. Just black text on a white page.. ‘YOU’RE GOING TO WISH YOU WERE DEAD.’She shuts the book quickly as Samuel’s cries escalate.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SAMUEL’S ROOM - NIGHT 28 28 Amelia patiently reads another story to Samuel who has his arms wrapped around her waist, howling with fear. - A while later.Amelia lies on her side, staring blankly at the large teak wardrobe opposite Sam’s bed. The doors are shut. Moonlight plays across it, making it look almost alive. Samuel is finally asleep. He scrunches her ear in his sleep. She lets him do it, too exhausted to resist.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. AMELIA’S BEDROOM - NIGHT 29 29 Amelia opens the Babadook book. The Babadook drops from the ceiling, the speech bubble ‘LET ME IN’ pops up. She flips the page. The silhouette of the Babadook raising its ‘wings.’ ‘ And once you see what’s underneath’ She turns the page . ‘YOU’RE GOING TO WISH YOU WERE DEAD.’ She hurriedly turns to the next page. It’s blank. Then the page after and the one after that, all blank. She searches for publishing markings. There aren’t any. - Later. Amelia stands on a stool reaching up to top of her wardrobe, book in hand. She shoves the book back as far as it will go, out of the reach of little hands.22.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LOUNGE ROOM - LATE NIGHT 30 30 The TV flickers, lighting up a dreary room. Amelia stares at it, comatose. The rest of the house is in darkness. Bugsy is curled up in Amelia’s lap. There’s a large empty chip packet beside her. She’s now onto the chocolate. On the TV: a sexy young girl in a low cut dress nibbles some chocolate. A handsome, muscly young guy watches her. Amelia nibbles her chocolate, vagued out. She flicks the channel. An ad for phone porn, young girls with their private parts covered by ‘stars.’ She changes it quickly, this time resting on a love scene from an old black and white Hollywood movie. Amelia opens and closes her jaw, massaging the hinge joint, a longing in her eyes as the lovers kiss. She turns it off, plunging the room into eerie darkness.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HALLWAY - LATE NIGHT 31 31 The old house is completely dark. The stairs creak as Amelia climbs them. She closes the door on Bugsy. He hangs around outside.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. AMELIA’S BEDROOM/SAMUEL’S ROOM - LATE NIGHT 32 32 - Amelia’s room. A sewing basket in Amelia’s hands. She takes off a top layer of fabric, then a layer of thread. Finally she pulls out a vibrator hiding underneath. She takes a look at the door then jumps into bed. The room is dark, just a sliver of light through the windows. Amelia reaches under the doona, wriggling around. She throws her undies on the floor, determination on her face. A hum begins, she closes her eyes. - Samuel’s room. He’s having a nightmare, breathing fast. His eyes open suddenly. He peeks out over the doona. The doors of the wardrobe opposite are wide open, a yawning blackness inside. Samuel cranes his neck to peer in, terrified. He throws himself back under the covers, disappearing completely.23. - Amelia’s room. Amelia’s flushed face pops out from under the covers, trying to bring on arousal, almost forcing it. The room seems alive, shadows threaten. - Samuel’s room. Samuel’s pulls a slingshot and some metal pellets from under his mattress. He sits up, loads the weapon, then aims it at the wardrobe, not breathing. - Amelia’s room. Amelia is about to orgasm, a pained look on her face. She holds off for as long as she can. Her door creaks opens, but she doesn’t see. A creepy shadow drops to the floor and disappears. Her breathing is very deep, she’s almost there.. The shadow jumps up on the bed. Amelia yells in fright.It’s Samuel. Amelia turns off the vibrator, flings it under the bed. Bugsy runs and jumps on the bed too. AMELIA (Flushed, confused) What! SAMUEL It’s in my room! AMELIA What?? SAMUEL The Babadook! Amelia registers what’s happening, shaking her head. AMELIA Oh no no no. This is not going to happen! SAMUEL The closet doors were closed and now they’re wide open! Amelia calms herself down, fighting her agitation. AMELIA Sam, a book is a book. It can’t hurt you. Samuel looks sheepish. AMELIA (CONT’D) You’ve had a huge day, you’re exhausted. She grabs the doona and throws it over the both of them, hugging Samuel to her, stiffly. She pats him on the back. Initially he struggles, but slowly, slowly calms down. 24. Finally, silence. He rolls over to look at his mum. SAMUEL (Loving) I don’t want anything bad to happen to you Mum. AMELIA Nothing bad’s going to happen to me Sam. SAMUEL I’m gonna protect you. He touches her face. She closes her eyes, submerging her resentment, bringing herself back down to earth.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SHOTS OF HOUSE INTERIOR - DEAD OF NIGHT 33 33 The kitchen is dark and empty. Mess everywhere. The lounge room is empty too, it feels spooky. Not a soul in the hall. The old house is entirely still.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. AMELIA’S BEDROOM - DEAD OF NIGHT/MORNING 34 34 Amelia sits up in bed, unable to sleep. She’s reading ‘The Artist’s Way’, her eyes hanging out of her head. Samuel is curled up beside her, fast asleep. She hears a distant sound, like someone running around downstairs. The noise concerns her. She listens for more. Dead silence. Eventually, she returns to her book.Another sound downstairs, a bit louder this time. Amelia waits to hear more. Troubled. Nothing.She shuts her book, and pulls the doona over her head, over Samuel’s too, a little unnerved. Amelia studies her son’s sleeping face under the covers, trying to gain some comfort from it. The image of her face ‘speeds up’ as she drifts off to sleep, it twitches and moves in fast motion as she sleeps her way through the fastest night ever. She opens her eyes, still under the doona. SAMUEL Mum! It’s nine o’clock.25. She hurls the covers off to find the alarm blaring away. She looks at the time. It is indeed 9 am. She reaches for her mobile phone, on silent. There are five missed calls. She checks the last one. The word ‘work’ flashes up on the screen. She springs out of bed.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. OUTSIDE THE HOUSE - MORNING 35 35 Amelia juggles her bag, her keys, Samuel’s things and talks on the mobile all at once. AMELIA He’s not running a fever anymore... My sister’s going to take him. Samuel sneaks past with his catapult. Amelia catches him. AMELIA (CONT’D) (Covering the phone) Put it back. Samuel kicks up a fuss. AMELIA (CONT’D) Put it back or it’s going in the bin. Samuel’s shoulders slump, he takes it back inside. AMELIA (CONT’D) (Back to the phone) I’m sorry I couldn’t get to the phone, he was throwing up.... No worries, see you very soon. She hangs up. AMELIA (CONT’D) No monster talk at Aunty Claire’s alright? Samuel sulks, walking down the path, ignoring her. She runs after him and grabs him. AMELIA (CONT’D) Samuel. No Babadook, no nothing. Alright? Samuel gives her a nod. She wins.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. OUTSIDE CLAIRE’S HOUSE - MORNING 36 36 Amelia carts Samuel’s things up the long driveway. She spots Claire waiting out the front of her semi-mansion.26. CLAIRE What have you been doing? AMELIA Sorry. Samuel runs up behind her. CLAIRE Day off school hey? SAMUEL I’m not allowed back at school anymore. My teacher can’t stand me. AMELIA That’s not true! SAMUEL She told me! In front of the class! Claire looks to her sister who can’t look back. CLAIRE Is there a pupil free day today? AMELIA (Low voice) I didn’t want to talk about it in front of the kids. CLAIRE So you lie to your sister. That’s nice. AMELIA I just can’t deal with it this morning. Please, I never ask you to look after him- Samuel is showing Ruby some DVDs he has and is making explosion noises near her face. She flinches. CLAIRE Be gentle, will you Samuel? AMELIA Thanks so much for this. I’ll be back at three on the dot.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. NURSING HOME COMMON ROOM - DAY 37 37 Amelia has a microphone in one hand and a plastic bucket with bingo numbers in the other. She looks frazzled.27. The oldies are scattered on various tables. Most aren’t listening, a few are asleep, some have their numbers out. Upbeat musak plays in the background. AMELIA Aaaannd, it’s number eleven! Who has number 11? Legs eleven? No one responds. AMELIA (CONT’D) OK, let’s try another one... She reaches in. AMELIA (CONT’D) 88? Number 88? Two fat ladies? After a long time one dedicated player holds up her hand. AMELIA (CONT’D) Good Elsie. Another few days and someone should be able to call ‘bingo.’ No one gets the joke. She reaches for another number. AMELIA (CONT’D) Number 69? Not too much of that going on in here... No one claims the number. Amelia pulls out another one. AMELIA (CONT’D) The next number is 5 billion. Anyone got that? How about 75 gazillion, anyone got that one? Some of the sharper members of the crowd look confused. Beverly pokes her head around the corner. She gives Amelia a disapproving look. Amelia shuts up immediately. The musak keeps going.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. NURSING HOME KITCHEN - DAY 38 38 Amelia has her head in her hand, her eyes closed. Robbie enters. She springs out of her contemplation. ROBBIE Beverly’s not impressed with you having a sense of humour. (Beat.) Are you alright?28. AMELIA (Bright as she can) Yeah yeah, I’m fine. So how, how are you? ROBBIE You don’t have to be fine you know. Amelia smiles, caught out. She drops her guard a little. AMELIA I am a bit stressed at the moment. ROBBIE Why don’t you go home? Old cranky bitch is going after lunch. I’ll cover for you. AMELIA You’d do that? (Beat) You can have my pay- ROBBIE Don’t be ridiculous. (Beat) You’ve got a sick kid. Life’s too short. AMELIA (Smiling) You’re so sweet Robbie. He gives her a friendly touch on the shoulder, then drops his arm, but stays close. Amelia shifts in her seat. Robbie touches her hand. Amelia pulls it away like she’s touched a burning stove. They’re both embarrassed. AMELIA (CONT’D) Sorry- ROBBIE I’m an idiot. AMELIA No, no, you’re not an idiot. Not at all.. ROBBIE (Nervous) We should do something sometime. AMELIA (Tense) Yeah sure. I’ve got a bit on my plate at the moment, but we could have a cuppa sometime or- ROBBIE That’d be great. Maybe I can come round- AMELIA Yeah. Or go out. Maybe later, sometime.29. ROBBIE Great! It’s almost too much for Amelia. Robbie senses it. ROBBIE (CONT’D) You go... Say hello to Sam for me. AMELIA I will...",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LARGE INDOOR SHOPPING CENTRE (MONTAGE) - DAY 39 39 - Amelia wanders aimlessly looking at the life teeming around her. A comforting distraction. - Amelia sits on a bench eating an ice cream. She notices an adorable baby girl at the end of the bench sitting on her mum’s lap. The mum tickles the little girl’s tummy. She bursts into peals of laughter. Amelia connects with the mother, they share a warm smile.The mother focuses back on her child. Amelia’s smile drops slowly, sadness replacing it.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. UNDERCOVER CAR PARK - DAY 40 40 Amelia gets into her car. She sees a man and a woman kissing in their car, opposite her. She doesn’t want to look, but the passion of their embrace draws her in. The man whispers in the woman’s ear. She laughs, kissing him softly, then deeply, open mouthed. Amelia watches, yearning, immeasurably sad.The couple break apart. They happen to look her way.Amelia looks down, not wanting to be seen. She rummages through her bag, happens to look at her mobile. 10 missed calls. She checks the sender. It’s her sister.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. OUTSIDE CLAIRE’S HOUSE - AFTERNOON 41 41 Amelia arrives to a ‘scene’. Ruby is bawling, clinging to her mother. Samuel is curled up in a ball on the lawn, stressed and frightened. Claire’s face is a hard mask.30. CLAIRE Where have you been! You weren’t at work, I’ve rung you a million times! AMELIA (Bracing herself) What happened? CLAIRE He’s just scared the crap out of Ruby. The little girl cries, her mother gently shushes her. Amelia looks at Samuel. He’s spooked. CLAIRE (CONT’D) He insisted on talking to this bloody Babadook thing, all day. Just talking to the air. It even freaked me out. AMELIA I’m so sorry. CLAIRE You need to get him to see someone Amelia. It’s not normal. AMELIA (Quietly) If you don’t want him here for Ruby’s party I understand. CLAIRE Don’t be stupid. I just don’t want to have to deal with this monster crap- SAMUEL (From the other side of the lawn, angry) IT’S NOT CRAP, IT’S REAL! AMELIA Don’t talk to Aunty Claire like that! She strides over. He puts his hands in his pockets, grabs something and throws it at the cement in front of her. It explodes with a bang. The women are stunned.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAR - AFTERNOON 42 42 Amelia grips the wheel, tense. Her eyes flick between traffic and son in the back seat. AMELIA Where did you get those firecrackers?31. SAMUEL You got them for me on the Internet. AMELIA Well that’s the end of the Internet. Samuel sighs. Amelia tries a much gentler approach. AMELIA (CONT’D) (Reasoning) If you keep talking to things that aren’t real, Aunty Claire won’t want you to come over anymore. (Beat.) Samuel? No answer. Just stubborn silence. AMELIA (CONT’D) If the Babadook was real, we’d see it right now, wouldn’t we? SAMUEL It wants to make us really scared first. Then you’ll see it. AMELIA Well I’m not scared. SAMUEL You will be when it creeps into your room at night. AMELIA (Civil) That’s enough- SAMUEL You will be when it eats your insides. AMELIA (Suddenly) I’ve decided you’re not having your birthday with Ruby this week. No cake, no games, that’s the end of it. Samuel is crushed. Amelia keeps her eyes on the road, grips the steering wheel, her knuckles turning white.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. KITCHEN/BASEMENT (INTERCUT) - EVENING 43 43 - Kitchen. A pot of soup boils away on the stove. Amelia stirs, focusing on the task. She looks up, and can just see Mrs Roach sitting in her lounge opposite, watching TV. The sight comforts her. She smiles, relaxes. - Basement. Samuel’s sparkly gloves clapping together. Stuffed toys all lined up in a row. At the end of the line, a photo of Amelia with her husband, OSKAR. They have their arms around each other, smiling. 32. SAMUEL (O.S.) Laayydees and gentlemehhhn! Mum and dad! Samuel has his magician outfit on, sparkly coat and hat. SAMUEL (CONT’D) Life is not always as it seems. It can be a wonderrus thing.. He does a quick magic trick. It’s good, he’s got a knack. Bugsy is close by, sniffing around. SAMUEL (CONT’D) But it can also be very trecheruss... He throws two firecrackers onto the ground. They explode. Bugsy is spooked and hightails it up the stairs. SAMUEL (CONT’D) (Talking to something we can’t see) Don’t worry dad, I’m gonna save Mum. I’m gonna trap the Babadook like this.. He runs to the stairs, and pulls on a rope. It tightens across the stairs like a trip wire. - Kitchen. Amelia sees Bugsy push open the basement door and run through it. She’s shocked to see that door open. - Basement. SAMUEL (CONT’D) When he’s trapped I’m gonna KILL HIM! A newly made nail gun is strapped to his skinny leg. He fires it off. Nails fly through the air like tiny spears. AMELIA (O.S.) SAMUEL. Samuel flinches. He rips off his weapons fast as he can, hides them and bolts upstairs . He’s in huge trouble.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LOUNGEROOM - AFTERNOON 44 44 Amelia’s face looks tight and strange. Samuel is nervous, he jigs around on the spot.She searches his pocket, he pulls away from her. She tries the other one, pulls out a key. He’s very ashamed. AMELIA How did you get this??33. SAMUEL I was just putting something back.. AMELIA All your father’s things are down there. SAMUEL He’s MY father! YOU DON’T OWN HIM! A knock at the door. Amelia marches towards it, opens it. It’s Robbie, flowers in one hand, a present in the other. ROBBIE Just thought I’d see how you’re going. These are for you. She takes the flowers limply, not knowing what to say. ROBBIE (CONT’D) And this is for you matey. My mum always got me a model aeroplane when I was sick- SAMUEL I’m not sick. Uncomfortable pause. Amelia’s face burns. She’s caught out big time. A huge wave of shame builds up in her. ROBBIE Oh. I thought you were si- AMELIA (Suppressed anger) No, he’s not actually. The truth is, he’s so disobedient he can’t go to school anymore. SAMUEL (Indignant) You said that’s not true! AMELIA How many 6 year old boys do you know Robbie who still believe in monsters? SAMUEL (Screaming at Amelia) I HATE YOU! (To Robbie) She won’t let me have a birthday party and she WON’T let me have a DAD! Samuel bolts up the stairs. His door slams. A terribly awkward pause. ROBBIE I’m really sorry... If you want to talk about it-34. AMELIA No, I don’t. Thanks anyway. Thanks for the presents. Robbie just stands there, looking at her, awkward. AMELIA (CONT’D) (Flustered) I wasn’t expecting anyone over. The house is a mess. ROBBIE I don’t care- AMELIA (Snapping) I care! (Beat.) Please, can you just go? ROBBIE I, I.. AMELIA Please go! Robbie leaves, embarrassed. Amelia shuts the door, completely ashamed of herself. She looks up and sees the door to the basement wide open. She walks to it. Samuel has left the light on down there. After a time, she forces herself down those stairs.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BASEMENT - AFTERNOON 45 45 Amelia finds the crowded space in chaos. Samuel has pulled out all his father’s things, a desperate attempt to connect. The sight of it all puts Amelia into a spin. She races around randomly stuffing things back in boxes. She clocks the photo of her and Oskar, walks over, picks it up, puts it in her pocket, unable to even look at it. She turns and what she sees makes her jump with fright. Samuel has fixed a hat, shirt and trousers to the wall, using his father’s things to replicate a person. A pair of shoes rest under each trouser leg. Oskar’s violin is out of its case, propped up against the wall, as if the shirt arm were holding it. Amelia’s fright subsides overtaken by a terrible remorse that hits her right in the guts. Tears well in her eyes.35.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SAMUEL’S ROOM - AFTERNOON 46 46 Amelia hears Samuel playing on a kid sized electric piano. It’s good, definitely music, not just noise. She enters the room, he stops playing immediately. AMELIA That was really good. Samuel is mute. She walks to the bed, sits next to him. AMELIA (CONT’D) (Reaching out) Your dad could play like that. He only had to hear something once. SAMUEL (Short) I know. You’ve told me. AMELIA (Forcing herself) You can have your own birthday party this year if you want.. Sam shrugs. AMELIA (CONT’D) I’ve made some yummy soup. Real, not out of a can. (Nothing.) And after dinner we can play Monopoly, OK? She smooths his hair gently. He doesn’t shrug her off. AMELIA (CONT’D) OK? He gives her the smallest of nods. Amelia breathes a tiny sigh of relief.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. KITCHEN - NIGHT 47 47 Sam watches his mum taste her soup. She bites down on something. It hurts. She takes it out of her mouth. It’s a shard of glass. Her tongue bleeds slightly. AMELIA Don’t eat it. Samuel stops. She sifts through her soup. Another shard. She tests his soup. No glass. She looks through hers and sees more pieces. Samuel looks panicked. AMELIA (CONT’D) Did you put glass in my soup?36. SAMUEL The Babadook did it mum... He gets up. Amelia searches his face for the truth. SAMUEL (CONT’D) The Babadook did it! AMELIA (Unnerved) You go and watch a DVD, I’ll make something else. He looks like he’s about to jump out of his skin. AMELIA (CONT’D) (Firm) Just go watch a DVD Samuel.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. KITCHEN - NIGHT 48 48 Amelia fries some sausages. The TV is loud. She goes in to have a look. Samuel watches a magician DVD for kids, his back to her. MAGICIAN ON TV Ladies and gentleman! Life is not always as it seems... Amelia looks at Sam’s little frame, so tiny sitting there. Her mind is preoccupied, suspicious of her son.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. STAIRS/AMELIA’S ROOM/SAM’S ROOM - NIGHT 49 49 - Stairs. Amelia trudges up the stairs. She sees the back of Samuel running into his room. He shuts the door behind him. Odd. - Amelia’s room. Amelia catches sight of something shoved under her wardrobe. She bends down to have a look. It’s a hammer. There’s a broken glass next to it, shards of glass on the carpet. Her throat tightens. She stands up, notices the bed. All the covers have been pulled off and are lying on the floor. Amelia moves in, spotting a photo in the centre of the mattress. It’s the one of her and Oskar. Oskar’s face has been scratched out with a pen. Her eyes have been drawn over with black holes, the mouth drawn into a silent scream. She strongly resembles the pictures of the Babadook. 37. - Sam’s room. Amelia storms in. She holds up the photo close to Samuel’s face, shaking with rage and fear. AMELIA Do you think this is FUNNY! Samuel’s face drops. He runs straight for his catapult. Amelia intercepts, trying to grab it from him. He wrenches it back off her, a genuine struggle. She bends down to reason with him. He takes the chance to slap her hard across the face, then shoves her so forcefully she falls on her back. SAMUEL (Violent) DO YOU WANT TO DIE!? Amelia is speechless. She watches Sam load the catapult. For the first time, she’s genuinely scared of her son.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. KITCHEN/SAMUEL’S ROOM (INTERCUT) - NIGHT 50 50 - Kitchen. Bugsy jumps up, trying to reach Amelia’s lap. She ignores him, scratching her head, staring into space. The lights dip in and out. It makes her anxious. Suddenly that pain in her mouth again. She feels the offending molar, wincing as she pulls and tugs at it. - Sam’s room. He sleeps sitting up with his catapult on, breathing too fast and shallow, dwarfed by his armour.- Kitchen. Amelia scratches her scalp with her fingers, as if to relieve the pressure in her head and jaw. Bugsy tries to comfort her, but she’s in another world. - Sam’s room. He wakes suddenly. Shadows in every corner. It doesn’t feel safe. He looks at the wardrobe opposite. The doors are open. Sam slips off the bed. Mustering all his courage, he takes small steps towards the wardrobe. - Kitchen. Amelia’s fingers scrape against her scalp. The sound intensifies, the image so close it becomes surreal. Her face, her eyes in close up, full of anxiety. The sound of her scratching becomes deafening. - Samuel’s eyes and face, framed by the catapult. 38. The dark closet yawns open, a deep terrifying hole. He lifts his eyes and face slowly, following something we don’t see up the wall and across the ceiling. - Amelia hears a terrible crashing sound upstairs. Then Samuel screaming, as if he’s being murdered. She leaps to her feet and is up those stairs in an instant.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SAMUEL’S ROOM - MOMENTS LATER 51 51 Amelia finds the wardrobe, too heavy for Sam to pull over, lying face down on the floor. His clothes spill out underneath it. The room looks like it’s been ransacked. Amelia can’t see Samuel. She runs to the open window, then to the bed in a panic, searches underneath. Samuel is squashed right into a corner. He still has his catapult on. He won’t come out, clinging to the bed post. She has to really take hold and drag him out. She’s never seen anything like it. His body is rigid in her arms, his face a picture of terror. It frightens her. SAMUEL (Over and over) Don’t let it in! Don’t let it in! Don’t let it in! He starts to hyperventilate. Amelia carries him to the bed and covers him with her body, trying to calm him. Her eyes scan his pillows. Underneath one of them lies a book. She can see the spine of it. ‘MISTER BABADOOK .’ Her blood runs cold.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. STAIRWELL - NIGHT 52 52 Amelia throws the book down the stairs, pages flying.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SAMUEL’S BEDROOM - NIGHT 53 53 - Samuel lies in a foetal position and sucks his thumb as Amelia pats his back, singing him a lullaby. Her voice trembles as she sings it. Samuel stares into space.39.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BATHROOM - NIGHT 54 54 Amelia is in the bath, her knees up to her chest, crying her heart out. She takes a deep breath, trying to calm herself. It doesn’t work. She breaks out into fresh sobs, completely alone. INT/",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. KITCHEN/FRONT YARD/HALLWAY - NIGHT 55 55 - Amelia takes the ‘ MISTER BABADOOK ’ to the table, opening it, becoming more agitated as she reads. ‘If it’s in a word or it’s in a look, you can’t get rid of the Babadook.’ She turns the page. The image of the Babadook falling on the boy in bed. The speech bubble ‘let me in!’ from the creature’s mouth. She slams the book shut, tries to rip it in half. It’s too thick. Determined, she rips out a page at a time, tearing each one to pieces. - Amelia shoves the remnants in the Otto bin, shuts it.- Amelia carries the sleeping Samuel into her room.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. AMELIA’S BEDROOM - NIGHT/DAY 56 56 Amelia watches Samuel as he sleeps. Bugsy is asleep in her arms, his front legs poking up near her face. The power surges, the lamp light flickers.That sound again downstairs. Amelia’s face tightens. She listens for more, holding her breath. Nothing. Just tight and tense silence.Amelia moves in to Samuel, squashing Bugsy in between. She pulls the doona over her head. It covers the screen. SAMUEL (O.S.) Mum do we have to go to Ruby’s party? The doona is dragged down to reveal Amelia’s exhausted face. It’s suddenly morning. She stares at the ceiling, then makes a monumental effort to turn on her side. Her hand comes out from under the doona, reaches to the floor. She picks up a present amongst the clothes and books scattered there. The paper has angels all over it.40.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CLAIRE’S KITCHEN - DAY 57 57 The present is passed to Ruby who’s waiting expectantly. Amelia looks like she hasn’t slept in years, dark circles under her eyes. Sam sits on her lap, fragile, withdrawn. His arms around her neck. She suffers it in silence. The middle class mothers surround her, all perfect hair and white teeth. Beyond groomed. Kids running everywhere. Ruby opens the present and is obviously disappointed. RUBY I’ve already got this Barbie. CLAIRE Well now she has a twin. They can go shopping together. Ruby flounces outside. The other kids follow her. Except for Samuel, who stays exactly where he is. AMELIA Go on, off you go... Amelia’s aware she’s being watched by the mothers. Samuel won’t let go of her neck, burying his face in her chest. AMELIA (CONT’D) (Laughing nervously) He’s just tired.. She peels his arms away. Samuel frets, starting to cry. The mothers give each other surreptitious looks. Amelia pulls Samuel to her by both wrists. AMELIA (CONT’D) (Measured) Go-and-play-right-now. Sam leaves, half crying, half whining, looking at his mum all the way. She tries to pretend nothing’s happening. MOTHER 3 gives Claire a look. Claire rolls her eyes then looks to Amelia who is staring right at her. Claire looks away, caught out. Amelia is hurt and humiliated. Uncomfortable silence. MOTHER 1 Claire tells me you’re a writer? AMELIA (Nervous) Oh! Not so much anymore...41. MOTHER 2 What kind of writing do you do? AMELIA (Awkward) I wrote articles for magazines. Some kids stuff but that was really just.. I’ve written a novel... MOTHER 3 Would we have read it? AMELIA (Embarrassed) It hasn’t been published. MOTHER 1 Oh. Never mind... An awkward pause. Amelia’s face flushes with humiliation. CLAIRE She’s very talented, she just needs to get back into it, that’s all. Amelia becomes very uncomfortable, the focus on her. MOTHER 1 It must be very difficult. I do volunteer work with some disadvantaged women. A few of them have lost their husbands and they find it very hard. Amelia looks at Mother 1, her face darkens. CLAIRE (Changing the subject) How’s Richard’s merger going? MOTHER 1 (O.S.) Oh! Good but his workload’s ballooned. Tight on Amelia, fighting a growing anger. MOTHER 1 (O.S.) (CONT’D) I’ve got the kids 24/7 it feels like. MOTHER 2 (O.S.) Tell me about it... MOTHER 1 (O.S.) I don’t even have time to go to the gym anymore, it’s ridiculous! AMELIA (Blurting it out) That’s a real tragedy.42. The mothers all look at Amelia, taken aback. She stares at Mother 1, her contempt obvious. AMELIA (CONT’D) Not having time to go to the gym. How do you cope? Pause. AMELIA (CONT’D) You must have a lot to talk about with those poor disadvantaged women. Horrible silence. Claire gives her sister a death stare. Amelia looks away, defiant, refusing to meet her gaze.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. TREE HOUSE/CLAIRE’S BACKYARD (INTERCUT) - DAY 58 58 The large backyard is decked out with swings and a tree house. A clown entertains the kids with a lame trick. - Tree house. Ruby climbs up to find Sam hiding there. RUBY This is my tree house. I say who comes here. SAMUEL I’m not hurting anybody. - Backyard. Claire kisses the other mothers goodbye. Amelia fixes on the clown and kids. MOTHER 1 You sure you don’t want us to stay? CLAIRE (Cheek kissing) No that’s fine. I’ll call you when they’re ready to be picked up. The women give Amelia a half hearted goodbye as they leave, she returns it, embarrassed. AMELIA I can stay after and help you clean up. CLAIRE (Cold) I’ll be fine. Amelia doesn’t go. The tension builds as they sit there watching the children play in the enormous backyard. - Tree house.43. SAMUEL How would your Mum know if it’s real or not? She never comes to our house. RUBY Mum told Dad she doesn’t want to go to your house coz it’s too depressing. SAMUEL The Babadook would eat your Mum for breakfast! It’d rip her arms off! RUBY (Scared) Shut up! - Backyard. Amelia can’t stand it anymore. AMELIA I never say anything bad to you or anyone. I say one thing and I’m an evil bitch. CLAIRE You were bloody rude. AMELIA She was so condescending! ‘I work with disadvantaged women ’, give me a break! CLAIRE Shereen is a huge supporter of the gallery, her husband is one of our major investors, and she’s my friend! AMELIA Those women look down on me. CLAIRE They feel for you in your situation! AMELIA They feel sorry for me Claire! There’s a big difference! - Tree house. RUBY I didn’t want you to come to my birthday party anyway. My mum made me do it. SAMUEL Well, I didn’t wanna come. It’s boring.44. RUBY No one likes you. You make up stories coz you don’t have any friends. SAMUEL I’m not making things up, you can’t see things coz you’re stupid. - Backyard. CLAIRE I know what this is really all about. AMELIA Oh? What? CLAIRE As soon as anyone mentions Oskar, as soon as they even so much as hint at it, you can’t cope. This hits a raw nerve with Amelia, she covers it. AMELIA That’s not true. CLAIRE I know he was the love of your life. And it is God awful what happened to him. But it’ll be seven years Amelia, isn’t it time you moved on? Amelia struggles desperately to keep her feelings in. AMELIA I have moved on! I don’t mention him, I don’t talk about him. What strain is it on you Claire? I listen... I listen to your life, day in day out and you don’t stop to ask me anything about mine! CLAIRE (Defensive) I do ask! I want to know how you are! AMELIA Only if everything’s fine! - Tree house. RUBY You’re not even good enough to have a dad. Everyone else has one and you don’t.45. SAMUEL (Getting upset) I do have a dad. RUBY Your dad died so he didn’t have to be with you. And your mum doesn’t want you. SAMUEL (Very close to tears) That’s not true. RUBY Is so. Samuel stands up, his hurt turning to rage. - Backyard. AMELIA You don’t come round to our house anymore. CLAIRE And you know why that is..AMELIA I ask and you never come round- CLAIRE (Snapping) Because I can’t stand being around your son! AMELIA I can’t believe you just said that. CLAIRE You can’t stand being round him yourself! - Tree house. Samuel lurches forward and pushes his cousin, hard. Ruby is knocked off balance. She grabs at the air as she falls backwards right out the door. Samuel face drops as he watches her fall. - Backyard. Claire sees her daughter fall, turn mid air and land straight on her face on the ground below. It looks awful. Both sisters rush over. Ruby stands up, in shock, blood pouring from her mouth. Slowly, surely, she starts to howl. All the kids stop playing and stare. Some get scared. CLAIRE (CONT’D) Let me have a look darling.46. She opens her mouth. A tooth has snapped off at the base. Ruby is hysterical. Blood spurts out. Amelia sees her son at the top of the tree house. He looks scared and guilty as he climbs down. CLAIRE (CONT’D) (Lashing out at him) WHAT DID YOU DO! SAMUEL (Very upset, to Amelia) She said I didn’t have a dad! She kept saying it! RUBY (Through the sobs) He.. He... said the Babadook was going to kill you Mummy... She howls. Claire picks her up and moves swiftly into the house. Amelia follows, shame and anxiety on her face. CLAIRE (To Amelia) That bottom tooth is an adult tooth! She’s not going to get it back! Ruby squeals. Claire holds her tight and marches to the front door. Amelia follows her closely. CLAIRE (CONT’D) Stay here and look after the children! Do you want another one to get hurt? Claire’s voice upsets one of the girls, the girl cries, this sets another one off. The kids are scared. She charges out of the door with her squealing daughter. Amelia turns to see a group of children in various states of distress. And in the middle is Samuel, completely lost. He rushes in to Amelia. She pushes him away. He runs to her again. AMELIA GET AWAY FROM ME! Samuel stops in his tracks, shocked and scared. Amelia looks at the crying children in front of her. Her stress reaching boiling po",FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAR - DAY 59 59 Amelia drives fast, stuffing her emotions down. 47. A large cockroach appears on her bare leg. She violently sweeps it away. It goes flying into the mess at her feet. SAMUEL (Crying) Mum.. I didn’t mean to hurt her. She wouldn’t believe me.. Mum-meee... He starts kicking the back of her seat to get her attention. Kicking over and over and over.... Amelia swerves to the side of the road, screeches to a halt. She flips her seat belt off, turns around. AMELIA There is no BABADOOK! Samuel’s anguish rising to fever pitch. He screams and cries, kicking the seat over and over. AMELIA (CONT’D) IT’S ALL MADE UP IN YOUR HEAD! Samuel suddenly goes quiet. He looks to his right, seeing something Amelia can’t see. He looks horrified. SAMUEL (To the air) Get out! (To Amelia) Mummy.. AMELIA (Frightened) Samuel, stop it now... SAMUEL (To the air, terrified) GET-OUT! He goes red in the face, as if he’s choking. Amelia watches, immobilized by shock. A middle aged couple stop and stare, concerned.Samuel kicks and punches, thrashing his body around. He screams out in pain. Amelia desperately tries to help. Samuel’s eyes roll back in his head, his body goes rigid, his fingers splayed. It looks absolutely horrifying. Amelia panics. She opens her car door. AMELIA (To the onlookers) Please help! There’s something wrong with my child!",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DOCTOR’S SURGERY - DAY 60 60 An eye is checked by a sharp light. The pupil contracts. 48. A tongue depressor is put into the child’s mouth. A stethoscope against Samuel’s bare chest. DOCTOR (O.S.) Cough now. Samuel’s throat showing the reflex of a cough.Samuel looks to the doctor, an overworked, middle-aged man. Amelia sits on a chair nearby. She looks wrecked.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DOCTOR’S RECEPTION/DOCTOR’S SURGERY - DAY 61 61 - Samuel waits on the bench, exhausted. The receptionist gives him a warm smile. He doesn’t smile back. - Surgery. DOCTOR I’d say it was a febrile convulsion. The brain gets overheated- AMELIA Yes, I know what they are, I’m a nurse. DOCTOR It always looks worse than it is. AMELIA I’ve never seen anything like that.. DOCTOR He’s obviously suffering from a high level of anxiety, very committed to the monster theory. AMELIA That’s an understatement.. The doctor stops to look at Amelia, slightly irritated. DOCTOR All children see monsters. AMELIA Not like this. And it’s getting worse. DOCTOR He could see a psychiatrist. I have some numbers. Takes a few weeks to get in.49. AMELIA Of course he needs to see someone. But can I just get something now to make him sleep? Just until I get an appointment. The doctor hesitates. AMELIA (CONT’D) Please. I haven’t slept in weeks. Neither has Samuel. When we go home tonight the whole nightmare will start up again and I’m-not-coping.. He seriously studies Amelia, sizing her up. DOCTOR I can prescribe a short course of Benzodiazepine, just till the tests come back. These are very strong for children. Most mothers aren’t too keen on them unless it’s really bad. AMELIA It’s really bad. He opens his pad and writes out the script. DOCTOR They can make children feel uncoordinated, foggy, maybe some temporary nausea. They’ll help him to sleep though, that’s for sure. He rips out the prescription and hands it to her. DOCTOR (CONT’D) That’s for one week. Half strength. Amelia’s face relaxes a little. Problem solved for now.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SAMUEL’S ROOM - NIGHT 62 62 Amelia has a glass of water and the pills at hand. Samuel sits up, worried, looking at the pills. SAMUEL Is there something wrong with me? AMELIA I’m sure everything will be alright. These will help for now. SAMUEL Why don’t people like me?50. AMELIA Why do you say that? SAMUEL Ruby said people don’t like me coz I’m weird. AMELIA Sometimes people say things that aren’t true. Samuel doesn’t look convinced. AMELIA (CONT’D) You just need to take your medicine, have a big sleep and not worry. Samuel is suddenly very anxious. He clings to Amelia. She tries not to tense up at his touch. SAMUEL I don’t want you to die. AMELIA I’m not going to die for a long time yet. SAMUEL Did you think that about my dad before he died? The comment hits her. She slowly pulls him away from her. AMELIA You need to take these pills so you can go to sleep. (Bright) I’ve got the day off tomorrow. Maybe we can do something. SAMUEL Will these make the Babadook go away? AMELIA I think so. But you have to promise you won’t mention it again. He takes the pills in hand, looks at her seriously. SAMUEL I promise to protect you if you promise to protect me. Then I won’t mention it. AMELIA Of course I will.51. SAMUEL Sometimes people say things that aren’t true. She looks him in the eyes, as sincerely as she can. AMELIA I promise to protect you. (About the pills) Come on. He takes them, she gives him the water, he drinks it. SAMUEL (Anxious) Can you stay here with me? AMELIA Yes. SAMUEL I love you Mum. AMELIA (Tight) Me too. Samuel’s face drops with her response. Amelia tucks him into bed. He doesn’t look at her, infinitely sad. Amelia stands and looks at Samuel’s back, a guilty sadness crosses her face.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. AMELIA’S ROOM - NIGHT/MORNING 63 63 Amelia sits on her bed, heavy with exhaustion. Her face seen from above as she falls onto the pillow in slow motion. The pillow seems miles away. A lullaby plays on violin. Her face relaxes, her eyes close. Finally she lands on the pillow, surrendering to deep sleep. A soft, unearthly light plays on her face. After several blissful moments, the lullaby ends. Amelia opens her eyes and looks over at the clock. 11am. She drifts up to sitting. It’s quiet and calm in the room and outside. She stands, her face is tranquil, dreamy.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SAMUEL’S ROOM - MORNING 64 64 Amelia sees Samuel lying on his bed with his back to her, completely still. She drifts towards him. His eyes are closed, his face perfect, like a doll’s. 52. She leans in to check he’s breathing. He is.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HALLWAY - MORNING 65 65 Amelia shuffles down the hallway, yawning, content. Three knocks on the front door.She covers over her dressing gown, smooths down her hair and moves to the door, opening it. There’s no one there. She peers out onto the street. Not a soul. It’s very quiet, strangely so. She stands there a moment, puzzled, then closes the door. Amelia’s almost at the end of the hall when it happens again. Three loud, sharp knocks. She turns, strides to the front door, opens it.Sitting on the welcome mat is the book of ‘ MISTER BABADOOK .’ Its pieces all glued back together. The blood drains from Amelia’s face. She bends down to pick it up. She looks on the street for any sign of life. Nothing.Amelia runs inside with the book firmly in her grasp.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LOUNGE ROOM - MORNING 66 66 Amelia flips through the book, becoming more frightened as she goes. She finds a new page with large angry words. ‘I’ll WAGER with YOU, I’LL MAKE you a BET. THE MORE you DENY, the STRONGER I GET.’ She flips the page. The boy in the bed has been replaced by a screaming woman. She looks like Amelia. The Babadook drops down over her, the words ‘ LET ME IN ’ flying out of its mouth. Amelia flips the page. The woman stands with arms outstretched. The Babadook’s shadow rises behind her. ‘You start to CHANGE when I get in, the BABADOOK growing right UNDER YOUR SKIN.’ Amelia’s hands shake as she fumbles for the next page. OH COME! COME SEE WHAT’S UNDER-NEATH! 53. She turns the page. A huge shadow envelops the woman as she snaps the neck of a little white dog. The dog looks exactly like Bugsy. Amelia flips the page, not wanting but needing to see.The woman strangles a boy with her bare hands. The shadow holds her arms, forcing her to it. Amelia flips the page. An image of the woman, her mouth open in a terrible scream. She slits her throat, blood spurts everywhere. Amelia turns to the final page. Just text that says‘IF IT’S IN A WORD, OR IT’S IN A LOOK, YOU CAN’T GET RID OF THE BABADOOK.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BACKYARD - MORNING 67 67 Petrol splashes out of a can. A pair of hands throw a lit match into the barbeque where the ripped up book now lies. It ignites quickly. Amelia stands back as the flames rise, watching it burn. She sees Samuel at the back door, trying to wake up. She shoots him a tense smile. He looks concerned.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. AMELIA’S HALLWAY/CLAIRE’S HOUSE - MORNING 68 68 Amelia is on the phone to Claire. CLAIRE She has to have a root canal and a crown. AMELIA I’ll pay for everything. CLAIRE You can’t even pay for your own dental work, how are you going to do that? Amelia doesn’t know what to say. CLAIRE (O.S.) (CONT’D) I really have to go now.. AMELIA (Blurts it out) Claire, I think someone is stalking me and Samuel.54. CLAIRE (O.S.) What? AMELIA A book turned up at our house. CLAIRE What are you talking about? AMELIA I threw it away. But someone glued it back together and put it on our doorstep. CLAIRE (O.S.) A book? Amelia I can’t help you now- AMELIA I don’t expect you to help, I just- CLAIRE If you’re worried you should go to the police. I’ve got to go. (Hangs up.) Amelia puts down the phone, crushed. She stares at her hands, black from the smoke. Silence. The phone rings sharply, giving her a fright. AMELIA (Picking up) Claire? There is a silence on the other end. AMELIA (CONT’D) (Growing tense) Hello? Finally, a noise on the other end, but not a human one. ‘Babababababa dook-dook-dook’ The sound rips through Amelia. She slams down the phone.",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. OUTSIDE MRS ROACH’S HOUSE - DAY 69 69 A door opens. Amelia waits there, a vulnerable smile. Samuel is beside her, sitting on the doorstep. MRS ROACH (Lighting up) Hello love. AMELIA Hi Gracie. (To Samuel) Up you get Sam.55. MRS ROACH Oh he’s alright. You tired little one? SAMUEL I’m exhausted Mrs Roach. I’m on drugs. AMELIA (Explaining) He had a fit yesterday. He’s alright, but we’ve had to medicate him. MRS ROACH Oh, you poor little thing... AMELIA Gracie would I be able to leave Samuel with you for an hour or so? I’ve got to do something and he can’t come along. MRS ROACH Yes of course. Are you alright? AMELIA (Upbeat) I’m fine. I normally wouldn’t ask you to look after him- MRS ROCHE (Genuine) That’s no problem at all-AMELIA Claire’s busy. I normally wouldn’t ask for help. Mrs Roach reaches out taking Amelia’s hand. MRS ROACH It’s not a crime to ask for help love. Amelia tries with all her might not to cry.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. POLICE STATION - DAY 70 70 Amelia enters, intimidated by the surroundings. There are three policemen on duty, one older sergeant at the front desk, and two in the back who don’t look old enough to be working. They all look bored. Amelia shuffles up to the counter. AMELIA Hi. I want to report someone stalking me and my child. SERGEANT (Starts writing) When did the incident occur Madam?56. AMELIA It started this week. SERGEANT Can you tell us what happened? AMELIA Someone sent me a.. a children’s book. The teenage cops stifle a laugh. Amelia sees it. The Sergeant gives them a quick, stern look. SERGEANT And? AMELIA (Directed at the two in the back) And it contained violent and graphic images of my child and me being murdered. The two in the back instantly stop smiling. SERGEANT Can we have a look at the book please? AMELIA (Sheepish) I burnt it. SERGEANT (Deflated) You burnt it. AMELIA Yes. SERGEANT Well, unfortunately there’s nothing we can do about it. AMELIA He’s making phone calls to me as well. SERGEANT What’s he saying? AMELIA Nothing, he’s just making noises. SERGEANT How do you know it’s the same person? AMELIA Because of what he wrote in the book! SERGEANT The book you burnt.57. AMELIA (Defeated) Yes..... She looks past the policemen in the back and sees a coat rack. On the rack hangs a long black coat. Perched right on top of the coat is an old fashioned black top hat. Just like the coat and hat in the book.Amelia looks suddenly frightened. The Sergeant notes it. He looks at her hands on the counter, black from the fire. Amelia retracts them, trying to remain composed. She straightens her hair, the hair she didn’t brush this morning. The Sergeant doesn’t take his eyes from her. SERGEANT Are you having a hard time at the moment, love? She looks to the hat and coat, then back to the Sergeant, trying to concentrate. AMELIA OK, thanks, don’t worry about it. She almost runs out.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. OUTSIDE MRS ROACH’S HOUSE - AFTERNOON 71 71 Samuel trudges towards his mum coming down the path. MRS ROACH Did you get your things done? Amelia nods, trying to appear relaxed. SAMUEL Mrs Roach has Parkingsuns, that’s why she shakes all the time like she’s dancing. AMELIA Samuel-SAMUEL It might get worse but it won’t get better- AMELIA You don’t have to say everything that comes into your head! MRS ROACH It’s alright love. He wanted to know, so we talked about it. Amelia checks herself. Samuel trudges back home, tired.58. MRS ROACH (CONT’D) He sees things as they are, that one. His dad was the same, always spoke his mind. AMELIA (Snapping) I’d rather not talk about his dad. It’s been seven years! She walks off without a goodbye. Mrs Roach looks after Amelia, concerned by her uncharacteristic response.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LOUNGE ROOM/KITCHEN/HALLWAY - DAY 72 72 - Amelia passes Samuel lying on the couch, already half asleep. Her tooth is giving her a massive migraine. - Bugsy is in the kitchen, barking nonstop. She tries to move closer to him, he runs straight past her outside. It looks like a bomb’s gone off. Food in the sink, mess everywhere. She pauses for a moment, overwhelmed. Something tickles her arm. It’s a cockroach. She jumps, flicking it off in disgust. It falls to the floor. She notices another one on the floor nearby. Then another. About six or seven of the bastards. They seem to be coming from behind the fridge. Amelia pulls the fridge out from the wall. The wallpaper is torn in one place. A cockroach pops out of it. It disgusts her. She starts to peel back the paper. A hole in the wall. It’s filled with cockroaches. They crawl out, some dropping at her feet. She has to stop from vomiting as she runs for a broom. Samuel appears at the door. AMELIA Don’t come in here! - Later. The contents of the fridge have been turfed out onto the benches. It looks even messier than before. Amelia has an old dress on and large rubber gloves. She looks completely dishevelled, manically cleaning. Suddenly, three knocks at the door. Amelia freezes. A pause. The three knocks come again.She creeps past a sleeping Samuel on the couch, towards the front door, her broom as a weapon. 59. Amelia looks through the peephole. Two strangers at the door, a man and a woman. Amelia opens the door.The people look Amelia up and down. The old dress, the gloves, her dishevelled hair. AMELIA (CONT’D) (Terse) I don’t want to buy anything. WELFARE MAN Are you Amelia Vanek? AMELIA (Suddenly nervous) Yes. WELFARE MAN I’m Warren Newton and this is Prue Flannery from the Department of Community Services. The Babbage Bay Primary School has asked us to stop in and say hello. AMELIA My son has only been away two days. WELFARE MAN He’s not actually registered at Babbage Bay anymore. If I could just come in, meet Samuel and get you to look at these papers, that’d be terrific. Amelia manages to give them a feeble smile. - Lounge room. The welfare pair scrutinize their surrounds, both noticing the smashed window, now patched up with plastic and duct tape. Amelia is suddenly very self conscious. Bugsy comes out, barking loudly. Samuel wakes up, groggy. AMELIA Bugsy! Sshh! That’s enough. Bugsy runs away when Amelia tries to pick him up. WELFARE WOMAN Hello Samuel. I’m Prue and this is Warren. Samuel sits up. She puts out her hand, he shakes it. 60. SAMUEL Hello. WELFARE WOMAN How are you? SAMUEL I’m a bit tired from the drugs Mum gave me. They both look to Amelia with concern. AMELIA Not ‘drugs’, tranquillizers. Their concern grows. AMELIA (CONT’D) (Quickly) From the doctor. He had a fit yesterday. Bugsy barks, Amelia tries to grab him, he runs outside. SAMUEL I feel really tired akshally. WELFARE WOMAN That’s no good. The welfare woman throws Amelia a disapproving glance. She looks into the kitchen chaos. WELFARE WOMAN (CONT’D) (To Amelia) May I have a glass of water? AMELIA Yes, of course. I’ll just get you one. Amelia darts into the kitchen. The welfare people follow. They notice a mound of wallpaper on the floor. AMELIA (CONT’D) It’s a real mess, I know. I’ve just found a cockroach infestation. I normally keep the house sprayed, I DID spray it already actually! There’s a big hole in the wall behind the fridge, that’s why I.. Amelia shows them to the area behind the fridge. There’s no hole in the wall, just a mound of wallpaper at their feet. No cockroaches. Amelia is gob smacked. The two welfare people sneak a look at each other.61. AMELIA (CONT’D) I didn’t mean a hole in the wall, there was a hole in the wall paper. They were laying their eggs in there, I think. She smiles, very nervous. They smile back, politely. WELFARE MAN We’ve caught you at a bad time. I’ll leave some information for you to read over, we can come back in a week to talk through your options. Here’s my card. SAMUEL (O.S.) Mum. All three adults look to Samuel. SAMUEL (CONT’D) I think I’m gonna vomit. INT/",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. OUTSIDE HOUSE/LOUNGE ROOM - LATE AFTERNOON 73 73 - Outside. Amelia stuffs all the wallpaper in the bin. - Lounge room, soon after. Samuel is once again fast asleep on the couch. It’s just starting to get dark.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. KITCHEN/LOUNGE ROOM - EVENING 74 74 Amelia is washing dishes. She can see Mrs Roach watching TV in her lounge room. She smiles, comforted by the familiar sight. Time stretches. She looks into the soapy water. The splashing sound, the warmth calms her. She pulls out a plate, looks up again. Standing in the shadows, behind Mrs Roach, is the half visible form of the Babadook. The black shadowy coat, the tall top hat, the long black gloves can just be seen. It appears to be looking right at her.Amelia drops the plate into the sink. SAMUEL (O.S.) Mum. Amelia starts and looks at Samuel at the kitchen door. SAMUEL (CONT’D) (Exhausted) I’m gonna go to bed. 62. AMELIA Ah... It’s only 6 o'clock. Don’t you want to stay up with your Mum for a while? SAMUEL No.. He turns and leaves. Amelia looks back out the window. No Babadook. Just Mrs Roach sitting with a cup of tea. She turns and follows Sam into the lounge, on edge. AMELIA (Desperate) If you go to bed now, the pills won’t work properly. You have to stay up for a while sweetheart. Samuel sighs. He drags himself onto the couch again.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LOUNGE ROOM - EVENING 75 75 Samuel finishes off a magic trick, his heart’s not in it. AMELIA What about another one? SAMUEL (Cranky) No Mum!",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LOUNGE ROOM/BATHROOM/AMELIA’S BEDROOM - NIGHT 76 76 - Samuel is on the couch half asleep, watching a video. Amelia stares at the screen but doesn’t take it in.She looks into the mess of the kitchen, fear on her face. She turns up the volume on the TV, Samuel stirs. - Bathroom. Samuel is almost asleep in the bath. Amelia washes his back vigorously. - Bedroom. Amelia reads. Sam barely has his eyes open. AMELIA ...and lived happily in a beautiful palace for the rest of their days.’ THE END. Samuel is asleep. Amelia stares at the end of her bed, the light of the lamp bleeding into the darkness beyond. The lights flicker. The bedside light buzzes softly, then gets louder. Amelia flicks her arm out and turns it off.63.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. AMELIA’S BEDROOM - LATER 77 77 Amelia lies wide awake in bed on her side. Samuel is out to it. She turns over, restless, staring at the ceiling. That sound downstairs again. Only this time, it comes up the stairs and stops outside her door. Amelia freezes. A slight scratching sound at the door. She starts to panic, the scratching gets louder. She hears a whimpering. It’s the dog. She springs out of bed and opens the door, relieved.Bugsy runs in, jumps straight up on the bed, finds a spot near Samuel and settles. Amelia jumps under the covers. Silence. Darkness. Amelia’s eyes flicking, nervous.The scratching starts up again, only this time it can’t be the dog. Amelia stares at the door unable to move. The door clicks and moves open by itself. Amelia watches, her heart in her throat. The rustling, scratching sound moves inside the room. Amelia slips the covers over her head, terrified. She can’t see anything now. The sound appears to be moving closer. After an age, Amelia pulls down the duvet, unable to stand it anymore. She peers into the terrible darkness. Something large and black lurks in one corner on the ceiling. She can’t make out what it is. Time stops. The shadow scuttles quickly across the ceiling. It stops right above her head. Amelia is paralyzed by fear. She hears a rasping sound. The thing appears to be breathing. Her hand reaches for the bedside lamp. Her eyes are fixed on the dreaded shadow right above her head. Before she can get there, the thing drops down right on top of her. She sees its hideous, mask like face millimetres from her own; the black eyes, the mouth wrenched open in a permanent, silent scream. She takes a huge breath, as if breathing the thing in, terrorized. Amelia switches on the lamp, springs out of bed and turns on the overhead light. Bugsy barks. Samuel wakes. There’s nothing there. Samuel sits up, trying to focus.64. AMELIA We’re going downstairs. SAMUEL Why? AMELIA Because we are!",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LOUNGE ROOM - NIGHT/MORNING 78 78 Amelia turns every lounge light on. She moves to the kitchen, turns the lights on there. Samuel watches, groggy. Bugsy follows Amelia, barking continuously. - Later. All the lights still on. The TV is up loud. Amelia tries desperately to stay awake, absently hitting the remote. Commercials, nature program, soap opera. An old black and white George Méliès clip appears on the screen. Beautiful silent images, childlike but slightly disturbing. Just like the Babadook book. A weird tinkling lullaby accompanies them, seducing her to sleep. She fights it, her head nodding forward and back, a drowsy agitation, desperate to stay awake. The Méliès images stream in front of her. People dismembered, heads growing larger and smaller, old style cinema tricks. Strange and sinister. Emotions pass over Amelia’s face as she watches, agitation, amusement, exhaustion, fear. Something is brewing. She jerks forward and back, her eyes heavy. Her face speeds up. It looks bizarre. The tinkly piano music continues to play. And still she doesn’t sleep. Amelia’s face returns to normal speed, she looks around. The sun is coming through the windows. It’s already morning. She leans over. Something doesn’t feel right. She looks to Samuel asleep on the couch, his back to her. Bugsy peers over Samuel, studying Amelia with caution. She returns the dog’s stare, unblinking. There’s an eery silence in the room. She looks at the TV. It’s on mute. Amelia suddenly lurches forward and manages to stand. She centres herself momentarily, then shuffles to the stairs.65.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. AMELIA’S ROOM - MORNING 79 79 AMELIA (Into mobile) Hi Beverly, it’s Amelia. Pause. Amelia looks exhausted and strange. AMELIA (CONT’D) (Flat) I can’t come in today, I think I’ve caught what my son had... I don’t want to give it to anyone at work... Alright, give all my shifts to someone else, that’s just what I need... I can’t help it if I’m sick, what do you expect me to do?... You do that! She throws the phone on the bedside table, sits down heavily on the bed, her head in her hands. She lies on her side, pulls up the covers, stares at the wall, her eyes zombie like. They eventually close. Silence. And finally, sleep. SAMUEL (O.S.) Mum.... Amelia’s eyes spring open. She doesn’t respond. SAMUEL (O.S) (CONT’D) I took my pills, but now I feel sick again. (Pause.) I need to eat something.. Amelia’s eyes fill with resentment. She closes them. SAMUEL (O.S.) (CONT’D) I couldn’t find any food in the fridge. Her eyes snap open, staring, cold. SAMUEL (O.S.) (CONT’D) You said to have them with food. Amelia’s face hardens, a buried fury surfacing. SAMUEL (O.S.) (CONT’D) I’m really hungry Mum. She sits up suddenly, facing Samuel. She looks odd. AMELIA Why do you have to talk-talk-talk all the time? Don’t you ever STOP TALKING? Samuel is taken aback by his mother’s tone. 66. SAMUEL I was just- AMELIA I-NEED-TO-SLEEP. She looks fierce. Samuel is unnerved. SAMUEL I’m sorry Mummy, I was just hungry. AMELIA (Frightening) If you’re that hungry, why don’t you go and EAT SHIT! Samuel backs away through the door, genuinely scared. Amelia lies back down, pulling the sheets over her. After a moment, she realizes with absolute shame what she’s just done. It rattles her.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SAMUEL’S ROOM - MORNING 80 80 Amelia arrives at the door, sheepish. She sees Samuel on his bed, head down. He tries desperately not to cry. His body tenses as she comes near, he’s scared of her. AMELIA I’m so sorry. I don’t know why I said that. That was terrible. Samuel doesn’t look at her. He starts to cry. It’s heart wrenching, Amelia feels it. AMELIA (CONT’D) It’s just... I’ve had absolutely no sleep... I didn’t know what I was saying. Samuel tries to stop crying, he can’t. AMELIA (CONT’D) I’ll cook you something. What would you like? You can have anything at all. SAMUEL (Crying) I’m not hungry anymore. She puts her arm around him. He wriggles away from her. AMELIA (Ashamed) I can understand you being upset. I would be if I were you..67. Amelia searches for the right words to placate him. AMELIA (CONT’D) We need to get out of this house... Would you like to go to McDonalds? SAMUEL You said McDonalds is bad for you. AMELIA Once in a while doesn’t hurt. Samuel calms down a little. AMELIA (CONT’D) You can have whatever you want, alright? Even ice cream for breakfast if you want. A long pause as Samuel calms down, thinks about it.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MCDONALDS - DAY 81 81 Kid’s party. The place is packed with screaming children. Amelia looks around at the tacky decor. The sounds and sights are irritating, loud and bright. Samuel sits in front of a large Happy Meal, dark circles under his eyes. He chomps away on his french fries. Amelia gives him a warm smile. He manages one back. Things are better, the power of junk food has worked. A stabbing pain in her jaw. Amelia winces. She reaches inside her mouth and feels her back molar. She massages her jaw, searching for relief.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAR - DAY 82 82 SAMUEL (Very tired) Where are we going? AMELIA (Wired) I just wanna drive for a while.. Amelia feels an itch on her leg. She looks down. Her leg is covered in cockroaches. She recoils, desperately flicking them away. The car swerves, Samuel panics. Amelia looks in the rear vision mirror.68. A shadowy shape jumps onto the boot then the roof. She can hear it, pounding like mad, a terrible sound. She swerves all over the road, frightened. Samuel screams. Amelia accidentally accelerates, heading straight towards another car. A screeching of tyres, a sickening sound. Amelia is frozen at the wheel, shell shocked. Samuel is crying. It’s a miracle they’re not hurt. A young corporate guy gets out of the other car, a brand new Audi. He inspects the damage, then runs to Amelia. GUY You ran straight into me! Amelia looks at him with a blank expression, in shock. GUY (CONT’D) I just bought this bloody car! What were you doing? The guy looks into the back seat, sees Samuel cowering. GUY (CONT’D) Oh! Driving on the wrong side of the road! With a kid in the back! You could have KILLED someone, you know that!? The man’s face looms large and terrible in the window. She reverses the car suddenly and screeches away as fast as she can, leaving the man bewildered in her wake.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MRS ROACHE’S FRONT YARD/AMELIA’S FRONT YARD - DAY 83 83 Mrs Roach is collecting the mail. She sees Amelia and Sam getting out of their car, goes to say hello, but is stopped by the look on Amelia’s face. She looks terrible. Amelia checks the roof of the car. There’s nothing, not a dint, not a scratch. Her face pales. She stumbles to the house, Samuel drags along behind, focusing on his mum. Mrs Roach watches them as they disappear, worried.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BATHROOM - EVENING 84 84 Amelia has a warm bath running and is sitting in it, fully clothed. She holds her knees to her chest, trembling, trying to calm herself down. She looks awful. Samuel stands by, worried.69. SAMUEL Mum. Do you want me to call Aunty Claire? She doesn’t reply. Samuel edges closer. SAMUEL (CONT’D) I can talk to her and tell her we had an accident and she can come over... Mum? AMELIA (Quiet) Aunty Claire doesn’t want to talk to us anymore. Beat. Amelia gets up and grabs hold of Samuel gently. She puts him into the bath, shirt, shorts, socks and all. AMELIA (CONT’D) (Soothing) It’s nice and warm in here.. Samuel sits opposite his mum, very concerned. Long pause. SAMUEL I don’t want you to go away.. AMELIA (Strangely calm) I’m not going anywhere. They sit opposite each other, in silence.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ENTRANCE TO BASEMENT - EVENING 85 85 Amelia comes out of the basement, clutching the violin. She clocks Samuel in the lounge and walks right past him without acknowledgement. Sam is shocked.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. AMELIA’S ROOM - EVENING 86 86 Amelia lies down, calmed by the violin tight in her arms. Sam follows, climbing on the bed to stroke her forehead. She relaxes and closes her eyes, letting him comfort her. A tender moment between them as Samuel smooths his mum’s hair, suddenly the parent. SAMUEL Mum... I don’t think we should stay here tonight. (Nothing.) I can call Mrs Roach. AMELIA We can’t trouble other people. 70. SAMUEL She wouldn’t mind, I know she wouldn’t. AMELIA I don’t want you to call anyone. I just need to sleep... Sam strokes Amelia’s cheek. She relaxes, letting him in. He accidentally knocks the violin with his knee. AMELIA (CONT’D) (Suddenly vicious) Leave it! Sam backs away, sitting on an easy chair in the corner. Amelia watches him there from the bed. Her eyelids open and close, she gives in to sleep, shutting out her son.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. AMELIA’S ROOM - EVENING 87 87 A short while later. The last rays of light are dying in the room, they play on the curtains, shadows form. Creepy.Amelia’s sleeping face. Whispering voices, barely audible, envelop her. They sound demonic. Her face contorts from a nightmare. The whispers intensify. Amelia’s eyes snap open. The whispers stop altogether.She sits up. Is she hearing things? She searches the near dark room. Eerie silence. Samuel is nowhere to be found.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. UPSTAIRS HALLWAY - EVENING 88 88 Light is fading fast in the house. Amelia descends the stairs, straining to see. The whispers start up again, taunting her. She stops dead in her tracks and the sounds stop. She stumbles on, her face dark and troubled.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LOUNGE ROOM/KITCHEN - EVENING 89 89 Amelia stands in the dark lounge room. The whispers return, only louder this time, more threatening. She can’t tell where they’re coming from. It infuriates her.71. She races into the kitchen, turns on the light, and rounds the bench. She sees Samuel in his armour, whispering to someone on her mobile phone. He almost jumps out of his skin. She rips the mobile out of his hand and looks at the screen, livid. Mrs Roach’s name flashes up. She tries to contain her fury as she prepares to talk. AMELIA (Calm as possible) Gracie. I am so sorry. MRS ROACH Has someone broken into the house? Sam said someone was trying to get in?? AMELIA No. We’re fine. Samuel’s just being very disobedient. Again. MRS ROACH (O.S.) Oh! I was so worried! AMELIA I’m really sorry. I told him not to bother anyone. MRS ROACH He asked if you could stay the night, that’s no problem at all- AMELIA (Very nice) No, we’re fine. I have a small headache, that’s all. I’ve got to go now though. I’m sorry for troubling you.....Yes, talk soon. She hangs up, deadly silent, glaring at Sam. He looks white as a sheet. AMELIA (CONT’D) (Tight) I told you not to call anyone and you deliberately disobeyed me. Samuel lowers his head, anxious and scared. AMELIA (CONT’D) Do you want to frighten Mrs Roach? An old lady who can hardly walk? Do you want to make her sick? Sam is too scared to talk. This inflames Amelia more.72. AMELIA (CONT’D) (Exploding) Take that bloody thing off! He takes the catapult off quick smart. Amelia takes out her phone battery, chucks it in the bin, only half aware of what she’s doing. AMELIA (CONT’D) (Beside herself) Is this the only way I can trust you won’t embarrass me in front of the neighbours? She grabs something from the kitchen: a large knife. Samuel is freaked out by the sight. AMELIA (CONT’D) Is this what I have to do? She cuts the cord to the land line, shaking with anger. SAMUEL I’m sorry Mummy. I was just scared because the Babadook made you crash the car and then- AMELIA (Stopping dead) What did you say ? Amelia’s energy darkens. Samuel’s fear increases. SAMUEL (Frantic) I just didn’t want you to LET IT IN! Amelia snaps. She races to the cupboard. Keys jingling. AMELIA I’ll make sure we don’t let anything in, alright Samuel? Nothing is coming in here tonight. (Screaming) NOTHING! She charges off to the front door, opens it, locks the security grill, slams the front door with a vengeance.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOUSE/SAMUEL’S BEDROOM - NIGHT (INTERCUT) 90 90 - Amelia locks the doors and windows, her face a mixture of rage and fear. She can’t stop herself, slamming and locking every door, every window in the house. Bugsy follows her, barking incessantly. She kicks him out of the way, completely agitated, driven.73. - Samuel unlocks a case under his bed, pulling out hidden weapons. He listens to Amelia banging around downstairs. - Amelia has locked up the entire house. In one last impulsive move, she throws all her keys out a barred, backyard window. Her rage has worn itself out. Now, she just looks frightened.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SAMUEL’S BEDROOM - NIGHT 91 91 Amelia and Samuel sit on his bed. Amelia tries her best to be nice. The intense pain in her jaw and head make it tough. She has the water and pills. Sam is on edge, unwilling to take his medicine. SAMUEL (Hesitating) I feel sick. AMELIA (Civil) If you don’t take the pills you’ll feel worse. SAMUEL (Pleading) Mum... AMELIA Come on Samuel. SAMUEL I don’t think I need- AMELIA (Suddenly threatening) I am the parent and you are the child. So take-the-pills. Samuel takes the pills from her. He raises his arm. The pills drop down discreetly into his shirt sleeve as he brings his hand to his mouth. A perfect sleight of hand that Amelia doesn’t see. He takes a swig of water. She opens his mouth, checks he’s taken them. AMELIA (CONT’D) Good boy.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LOUNGEROOM - EVENING 92 92 Hysterical sound effects from a cartoon on the TV. Amelia is dozing. She jolts awake and looks over to the couch.74. Samuel lies there on his back. His throat is cut. There are multiple stab wounds to his body. His dead eyes stare up at the ceiling, his face and body soaked in blood. Amelia rushes over to him. She tries to scream, but nothing comes out, her face a horrible mask of fear. SAMUEL (O.S.) Mum! Amelia looks at her son. He is crouched on the sofa, ready to spring. He’s perfectly fine, but terrified by his mother’s behaviour. Amelia slowly recovers, completely disoriented.Samuel looks to her right hand, terrified. Amelia looks to where he’s looking. There’s a large carving knife in her hand.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. KITCHEN - EVENING 93 93 Amelia throws the knife in the drawer and slams it shut.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. AMELIA’S ROOM - NIGHT 94 94 Amelia sits on her bed, tears roll down her face. Bugsy appears at the door. The sight of him comforts her. AMELIA (Shaky) Come on sweetheart. Come here. He stays at the door. Amelia goes to him very gently. He puts his ears back but lets himself be picked up. She strokes him tenderly, her fear dissipates. They stay there like that for a moment. Bugsy suddenly bites her hand and jumps to the floor. Amelia watches him run away, in shock.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LOUNGE ROOM - NIGHT 95 95 TV still on. Amelia brings two bowls loaded up with ice cream, marshmallows on top. She’s trying way too hard. AMELIA Here we go! 75. Samuel looks at the bowls, his face is worried and tense. She places it in front of him, forcing a smile. AMELIA (CONT’D) There’s more where that came from. Samuel takes a spoonful, tasting it gingerly. Amelia watches him eat, tense as hell. A sudden, stabbing pain in her tooth, her hand flies up to her jaw. It’s getting worse. She massages, fear and pain in her eyes.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LOUNGE ROOM - LATER 96 96 Mother and son steal glances at each other. The TV blares over the top of their silence. Samuel’s eyelids become heavy as he struggles with, then succumbs to sleep. Bugsy guards Samuel, watches Amelia. Amelia channel surfs manically, not stopping to look at anything. She finally stops on the late night news. NEWS REPORTER ... in the kitchen where he beheaded his sister, reportedly a day after her birthday. She had just turned seven. Amelia watches, horrified. Images of a normal suburban house, cordoned off, police on the scene. NEWS REPORTER (CONT’D) Her teenage brother remained inside where he was eventually shot dead by police. Amelia sees police on the TV pass by a window of the house. What she sees next chills her to the bone. There is a clear image of Amelia herself looking out from the window of this suburban house, smiling a disturbing smile. Amelia tries to comprehend what she sees. Suddenly, all the lights snap off, plunging the house into darkness. Amelia’s breathing hardens. Her eyes focus on the couch. Samuel is no longer on it. Her panic increases. AMELIA (Whispering) Samuel... Samuel is suddenly beside her. It frightens her. 76. SAMUEL (Eyes closed) Wake up Mummy. She can see his eyes are closed. AMELIA Darling, you’re the one who’s asleep. He stands there for some time, then drifts towards the basement door, eyes still closed. AMELIA (CONT’D) Don’t go down there.. He opens the door. A light comes on down there. Samuel disappears down the stairs. AMELIA (CONT’D) (Moving after him) It’s not safe! She stands at the top of the basement stairs watching Sam descend. She’s confused by the light being on down there. It draws her down, into the bowels of the house.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BASEMENT - NIGHT 97 97 Amelia arrives to a basement completely clear of clutter. The most beautiful, ethereal light transforms it. Samuel is nowhere to be found. Amelia steps into the light and is calmed by it. Out of the shadows steps the man from the photo. Amelia’s husband, Oskar, a handsome man in his forties. Amelia’s face drops when she sees him. Her eyes spontaneously fill with tears. She races in to him. They stay like that for a long time, holding each other. Amelia cries in disbelief, her emotions overwhelming her. He kisses her, he’s real. She melts into him, letting go into one exquisite moment. AMELIA (Overwhelmed) I thought you were dead.. OSKAR We can be together sweetheart... She hugs him tighter, in complete disbelief. Long pause. OSKAR (CONT’D) You just need to bring me the boy.77. Amelia feels a sudden chill run over her and pulls back from her husband. It suddenly doesn’t feel right. The beautiful light has disappeared. Deep shadows fall across Oskar’s face. He looks strange. AMELIA You mean Samuel.. OSKAR (His voice distorts) You can bring me the boy... You can bring me the boy... AMELIA Stop calling him the boy. Amelia looks down to Oskar’s hands. There’s nothing at the end of his sleeves. She tries to comprehend it. A rumbling sound starts up. OSKAR (Distorted) I think it’s going to rain. She looks up. A razor thin line of blood forms a diagonal line from one ear across to his jaw on the other side. AMELIA (Terrified) No.... Amelia bolts up those stairs as fast as she can.",TWIST +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LOUNGE ROOM/KITCHEN - NIGHT 98 98 - Amelia enters the lounge room. The lights have returned, flickering on and off. The TV is on static. Amelia watches the overhead light flare up. The bulb smashes. Complete darkness. A hideous silence. Amelia senses something behind her in the kitchen. She turns slowly and is met with her worst nightmare. At the far corner of the kitchen, about 15 metres away, is a hideous silhouette in the darkness. A large black coat, pointy black gloves and a tall black hat. Then she hears it. A terrifying, insect like noise as the thing glides straight towards her. It stops, towering over her. She can’t make out any details, but she can feel it looking at her, suspended in terror.78. She suddenly tears up those stairs, taking two at a time, racing into the first open door she can find. The sound of the thing screeching after her.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SAMUEL’S ROOM - NIGHT 99 99 Amelia grabs a chair and pushes it under the doorknob, stumbling backwards towards the fireplace. An awful silence, just the sound of Amelia’s breath. Something falls down the chimney and lands in the hearth right next to her. A black top hat. Amelia goes into a panic attack. She crawls back towards the door, but her movements are slow and tortured. She can hear something huge and hideous travelling up the wall behind her, then onto the ceiling overhead. An insect-like sound fills the room. Amelia can’t bear to look up, lying on her stomach, frozen with terror. Something drops down nearby. A black coat. Amelia starts to hyperventilate. A terrible noise, flesh ripping from flesh. Something drops inches from her face. The ripped off ‘face’ of the Babadook, nothing but a hardened mask. Black sticky blood oozes from its edges, from the holes where the eyes should be, the mouth open in a permanent scream. In spite of her terror, Amelia forces herself to look up to the ceiling for a split second, in disbelief. An huge shadow fills half of the ceiling, a hideous shape with outstretched ‘wings’, like an enormous bat. Amelia immediately looks away. She holds her breath, tensing up, belly to the ground, beyond terror. AMELIA (Over and over) It isn’t real it isn’t real it isn’t real it isn’t real.. There is an unbearable screeching sound. POV from high on the ceiling. Something rushes straight down towards Amelia’s back at lightning pace. Amelia’s eye in extreme close up. A huge bang, a terrible scraping, ripping sound. Her pupil ‘bleeds’ outwards till the whole eye is completely black. 79.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BLACK SCREEN 100 100 The sound of a TV up as loud as it will go. An informercial. Terrible, deafening, meaningless sounds.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. AMELIA’S BEDROOM - NIGHT 101 101 Sam hides behind a locked door clutching Bugsy. The TV is deafening even from upstairs. He’s terrified. He unlocks and opens the door a sliver but doesn’t venture out.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LOUNGE ROOM - NIGHT 102 102 The back of Amelia watching an informercial. Something’s not right with her. She breathes very fast and heavy. Her face is revealed. Her eyes have a dead stare, the pupils like pin pricks. Her limbs are slightly distorted, rigid. She looks human, but there’s something about her that just-isn’t-right. She sits as if resting for a moment in her new skin, her casual stare at odds with her bizarre appearance. She changes channels to ‘Australia’s Next Top Model.’ JUDGE 1 (O.S.) She’s a great girl, but she’s too fat. Amelia watches the program with a dead cool calm. JUDGE 4 I agree unfortunately. MODEL HOST What about Cindy? JUDGE 3 Cindy is great! She can do soft, she can do bold, she can do sexy.. Amelia cricks her neck, suddenly agitated. She stands and in a few jerky moves is up on top of the old TV. JUDGE 3 (CONT’D) I think she has a lot of extremes... A stream of piss comes from between Amelia’s legs. It runs over the TV screen. Amelia’s face as she relieves herself. She opens her mouth wide, clicking her jaw. She looks terrible. 80.",TWIST +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. UPSTAIRS LANDING/LOUNGE ROOM/KITCHEN - NIGHT 103 103 - Landing. Samuel opens the door a sliver. Bugsy jumps from his arms and races down the stairs. Sam is beside himself, trying to call the dog back. - Bugsy arrives in the loungeroom, bravely facing his opponent. He barks ferociously. Amelia, still on top of the TV, regards the dog with casual indifference, her eyes dead. She jumps down to the floor, squaring off at Bugsy. A moment of stillness.Bugsy is spooked and makes a run for it. - Kitchen. Amelia chases Bugsy. The poor thing doesn’t have a chance as she grabs it by the neck. He struggles, trying to bite her. It’s awful. Amelia’s terrible face, the dead eyes, fixated on the task. The sound of Bugsy squealing in pain. Bugsy’s little legs kick in spasms. A ghastly snapping sound. The squealing stops dead, the legs go limp. Amelia looks at the dog’s corpse, emotionless. Her face suddenly scrunches up in pain, she looks broken. It’s her molar. She yells dropping Bugsy’s corpse on the floor. She reaches into her mouth with her fingers, grabs hold in the back, wrenches the tooth from side to side, groaning horribly. She pulls and tugs, screaming in pain. After an age it wrenches free. She looks at the bloodied molar in morbid fascination, blood pooling in her mouth. Suddenly bored with it, she throws the tooth away.- Lounge. Amelia stalks into the room. She instinctively whips her head up and looks straight at her son, his face peering over the bannister. He disappears, a door slams. Amelia’s jagged limbs move quickly, like a spider. She bolts straight up those stairs to her son.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. AMELIA’S BEDROOM/OUTSIDE AMELIA’S BEDROOM - NIGHT 104 104 - Samuel sits with his back against the locked door, key in hand. He hears Amelia’s footsteps right outside. He freezes as she tries the door.81. AMELIA (O.S.) (Slightly distorted) Samuel. He tenses, sits up to listen. - Amelia on the other side. She clears her throat, tries to ‘normalize.’ The pupils in her eyes contract slightly. AMELIA (CONT’D) (More normal) Samuel. Let me in. (No response.) Bugsy’s hurt. We need to go get help.. Her voice sounds normal but her face is terrifying. AMELIA (CONT’D) Samuel. Do you want Bugsy to die?? Samuel silently disappears out of frame. Back to Amelia on the other side. Her mouth contorts with rage, her eyes devil’s eyes. She pounds on the door, growing violent. AMELIA (CONT’D) Samuel! Let-me-in! (No response) I’ll huff and I’ll puff and I’ll BLOW YOUR FUCKING DOOR IN!! She grabs the door frame with both hands, lifts herself up and slams the door with both feet. Then again, and again, over and over, till the door is kicked off its hinges and falls to the floor. Amelia enters, looks around. No sign of Samuel. This infuriates her. She moves in a jerky, powerful way, as if she has rods in her limbs. She looks under the bed, behind the curtains. She hears a tiny noise, swivels around in time to see her son sliding down from the top of the wardrobe. His little frame running towards the door. Amelia lets out a screeching sound, just like the Babadook. Samuel stops and turns to look, terrified.His mother glides straight towards him, a spectral sight. Samuel instantly wets his pants. AMELIA (CONT’D) You little pig. 6 years old and you’re still wetting yourself. 82. He can’t look at her, puts his hands in his pockets. AMELIA (CONT’D) (Cruel) You don’t know how many times I’ve wished it was you not him that died. SAMUEL (Near tears) I just want you to be happy. AMELIA (Mimicking him) I just want you to be happee! You know, sometimes I just want to smash your head against the wall until your fucking brains pop out. Samuel backs away from her, his fists clenched. SAMUEL (Low) You’re not my mother. AMELIA What did you say? Looking her bravely in the eyes. Those terrible eyes. SAMUEL I said you’re not my mother ! She bends down to Samuel, her face evil, horrifying. AMELIA (Shrieking) I-AM-YOUR-MOTHER!! Samuel throws a firecracker on the floorboards, then another. They stun her long enough so he can escape. Amelia finds fresh rage. She bolts out after him.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. UPSTAIRS HALLWAY/SAMUEL’S ROOM - NIGHT 105 105 - Samuel pelts down the hallway. His mother tears after him, screaming, her limbs disjointed and ‘broken’, moving fast like a spider. - Sam’s room. Samuel’s hands shake as he puts on his weapons. His eyes are wide with terror. Amelia appears in the doorway, huge and terrifying. She looks at him with a cruel fascination. SAMUEL GET AWAY!!83. She laughs a hideous laugh, closing in on the boy. He launches the cricket ball, it hits her in the face. She bends over, covers her face with her hands, groaning. Samuel looks at his mum, very worried.Amelia stands up, takes her hands from her face. She laughs, mocking him. She’s not hurt at all. Samuel fires his nail gun off in desperation, two large rusty nails land in his mother’s shoulder. She yells out in pain. This time she’s not pretending. Samuel makes a quick getaway.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HALLWAY - NIGHT 106 106 Amelia comes out raging. She pulls the nails out of her shoulder, looks downstairs, then up to the top rooms, which way did he go? Samuel is behind her, hiding in front of a cabinet in the hall. All she has to do is turn around and he’s dead. He stares at his mother’s back, holding his breath. There is a loud knock on the front door. Amelia pauses. Then she’s down those stairs, hardly touching the ground.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LOUNGE ROOM/FRONT DOOR/KITCHEN - NIGHT 107 107 Amelia lurches towards the front door, her face looks casually insane, and wholly evil. A silent, swift blur of movement can be seen in the background. It’s Samuel escaping to the kitchen. - Amelia’s deranged profile looking through the peep hole. Amelia’s POV. Mrs Roach is waiting outside.Amelia’s fingers clutch the doorknob. She’s ready to rip that door off it’s hinges. - Samuel is horrified to see Bugsy’s remains on the floor in the kitchen. He tries the back door. It’s locked. - Through the peephole: Mrs Roach waits patiently in her dressing gown, shaky on her feet. She hesitates to knock again. Her kindly face looks worried.84. Something changes in Amelia. Her terrible expression softens. She lowers her head, her breathing slows down. INT/",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. - NIGHT - HALLWAY/FRONT PORCH 108 108 The door opens, Amelia stands behind the locked security grille. Her face is half in the shadows. MRS ROACH Sorry love, I know it’s late. I just wanted to make sure you’re OK... AMELIA (Clearing her throat) I’m OK. MRS ROACH I know this time of year is terribly hard for you. And I know you don’t want me to go on about it, so I won’t.. Amelia’s face behind the screen. She starts to normalize with Mrs Roach’s words, her eyes full of pain. MRS ROACH (CONT’D) I just want you to know I’d do anything for you and Sam. I love you both. You can always talk to me love. Always. Amelia��€™s face softens and saddens with every word. Her eye glints in the shadows, tears forming.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. KITCHEN - NIGHT 109 109 Samuel has just closed a kitchen drawer. AMELIA (O.S.) (Normal voice) Samuel. Sam jumps. He turns sharply to see his mother at the other end of the kitchen. She looks completely normal. Samuel watches her, caught between love and terror. AMELIA (CONT’D) (Genuine) I’m sorry. I said some terrible things. But I didn’t mean any of them... She takes a step further into the kitchen. Samuel tenses. AMELIA (CONT’D) I understand you’re scared. Samuel watches her, very wary, but drawn in by her.85. AMELIA (CONT’D) (Remorseful) I haven’t been good since your Dad died. I haven’t been good at all.. I’m sick Sam, I need help. Samuel’s face softens. He listens intently. AMELIA (CONT’D) I just spoke to Mrs Roach. We’re going to stay there for the night. Amelia comes closer. She kneels in front of her son. Her face is soft and terribly sad. AMELIA (CONT’D) Do you want to do that? Amelia puts one hand gently on his shoulder. Samuel nods. Amelia’s hand behind her back is twisted and clenched. AMELIA (CONT’D) I want to make it up to you Sam. I want you to meet your Dad. She slips her other hand around the back of his neck, soothing him with her touch. He tenses. AMELIA (CONT’D) It’s beautiful. You’ll be happy there.. Samuel can see his mother’s pupils don’t look normal. Without warning, he quickly raises a carving knife behind his back and sinks it deep into his mother’s leg. She looks to him, then to the knife, absolutely stunned. SAMUEL Sorry Mummy. He’s out of there.Amelia stumbles onto her arse, looking in shock at the big knife sticking out of her thigh. She reverts to something much more primitive than before. Her face distorts, a picture of madness. She rips the knife out in one go, yelling as she does it. Samuel races to the basement door. He takes a look back.Amelia lets out a blood curdling sound as she rises.Samuel disappears into the basement.86.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BASEMENT - NIGHT 110 110 Amelia pauses at the top of the stairs, then descends at full speed, screaming like a banshee. A little hand pulls a rope, a trip wire forms.Amelia’s feet connect with it. She tumbles forward, hitting her head on the ceiling beam, hard. She stumbles around, concussed. The room spins before her, she sees a brief glimpse of Samuel watching in horror, then the ceiling, the floor, out of control. It looks terrible as she swerves and stumbles.Sam has a baseball bat in both hands. He runs to Amelia and strikes her as hard as he can in the of the knees. She buckles and hits her head first on the wall, then hard on the concrete floor. The blows knock her out.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BASEMENT - LATER 111 111 Black screen. The sound of very fast, shallow breathing. The ceiling comes into focus, one dingy light overhead. Amelia in profile breathing super fast. Her pupils are now large and black as coals. She tries to lift herself up but despite her considerable power, she can’t. She looks down. Every part of her, neck to toe, is tied and bound with rope, belts, anything Samuel could get his hands on. She looks like Gulliver in Lilliput. She makes a terrible shrieking sound, struggling to free herself. Samuel slinks out of the shadows with his magician’s cape on, holding the baseball bat, trembling with fear. SAMUEL Mum... Amelia sees him. She snarls, threatening him. SAMUEL (CONT’D) I’m not leaving you... Amelia groans horribly, trying to free herself. Samuel comes in a touch closer. The monstrous Amelia looks at him, as if trying to register who it is. Samuel inches in closer, Amelia stops struggling. 87. He pulls out the bunch of paper flowers. She stares at them, becoming more herself, calming. Sam leans in. Amelia suddenly yells even louder than before. Samuel runs to the far corner of the basement, scared stiff. She laughs at his terror, a monstrous, agonized laugh. SAMUEL (CONT’D) We said we’d protect each other... Some of her ties have come undone. A few of the others are starting to come loose. Samuel doesn’t notice as he sneaks back towards her, trying his hardest to be brave. SAMUEL (CONT’D) I know you don’t love me. The Babadook won’t let you. But I love you mummy, ever since I was born and I always will... The words get in somehow. Amelia’s face screws up in pain, fighting this thing that has taken her over. Another tie works itself loose, she wriggles and moves. SAMUEL (CONT’D) My dad died because he died. Not because of me.. It’s not my fault. Amelia’s face contorts, affected by his words. She gasps for breath, trying to come out of it. A black tear wells up in the corner of her eye. She starts to shake. SAMUEL (CONT’D) (Desperate) You let it in, you have to get it out! The tear rolls down her face. A black substance seeps from one nostril. She looks terrible, shaking, trying to come back from the brink. Samuel starts to cry at the sight, suddenly losing all his strength. The baseball bat goes limp in his arms. SAMUEL (CONT’D) (Bawling) I don’t want you to go away... Amelia’s arm suddenly comes free. Amelia rips the bat out of Sam’s hands and throws it across the room. He tries to get away. But before he can escape she’s grabbed him. SAMUEL (CONT’D) NO!... NO, NO!! MUMMY!88. Her other hand comes free. Samuel tries to punch and kick her, she tightens the grip on the back of his neck. She takes both hands and places them round Samuel’s neck. She struggles with what she is about to do but loses out. Slowly but surely, she chokes him. His little hands pull at her hands around his neck. But she’s too strong. Sam’s face turns red, he can’t breathe. A look of terrible recognition passes across Amelia’s monstrous face as she realizes what she’s doing, but still she can’t stop. She cries out, trying to summon up strength from the depths. It doesn’t come. Samuel eyes bulge. He takes both hands and with great effort places them on his mother’s cheeks. He strokes his mother’s face, full of love, trying to get her to stop. It’s heart wrenching. Something snaps in Amelia. Her body shakes violently. Black tears rolling down her face. She throws Samuel away from her, screaming out as she sends him sliding halfway across the room. Amelia gets up on all fours, shaking her head from side to side. The movement becomes so quick, so surreal, that her head becomes a violent, screaming blur. Samuel calls out to his mother, desperate and frightened. After a time, Amelia’s head movements slow down. Then finally, they stop. A long pause. Amelia suddenly and forcefully vomits up a black substance. It hits the floor urgently. Samuel watches on, speechless. It’s horrible, disturbing. Just as soon as it started, it stops. Amelia falls face forward and lies dead still, her eyes open and staring. Samuel runs to her. Desperate, he grabs her shirt, pulling her up, her head falls back. He hits her hard on the chest, as hard as he possibly can, over and over. Amelia inhales like a drowning person coming up for air. She lets out a cry, a human cry this time, full of pain. Samuel wipes her face and kisses her cheek, grateful she’s alive. Amelia looks around completely disoriented.89.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LOUNGE ROOM - NIGHT 112 112 Amelia limps through the basement door holding her son’s hand, slowly coming out of her trance like state. They stand there shell shocked. The house is silent. A low rumbling starts up. Samuel looks all around him, then to his mum. She looks at him, unnerved. SAMUEL ‘If it’s in a word, or it’s in a look, you can’t get rid of the Babadook.’ Without warning Samuel’s body is suddenly ripped from her arms. An unseen force drags him up the stairs, his body bouncing as he hollers for his life. Amelia screams as she watches him disappear out of sight.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. STAIRWELL/AMELIA’S ROOM - NIGHT 113 113 - Amelia races up the stairs as fast as she can. - She arrives at the door.Sam is standing by her bed, his arms rigid. He is picked up and flung against the wall. A sickening thud, he looks like a broken doll. Amelia screams. She races to Sam, grabs hold of his arms. They’re ripped out of her grasp. Sam hits the wall again and again. It’s brutal, he starts to lose consciousness. Amelia grabs Sam’s leg, then locks her arms round his waist. She uses all her strength to push him onto the bed, covering him with her body, gripping the edges so she doesn’t fly up against the wall herself. The bed starts to shake violently. A rumbling sound throughout the room. Amelia stares off into the shadows, acknowledging this thing as real for the very first time. AMELIA (Desperate) What do you want! The bed lifts up then slams down violently with them on it. Amelia holds on tighter, Samuel clings to her. AMELIA (CONT’D) TELL ME WHAT YOU WANT!! The bed drops to the floor. The sound stops, replaced by an eerie calm. Sam hides his face in the mattress.90. The door creaks open. A figure steps into the light, Amelia stands up on the bed to see who it is. Sam grabs her waist, hides his face in her skirt. It’s Oskar. A look of dread passes over Amelia’s face. AMELIA (CONT’D) (Shaking her head) No... OSKAR Keep breathing.. A very faint rumble starts up again. Amelia can’t take her eyes from her husband, her panic becomes visible. OSKAR (CONT’D) Put your seat back sweetheart. Ten more minutes and we’re there. AMELIA NO... Amelia shakes, tears forming. The rumbling intensifies. OSKAR I think it’s going to rain. Oskar is oblivious to the noise building around him. AMELIA STOP!! Truck tyres skid, brakes screech, horns blaring. A hot, white light shines in Oskar’s face, blinding him. The screeching sound becomes deafening. Amelia watches as the top half of her husband’s head is severed, from the ear on one side to the jaw on the other. His corpse quickly drops to the floor. Amelia stares at it, her body shakes uncontrollably, tears run down her face. She cries out as if she’s being murdered, an unimaginable grief. A sound starts up, taunting her. ‘ Babababababa dook-dook- dook.’Amelia watches the corpse suddenly pulled back, swallowed up by the shadows as if it was never there. She searches the dark but can only see a formless shape lurking there. Her grief and pain transforms into anger. She spits the words out, trembling, hardly able to breathe.91. AMELIA (CONT’D) You....are....nothing. The hideous growling grows more threatening with her words. Her energy rises visibly. A pure, white hot rage. AMELIA (CONT’D (CONT’D) YOU’RE NOTHING! The hideous shadow grows larger, rising up to the ceiling, terrorizing her. The floors and walls shake. AMELIA (CONT’D) This is MY HOUSE! You are trespassing in MY HOUSE! Its growls turn to a deafening roar as the shadow touches the ceiling, a huge mass of black terror. Amelia fights a sickening, gut wrenching fear as she finally faces up to this thing. AMELIA (CONT’D) (Not turning away) If you touch my son again, I’ll fucking KILL YOU! Bits of the ceiling fall to the floor. The walls crack. Sam’s body is flipped up and pulled violently towards the shadows. He yells. Amelia grabs him by the hands and yanks him to her, there’s no way she’s letting go this time. Sam wraps around her waist, she holds him tight. The sound of the Babadook is deafening. Its presence takes over the room. Amelia jumps up on the bed end, her son in her arms, and lets out a scream so strong, so piercing, it smashes every window in the room. She looks utterly fierce. A mother enraged, protecting her son. Her scream dies away, but her eyes are full of life. She searches the darkness. The huge shadow shrinks down from the ceiling, its growls reduce to a hideous moan. The shadow is slowly and completely lost to the darkness. The noise of the Babadook stops altogether. Amelia stands tall on the bed end, searching the shadows, holding her breath. An unbearable silence.92. The outward figure of the Babadook, just like the one in the picture book only life size, rolls in to the edge of the shadows. It looks absurd, creepy, its black arms stretched out like a scarecrow. Amelia holds her breath, waiting for something to happen. The ‘figure’ suddenly drops to the ground like a sack. Amelia starts. It collapses into a shapeless mound of hat and coat with nothing underneath. Amelia slides down to the floor, staring at it, dumbfounded. Sam jumps on the mattress, face down. A moaning sound starts up under the coat. Hellish, but somehow sad. Amelia inches in to look, her face softens. SAMUEL (Looking up, scared) Mum, don’t... Amelia comes in really close now, reaching out to touch the coat, checking if it’s real. The Babadook POV. It rises from under the coat up to the ceiling, towering over Amelia, then screeches right down to her face. We don’t see it but she does. It blows the skin back on her face, her eyes widen, her mouth is forced open in a grimace. Just like mask of the Babadook. And as quick as it appeared, that thing is out of there.- The Babadook’s POV flying out the door, Amelia and Sam are left behind.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LOUNGE ROOM - NIGHT 114 114 By the time Amelia makes it downstairs, the Babadook has disappeared into the basement, door slamming. She runs over to it, locks the door, takes the key. Amelia turns. Sam stands opposite her. He cries, then howls, completely overwhelmed, his body shaking. Amelia races to him, scoops him up. Samuel clings to her for dear life. She strokes his head, kisses his face, holding him as tight as she can. She takes him to the couch, cradles him in her arms and soothes him with her words. Full of a mother’s love. They stay there like that for a long time together.93.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MRS ROACH'S FRONT YARD - DAY 115 115 Sam looks through a window. He has his best clothes on, looking adorable. He sees something, his face lights up. The front door opens. Sam guides Mrs Roach down the steps, then lets go of her hand and runs to mum. Amelia scoops Sam up in her arms. She looks different. Stronger. Her eyes more relaxed and alive. MRS ROACH Watch your mum’s leg little one. AMELIA He’s fine. I’ve had the stitches out. MRS ROACH You’ll have to be more careful around the home. It can be a death trap. AMELIA (Not a touch of irony) I know. MRS ROACH What time’s the party? AMELIA Anytime after 3 is fine. Just going to have a bit of real food first, before the sugar onslaught starts. Samuel snuggles into her. She hugs him back. MRS ROACH See you in a few hours then. Mrs Roach gives them a sweet nana wave. They wave back.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LOUNGE ROOM - DAY 116 116 The lounge room is still run down, but tidy and clean. There are homemade birthday decorations strung up. Amelia and Samuel sit on the couch, side by side.The couple from Social Services sit opposite, cups of tea in hand. Amelia is much more grounded in their presence. PRUE That school’s a good choice. 94. AMELIA I’ve done a lot of reading about it so.. I think Sam’ll be happy there. WARREN (Stiff) He’s been away from school over two weeks now. Time to get back into it. AMELIA (Strong) We needed time to sort things out. Samuel nestles into his mum. Prue smiles tightly. PRUE Are you having a party? AMELIA It’s Sam’s birthday today. We’re having a small thing, just a few friends. SAMUEL The first birthday I’ve ever celebrated. The visitors look a little shocked. AMELIA That’s not true! SAMUEL Yes it is mum. (To the visitors) My first party on the day. PRUE (Pointed) That’s unusual. Amelia can see the judgement in the woman’s eyes. She decides not to let it go. AMELIA (Not a trace of self pity) My husband died the day that Sam was born. The DOCs couple don’t know how to respond. SAMUEL He got killed driving mum to the hospital to have me. Amelia doesn’t rush in to rescue them. The woman mouths the word ‘oh’. The man is completely out of his depth, just staring blankly at them.95. AMELIA Sam’s just like his dad was, always speaks his mind. Sam is snuggled right in to his mum, protected. WELFARE WOMAN (To Samuel, ignoring what just happened) Birthday parties are always fun, especially when they’re yours. SAMUEL My cousin was going to come but she’s scared of me because I knocked her front tooth out. Amelia looks to DOCs, a half smile plays on her lips. She looks beautiful. Prue looks awkward, her cup slipping on the saucer. AMELIA (Getting up) I’ll take that for you.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. GARDEN - DAY 117 117 A cross section of soil. Bugsy’s corpse buried there. The flesh begins to rot. Worms and bugs crawl through it. Travelling up to the roots of a plant bursting out of the earth. A rose bush. Amelia’s tends to the soil around it. She admires a single black rose in full bloom. Samuel is nearby, opposite the fence. There’s a target painted on it. He has two home made ‘nail guns’ on either leg. He aims then fires them off in quick succession. Amelia looks up. The nails hit their mark. AMELIA Good shot! Samuel looks pleased. He runs over to her. SAMUEL I’m protecting you mum. AMELIA (Genuine) You’re doing such a good job. He runs back to his target, full of beans, firing up again. 96. Amelia picks up another worm and adds it to a bowl full of them. She takes off her gloves and gets up.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BASEMENT DOOR - DAY 118 118 Amelia is at the door which now has many bolts on it. She undoes them all as Samuel watches. She goes over to where she’s put down the bowl of sludge and worms, picks it up. Sam keeps one eye on her as he tentatively sneaks one foot into the basement. She turns around and sees him. AMELIA (Fierce, protective) UH UH UH! NO! He stops in his tracks. AMELIA (CONT’D) (Moving to him) It’s not a game, Sam. Amelia crouches down to Sam’s level, patient and loving. AMELIA (CONT’D) One day, when you’re a bit bigger. You keep working on your weapons... Samuel silently accepts what she’s offering. For now. AMELIA (CONT’D) (Firm) Go right out into the yard and stay there till I call you, alright? He nods and runs outside.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BASEMENT - DAY 119 119 Amelia descends the stairs. It’s dark and hard to see. A very faint rumbling starts up. The room is clearer than before. Oskar’s things are still there, but now very neatly stacked in one corner. Amelia places the bowl of slop in the centre of the room. She steps back and waits, peering into the darkness. She’s frightened, but does her best to conceal it. The rumbling increases. She can see a familiar shadow in the corner, moving ever so slightly. A low insect like noise. She braces herself, peering in to try and see it. A sound behind her. The back of Amelia’s head as she turns around, her eyes widening.97. Amelia is knocked off balance then twisted and bent backwards. Her arms grab at the air to try and right herself. She grunts and groans, her face is forced to one side. The sounds around her are horrible, threatening. Amelia seen from above. She is bent right back as she forces her head to look up. She lets out a low guttural warning sound, then a shout, full of power.. Her back releases slightly, she is able to right herself, standing eye to eye with something we don’t see. Her face is tense, her pupils dilate. She looks afraid but something else is there now. Something soft and sad. AMELIA (Tenderly, through the fear) Ssh.. Ssh... It’s alright, it’s alright.. Ssh..... She stays there awhile. Her breathing is laboured, her pupils now huge and black. A tortured moan off screen. She continues to soothe and reassure it, undeterred. Time stretches. A moment of peace. Amelia’s eyes return to normal. The POV falls away from her, dropping to the floor. Amelia stands over it. The bowl of slop there on the floor untouched. Nothing else can be seen in the room. In one quick move the bowl is sucked into the darkness. Amelia walks backwards to the stairs. She turns and climbs them as quick as she can without running.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. GARDEN - DAY 120 120 Amelia carries a tray filled with sandwiches. She sets it down in front of Samuel. He has his magician’s outfit on. SAMUEL How was the Babadook? AMELIA Pretty quiet today. Amelia reaches up and undoes his top collar, inspecting the bruises on his neck. She can’t hide her shame. SAMUEL (Gently) It’s much better mummy.. She brings her hand up to stroke his cheek, looking at him with love. She puts a sandwich on Sam’s plate.98. SAMUEL (CONT’D) Wait! I’ve got a new trick.. He runs to get a silver dome off the ground, races back and plonks it on the table. SAMUEL (CONT’D) Life is not always as it seems! (Waving his hands) Nothing in my hands, nothing in my hands. He makes something appear in his palm, it’s a coin. AMELIA (Impressed) Very good! SAMUEL Wait! I haven’t finished.. Amelia watches on, intrigued. Samuel places the dome over the coin. He grabs a spoon and taps it on the top for special effect. He whips the lid off and underneath is a bird. A real, live bird. Amelia laughs with surprise. AMELIA (Shocked) How did you do that! The bird flaps around on the table. Samuel does an impromptu jig around his mum, very pleased with himself. She laughs, enjoying his dance. She tries to grab hold of his arm. He wriggles free, happy, laughing. AMELIA (CONT’D) Come here... Amelia finally catches his arm, drawing him to her. She hugs him and puts him on her lap. He stops wriggling around and settles in, relishing his mother’s love. A quiet beautiful moment, neither of them say a thing. Amelia rubs her son’s back, he snuggles into her. AMELIA (CONT’D) (Quietly, after more than a moment) Happy birthday sweetheart. Sam breaks into a smile. He closes his eyes and leans into his mother, his face beaming. THE END99.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BRADLEY TERMINAL - BLURS - DAY A1 slide past in a 400mm lens. Then, entering a plane of focus is VINCENT. He walks towards us...an arriving passenger. Suit. Shirt. No tie. Sunglasses and expensive briefcase say ""confident executive traveler."" The suit's custom-made but not domestic. His hair and shades are current, but it would be difficult to describe his identifying specifics...grey suit, * white shirt, medium height. And that's the idea... * CLOSE BEHIND VINCENT OVER his left shoulder, walking through milling travelers * towards the distant wall of metal and glass, sunlight streaming at him... ANOTHER BUSINESSMAN - suit, blonde crew cut - walks to camera. Same sunlight, but it hits him from the side. His trajectory is from the left. His eyeline is slightly right. Just now, he looks down at a ticket in his hand... OVER VINCENT'S LEFT SHOULDER... right now something catches Vincent's eye. And the two men bump into each other... TWO-SHOT... VINCENT You okay? Sorry... Vincent puts down his briefcase. The man has a similar briefcase. MAN (North London working- class accent) Yeah, yeah, I'm fine, mate. Enjoy * LA... VINCENT GRABS THE BRIEFCASE OF THE MAN with the North London working-class accent. And continues towards the exit. Was it an accident? Was it a brush pass? The Man's accent signified nothing to us except one thing: foreign origin. VINCENT approaches until he's in ECU... (CONTINUED) 10/6/03 MM revs. (pink) 1A. A1 CONTINUED: A1 OVERHEAD SHOT: VINCENT up from the bottom of the frame, departs across the floor with the yellow tile, until we lose him into the milling hundreds of Angelenos, heading out into Greater LA and its eighteen million people. 1 CREDIT SEQUENCE: 1 Images wipe across the screen, kinetic and abstract, floating and dreamlike in SLO-MO: Shades of yellow. Ribbons of silver. Shimmers of chrome. Headlights sweeping past, flaring to white. Brake lights flashing, halating red. Reflections of overhead fluorescence flowing like liquid along windshield glass... SOUNDS are dreamlike and abstract, reverberated and discordant, bouncing off concrete walls: car doors OPENING and CLOSING. Brakes. A BABBLE of multi-lingual crosstalk. Racing Forms. A Farsi newspaper. African hands on a * Blackberry. Max's hands do The New York Times crossword. A * West African speaks French into a cell phone. Metallica in a * headset. Hip-hop, Norteno... * Mechanics hands change tires, replace air cleaners, close a * hood. * 2",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. TAXI DISPATCH - L.A. - DAY 2 ORANGE and YELLOW FORD CROWN VICTORIAS are wiping screen. We * find ourselves in a busy garage at change of shift. A balletic * convergence of arriving and departing cars. One's door's flung open... 3,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ONE CAB - MAX'S HANDS 3 enter. They wipe the seats with paper towels and 409...a DMV LICENSE fitted into the small Lexan holder. On it is a picture of Max. Lights being checked. Indicators. Hazards. Switches. Similar to a pilot doing an aircraft check list. Fast . All fine. REVEAL NOW: MAX'S BRIEFCASE * He opens it, preparing for his workday. CD caddy of personal * mixes goes on a visor. Spreadsheet peaks out a worn Mercedes * S500 brochure, clipped open. A submarine sandwich from Subway. * (CONTINUED) 10/6/03 MM revs. (pink) 1B. 3 CONTINUED: 3 LONG LENS: OTHER CABBIES - OTHER FACES * load-in. Southern California diversity - some unshaven, * swapping stories, counting cash, one stands on the passenger * seat to shout over the roof to his pal, spills his coffee, * couldn't care less... * Not Max. His cab is fly. Among cabbies he is GQ. And as CAR HORNS BLARE. AD LIB BANTER. CABBIES SHOUT. Max gets behind the wheel, closes the door... 4",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAB - DAY 4 ...and WHAM! The noise evaporates. Welcome silence. Max takes a moment to savor it. (CONTINUED) 10/11/03 MM revs. (goldenrod) 2. 4 CONTINUED: 4 He starts the engine. RAP MUSIC BLARES from the radio. Max turns it off. He dumps a CD into the changer. MOZART SONATA fills the cab. From the open briefcase, Max also pulls out one last thing... A TATTERED POSTCARD which depicts the whitest sand and bluest sea you can imagine. A dream place. An endorphin-releasing groove. Limitless horizon. It's the Maldives Islands in the Indian Ocean. MAX slips the postcard under the rubber bands on the visor. He can see it whenever he wants to. But not now. He flips the visor up, puts the car in gear and pulls out. CUT TO: 5",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LA DOWNTOWN - MAX'S CAB - LATE DAY 5 northbound on the 405 or Harbor Freeway, an on-ramp to the east * 105. It's all magical in the light. Max's cab, rocketing along circulinear ramps into complexity of five traffic streams... 6",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAB 6 ...harsh reality intrudes . Max is driving a YOUNG PROFESSIONAL COUPLE with carry-on bags, having a heated argument about... MAN ...it's always you. Why is everything always directed at you...? WOMAN ...everything is not ""always about me."" He was being sarcastic and you goddamn well know it... MAN ...I'm sorry, I didn't hear it that way... WOMAN ...oh, bullshit! How about the dig about the makeover...? MAN ...what do you want me to do, punch the guy out? I work with him. And you're perfectly capable of taking care of your own...... (CONTINUED) 10/6/03 MM revs. (pink) 3. 6 CONTINUED: 6 WOMAN (interrupts) ...well, last I checked, you were sleeping with me, so unless you wanna start fucking him, I suggest... Max endures it silently, invisible as furniture. He doesn't exist as far as his passengers are concerned... 7",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAB - LATE DAY 7 ...as Max drops an elderly Asian couple in Little Saigon... * Up ahead, he sees a cluster of CHINESE GANGBANGERS in their early 20's wearing cheap suits, white shirts and no ties. Some guy gets pushed to the ground, punched and kicked while four or * five watch, amused. Max's first instinct... * MAX Hey, leave-up on him, man... One GANG MEMBER, eating take-out with chopsticks, hears, turns, sees Max. GANG MEMBER Say what? What you lookin' at, bitch? (stream of hot Cantonese) He throws his food container. Another throws a beer bottle. Max hits the accelerator as the bottle bounces off the rear windshield... 8 EXT/",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAB - GAS STATION - LATE DAY 8 by the freeway. Mexican murals are coated with a patina of corrosion from the fumes. We find Max cleaning Chinese take-out off his cab with the water hose while the gas pump CLICKS OFF. The Attendant he's known for five years finishes a taco. * ATTENDANT * (in Spanish) * How'd you get the chop suey all over * the cab? * MAX * (in Spanish) * I didn't. The cab got in a fight with * a gang of Chinese Cholos. * ATTENDANT * (in Spanish) * There's been sprouts by the passenger * door. * (CONTINUED) 10/6/03 MM revs. (pink) 3A. 8 CONTINUED: 8 Max hangs the nozzle back, gets in the car... * Max slips his credit card into the briefcase. We glimpse the * Mercedes S500 catalogue again. And Max flips the visor down, * staring at the island. Soothed by the blue. We're seeing the most private of Max's rituals, the one he doesn't share with anybody. Now, he starts hustling for calls by posting himself in a nearby zone. See Max work the computer. He bids and gets a next load. * DISPATCHER (get language) CUT TO: * 9 OMIT 9 * 10/12/03 MM revs. (buff) 4. 10 OMIT 10 11",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAB - MAGIC HOUR - SUPERIOR COURT BUILDING - MAX 11 presumably, has dropped a load in front. He fills out his trip sheet. A pedestrian businessman asks directions to LAX. Max ad libs, directing him to the people-mover. Yellow cylindrical stairs...a pretty young WOMAN descends into the interior lobby. Max finishes his notation. The young WOMAN detours through media and the rush-hour crowd while talking rapid fire into a cell phone, starts toward Max's cab, waving at it... Max doesn't see her, starts to pull away. She gives up, turns toward a green City Cab behind her, but it just picked up a load. Then, Max catches sight of her and stops. Red taillights. She turns and starts for the cab. We SEE Max regard her in his rearview mirror. He ejects a CD and loads a different one. ADDENDUM: WILD DIAL FOR ANNIE ACTION while Annie's on the cell * phone to UNHEARD LEGAL ASSISTANT/TRANSCRIBER... * ANNIE * I need it transcribed... * ASSISTANT'S VOICE (UNHEARD) * Off of what? * ANNIE * Off the line sheets. * ASSISTANT'S VOICE (UNHEARD) * Why? * ANNIE * 'Cause I think it's him on there. In * the gold Lexus on the cell. If it is, * he's enhanceable, 'cause of priors in * the late '80's... * ASSISTANT'S VOICE (O.S.) * What about tomorrow afternoon? * 10/12/03 MM revs. (buff) 4A. 11A",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT./,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAB 11A The woman, ANNIE FARRELL, enters the cab. Everything about her says ""serious professional"" from her suit to her briefcase and purse. Still on her cell, her attention is focused on the call. ANNIE ...no, the transcriptions need to be * done by seven a.m.. Period. Okay? * MAX How ya' doin'? Where to? ANNIE Downtown. 312 North Spring Street. Take Sepulveda to Slauson to La Brea. La Brea north to 6th into downtown. Max pulls away from the curb, starts the meter and turns left. ANNIE (CONT'D) (into cell phone) So you'll be up late. I'm pulling an * all-nighter, too. Save the tears. She ends the call, starts to check her voicemail on her phone. Max's eyes in the rearview mirror... (CONTINUED) 10/11/03 MM revs. (goldenrod) 5. 11A CONTINUED: (2) 11A MAX I'll take 105 east and up the 110. It's faster. ANNIE (doesn't look at him) What? MAX (louder) 105 to the 110 is faster. ANNIE 110 turns into a parking lot around USC. MAX This late, the 110 is moving, but La * Brea north of the Santa Monica is * jammed. * ANNIE 110 north of the 10 you get people * going to Pasadena and they drive slow. * MAX That's why I jump off at Grand. * (looks at her) But, hey, surface streets is cool. That's what you want, that's what we do... * Annie looks up for the first time. Skeptically... ANNIE Are we taking bets? What if you're wrong? MAX Your ride is free. ANNIE You got yourself a deal. 12",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. OLYMPIC BLVD. - DUSK TO NIGHT 12 Max's cab maneuvers easily through light traffic past golf driving ranges. 13,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAB - DUSK TO NIGHT 13 Annie glances up from a legal brief, noticing the lack of traffic. (CONTINUED) 10/9/03 MM revs. (yellow) 5A. 13",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAB - DUSK TO NIGHT 13 Annie glances up from a legal brief, noticing the lack of traffic. (CONTINUED) 9/1/03 MM revs. (yellow) 6. 13 CONTINUED: 13 ANNIE Go ahead, say it. Go ahead. MAX ...lucky with the lights. ANNIE You weren't ""lucky with the lights."" What you were was right. I was * wrong... (glances at his license) ...Max. She sets the brief aside, eyes tired anyway. She notices the MUSIC playing faintly up front. Bach's ""Air on a G String."" ANNIE (CONT'D) You mind turning this up? Max doesn't mind at all. He tweaks the volume up. Annie leans her head back to listen, closes her eyes. MAX You like Bach? ANNIE (nods) I used to play this piece in high school. MAX Let me guess. Woodwinds? ANNIE (smiles) Viola. I never had the lungs for wind instruments. MAX Could'a fooled me, the way you were unloading into that cell phone. ANNIE (laughs) Different instrument... (beat) You know, if you'd only listened to me, we'd be all bogged down in traffic right now, and you would have made an extra five bucks. MAX Yeah? Keep it. Buy yourself something. Go wild. (CONTINUED) 10/11/03 MM revs. (goldenrod) 7. 13 CONTINUED: (2) 13 ANNIE (off his silence) A gentleman. I thought chivalry was a necessary casualty of gender politics... MAX Not a big thing, you know...? ANNIE How many cabbies get you into an argument to save you money? MAX There were two of us. I killed the other guy. I don't like competition... She's charmed by his deadpan. ANNIE You take pride in...being the best at * what you do...? MAX This? (hesitates) This is temporary. You know. Pays the bills. I fill in with this. I WILL be the best at what I do, but * that's something else. ANNIE What else? MAX I'm setting up something... * ANNIE Like tell me...? MAX ...limo company I'm putting together. Island Limousines. An island on wheels. So I'm part-timing until I get delivery, Benzes off leases, work up my client lists, staff up, all * that... An uncomfortable beat. He turns the conversation back to her: MAX (CONT'D) You like being a lawyer? (CONTINUED) 9/26/03 MM revs. (goldenrod) 7A. 13 CONTINUED: (3) 13 ANNIE You psychic? (CONTINUED) 10/11/03 MM revs. (goldenrod) 8. 13 CONTINUED: (4) 13 MAX I'm starting an 800 hotline. (off her look) Caught your phone call. And even if I hadn't, there's the dark pinstripe. * Elegant, not too hip, which rules out * advertising, plus a top drawer briefcase, that you live out of, purse * looks like a Bodega... ANNIE (laughs) Bottega. MAX ...Bottega. Guy gets in my cab with a machete? I figure he's a sushi chef. You? Clarence Darrow. Annie can't help laughing. ANNIE Not quite. He worked defense. I'm a prosecutor... MAX Big case? ANNIE Yeah. 14",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FEDERAL BUILDING (NOT 312 SPRING STREET) - DOWNTOWN - 14 DUSK Max's cab slides in to the curb. Beat. Still a lot of pedestrian and car traffic, people heading home for the night. 15",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAB - ANNIE'S 15 smile fades as she gazes up at her building, some anxiety comes back. ANNIE You got us here fast... She digs in her purse for the fare. MAX You never answered my question. You like what you do? ANNIE (hedging) Yeah. (CONTINUED) 10/12/03 MM revs. (buff) 9. 15 CONTINUED: 15 MAX But not right now...? ANNIE (nods) No, I do...like I can't wait. ...I * love standing up in that courtroom. * (hesitates) At the same time...I always get this clenched-up thing the night before the * first day... MAX Clenched-up how...? * ANNIE (beat) I think I'm gonna lose. I think I * suck. I think my case sucks. I * haven't prepared enough. My exhibits * aren't in order. People are gonna * figure out that I don't know what I'm * doin'. And I've had this charade * going for years. I represent the * Department of Justice of the United * States government and my opening * statement is gonna fall flat at the * really important point and the jury's * gonna laugh at me. * (beat) Then I cry... I don't throw-up. A * lot of people throw-up. I have a * strong stomach. * (beat) * Then I get it together. And rewrite * my opening statement. Work the * exhibits. For the rest of the night. * That's my routine. (looks up with a smile) In the morning, it starts. I'm fine. * Max is focused on her eyes. * MAX You need a vacation. * ANNIE (faint smile) I just had...a vacation. On the Harbor Freeway. She takes money out of her purse. (CONTINUED) 10/12/03 MM revs. (buff) 9A. 15 CONTINUED: (2) 15 MAX No. Not in a cab. You need your head straight, gotta get your unified self up, get harmonic...you know... ANNIE When was the last time you took a break? MAX I take little ones all the time. ANNIE How often? MAX Dozen times a day. He flips the visor down, revealing the postcard of white beaches, clear green water. It's the first time he's shared this with anybody: MAX (CONT'D) Maldives Islands. It gets heavy, I take five. Go there. (CONTINUED) 9/8/03 MM revs. (buff) 10. 15 CONTINUED: (2) 15 On impulse, he slips the postcard free and offers it to her. * ANNIE No, I couldn't take that...I couldn't. MAX Yes, you could. You need it more than I do. (off her hesitation) It helps. I promise. She accepts the postcard, surprised and touched. Her gaze lingers on his for a moment. She holds it. ANNIE Wow. Thanks for everything, Max... MAX Sure thing. She gets out of the cab, starts to walk away... ...but turns back, ducking into the cab's window. Looking a bit flustered, she pulls a business card and offers it to him. ANNIE In case you ever...I don't know...wanna start an investigation of a Fortune 500 company or argue cab routes or something... And with that, she goes towards the three assistants waiting for her outside the revolving door. Max is left somewhat stunned, holding her card. He glances down at it: ANNIE FARRELL ASSISTANT UNITED STATES ATTORNEY CRIMINAL DIVISION CENTRAL DISTRICT OF CALIFORNIA Meanwhile... 15A",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FEDERAL BUILDING, GARAGE - DOOR 15A * A hand punches a sequence of numbers into a keypad. The garage is visible beyond. The lock unlocks. We see it is Vincent who walks into the steel interior staircase from the garage. 16",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FEDERAL BUILDING - VINCENT - DUSK 16 * emerges from the interior staircase into the lobby in his good * suit with the expensive briefcase. Casually, he glances to his * right. We don't know why... (CONTINUED) 9/8/03 MM revs. (buff) 10A. 16 CONTINUED: 16 OVER VINCENT in front of him is a guard station and a row of tumbrils that require an identity card to not trigger and alarm. Vincent produces his card, scans it across the top. * (CONTINUED) 9/8/03 MM revs. (buff) 11. 16 CONTINUED: (2) 16 The indicator goes GREEN. Vincent slips the card into his * briefcase and walks through, towards the bank of elevators. * However, he doesn't take an elevator. He walks past them * towards an escalator down to the street. Why did he walk into, * through and out of the lobby of the building? * FRONTAL CLOSE: VINCENT and PAN RIGHT with him as he and we start a descent on the * escalator from the stone foyer to the street level. * PAST VINCENT'S HEAD, * riding the ""up"" escalator is Annie Farrell and the group of * lawyers. Vincent looks at her, appreciatively, then away. * 17 OMIT 17 17A",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FEDERAL BUILDING - VINCENT 17A exits, approaches us, and ARM DOWN to include the yellow top of Max's cab... Max still holds Annie's business card, marveling at it and her. From the FRONT... VINCENT Hello? MAX (glances back) Uh, yeah... And Max can't hide his eyeline and interest... VINCENT Let's go to... (Max isn't paying attention) You free? Or... * Vincent starts towards another cab pulling up... * MAX Yeah, yeah, sorry... Vincent gets in. * (CONTINUED) 9/30/03 MM revs. (cherry) 12. 17A CONTINUED: 17A MAX (CONT'D) Where to? VINCENT 452 South Union Street. 17B",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAB - MAX 17B pulls out, starts the meter. VINCENT (checks his watch) How long you think this'll take? MAX Fourteen minutes. VINCENT Fourteen? Not fifteen? Not thirteen? MAX Two minutes to get onto the 101. Transition to the 110 to the 10 and exit on Normandie is four minutes. North on Normandie is five minutes. Two minutes to South Union 'cause there's roadwork. Thirteen plus one for ""shit happens."" Vincent checks his watch. VINCENT Mind if I time you? (Max shrugs) What do I get if you're wrong? A free ride? MAX An apology. Max heads for the 100 on-ramp. MAX (CONT'D) ...I already offered up the free ride * today. * VINCENT To who? * MAX ...some girl. * (CONTINUED) 10/9/03 MM revs. (yellow) 12A. 17B CONTINUED: 17B VINCENT Did you ask her out? Vincent's read Max's mind. Max hadn't thought it through that far. Now that he does, reality sinks in. Annie's out of his league and he knows it. Gone forever, Max jams her card under the rubber bands on the visor. CUT TO: 18",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. 6TH STREET BRIDGE OVER 110 - NIGHT 18 * Max's cab zooms across, heading out of downtown. * 10/9/03 MM revs. (yellow) 13. 19",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAB - VINCENT 19 Max changes the subject. * MAX First time in LA? VINCENT No. To tell the truth, whenever I'm here, I can't wait to leave. Too sprawled-out. Disconnected. You know...? But that's me. (beat) You like it here? MAX It's home. VINCENT 17 million people. This was a country, it would be the fifth biggest economy in the world. But nobody knows each other. Too impersonal. * But that's just me...you know... * (beat) I read about this guy. Gets on the * MTA, here, and dies. Six hours he's riding the subway before anybody notices. This corpse doing laps around LA, people on and off, sitting next to him, nobody notices. MAX I see your po",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int. Yeah... Vincent glances around the cab. VINCENT Cleanest cab I've ever been in. Your regular ride? MAX Yeah. I share it with the dayshift guy. VINCENT Prefer nights? MAX People are more relaxed, you know? Less stress, less traffic, better tips. VINCENT You get benefits? (CONTINUED) 10/4/03 MM revs. (blue) 14. 19 CONTINUED: 19 MAX Like sick leave? * VINCENT Retirement? Health and welfare? * MAX It's not that kind of job. VINCENT Start a union. MAX Me, specifically? VINCENT Why not? MAX Last thing I need is a reason to keep driving a cab. It's temporary. I'm fillin' in, you know, while this other thing I'm putting together is shaping up... VINCENT How long you been driving? MAX Twelve years. Hardly temporary... VINCENT Really? What else are you putting together? Max hesitates. He's not as secure as he was with Annie. MAX I don't talk about it. No offense, but... VINCENT (smiles, shrugs) None taken. Talkers and doers. Like you, I like doers. 20",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SOUTH UNION STREET APARTMENT BUILDING - NIGHT 20 A rundown, quasi-deserted area. Alienation in the twilight. A lonely tenant watches the city from an open window. Max's cab pulls to the curb... 9/24/03 MM revs. (green) 14A. 21",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAB - VINCENT 21 closes his briefcase, checks his watch. (CONTINUED) 10/4/03 MM revs. (blue) 15. 21 CONTINUED: 21 VINCENT Fourteen minutes. Man, you're good... MAX Lucky with the lights. VINCENT Yeah, sure. You probably know the light schedules, too. (leans forward) Listen...I'm in town on a real estate deal . A closing. One night. I got five stops to make, collect signatures. See some friends. Then I got a six a.m. out of LAX. Why don't you hang with me for the night...? MAX I'm not a hire car. It's against regs... VINCENT Regulations? These guys don't pay you sick leave. (pulls his wallet) How much you pull down a shift? MAX Two-fifty, four hundred. * VINCENT I'll make it six hundred. Plus an extra hundred if you get me to LAX and I don't have to run for the plane. Vincent draws CRISP HUNDRED-DOLLAR BILLS from his briefcase, fans them like a magic trick. Meanwhile, a car pulls up behind double-parked Max. Vincent steals a glimpse of his PC. See a real estate prospectus-looking display. VINCENT (CONT'D) ...take a chance. MAX Man, I don't know. VINCENT Yes, you do. MAX (succumbs) Yeah. Okay. Vincent smiles, gives him a firm handshake. (CONTINUED) 10/4/03 MM revs. (blue) 15A. 21 CONTINUED: (2) 21 VINCENT Cool. We got a deal. Here's three hundred down. What's your name? (CONTINUED) 9/2/03 MM revs. (green) 16. 21 CONTINUED: (2) 21 MAX Max. VINCENT Max? I'm Vincent. Vincent gets out. Max calls after him: MAX I can't double park here... VINCENT I'll meet you in the alley behind the building. Understood. Vincent steps into the building foyer, while... Max puts the car in gear... 22",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. ALLEY - NIGHT 22 ...and pulls into the alley behind the apartment building. 23,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAB - MAX 23 brings the car to a stop and notices Vincent's briefcase lying on the back seat. A trusting soul. Max smiles. MAX Definitely not from around here. He kills the engine. Silence. There's a noticeable lack of city noise. DISTANT talk radio. Spanish gospel from a Baptist church. An occasional car passes the mouth of the alley. Max trades Mozart for Beethoven. Max checks his watch. Dinnertime. He turns to his battered briefcase on the passenger seat. It's filled with carefully arranged items. NAPKINS in the pockets. UTENSILS in the pen holders. FOIL PACKS of mayo and mustard and Thousand Island Dressing. 1.5 liter PLASTIC BOTTLE of vitamin mineral water. The well-worn Mercedes brochure for * the S500. A spreadsheet, like a handwritten business plan. A * large submarine sandwich wrapped in two halves. Neat note pads. Everything's in methodical order. 9/14/03 MM revs. (cherry) 17. 23A",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT./,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. APARTMENT BUILDING - VERY CLOSE PAST VINCENT 23A climbing stairs with palm trees and downtown behind... 23B,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAB - MAX 23B spreads Thousand Island on the sandwich. He glances up at the visor. He tilts it down, peering at Annie's business card, wondering what to do. Will he call her? He sits a moment, fighting a wave of sadness. Unhappy with himself. With his life. His place in the world. 23C OMIT 23C 23D",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAB - MAX 23D raises the sandwich to take a bite... FROM THE FLOOR UP PAST MAX + THE STEERING WHEEL (VFX - GRN SCRN) * up THROUGH the windshield is the twinkle of stars in the night sky. Suddenly, a dark shape from above blacks out the sky. It descends towards us. As Max takes a bite... ...WHAM! SOMETHING HUGE rocks the cab on its axles ! GLASS rains down. A HEADLIGHT EXPLODES! The windshield FRACTURES! Max bounces off the ceiling. His submarine deconstructs all over the interior. His coffee spills... ...and then abrupt, stunning silence. What hit him. An earthquake? Max takes a dazed beat. He peers at the windshield... THE DEAD FACE OF A FAT MAN STARES AT HIM . Max recoils with a yell, scrambles from the cab, heart pounding... 24",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ALLEY - FROM ABOVE: CAB - NIGHT 24 * A CORPSE is angled across part of his roof and windshield in a * bathrobe. There's shards of window glass from upstairs everywhere. It makes a halo around the cab. Max is stunned. (CONTINUED) 10/11/03 MM revs. (goldenrod) 18. 24 CONTINUED: 24 He looks to see where the body came from. MAX POV: 3RD STORY (SOUTH UNION LOCATION) A window on the top floor is broken out. A white curtain flaps in the breeze. 24A LOW ANGLE: CMS MAX 24A * turns. Vincent has entered the alley and now stops. * Max's first thought: this passenger will think Max ran into * this guy. MAX He - He fell on my cab...! (points) VINCENT (pause) You always stutter? MAX Well, yeah. Yeah. Guy fell on my motherfucking cab from up there...! Max looks up, points again, as if Vincent might have missed it * the first time. Vincent's focus hasn't left Max. * MAX (CONT'D) I think he's dead. VINCENT ...taken two .45s and did a high dive onto his head. It's a good guess. Max stares at Vincent. It's sinking in. Vincent, meanwhile, * has to make his decision . About Max. Kill him and find another, or... MAX You - you killed him? VINCENT No. I - I shot him. The bullets and the fall killed him. A frozen beat. Everything's out in the open. Max realizes he's in trouble. He backs away, thinking escape... ...and like lightning, Vincent's .45 H+K is in his hand. To Max the .45 caliber bore is the diameter of the Spring Street tunnel. (CONTINUED) 10/11/03 MM revs. (goldenrod) 18A. 24A CONTINUED: 24A VINCENT (CONT'D) Red-light-green-light? Light's red. Max freezes. (CONTINUED) 9/30/03 MM revs. (cherry) 19. 24A CONTINUED: (2) 24A VINCENT (CONT'D) You can run, but you'll die tired. Max nods. Shakily raises his hands. VINCENT (CONT'D) Put down your hands. (beat) Are you cool? Say ""I am cool."" * MAX You are cool. VINCENT No. (beat) You say you are cool. MAX I am...I'm cool. Vincent decides. The gun disappears back into Vincent's waistband. VINCENT Okay. Help me out here. * MAX With what? VINCENT El Gordo decided to get some air and not take the stairs. So we go to plan B. Pop the trunk. * MAX My trunk? VINCENT (Isn't it self evident?) I can't * leave him here. So unless you want him riding up front with you...and given the hygiene... (smells) ...and his sphincters let go... Max reluctantly pops the trunk, circles to the front of the car. Vincent reaches over the hood, grabs the corpse by the bathrobe lapels, heaves the body into a sitting position. VINCENT (CONT'D) Gonna roll him off the hood. * (a homily for Max) * Always lift with your legs... * (CONTINUED) 9/30/03 MM revs. (cherry) 20. 24A CONTINUED: (3) 24A MAX I don't think I can do this. VINCENT He's only a dead guy. On three. Uno. * Dos. Three. He rolls the corpse off the hood. Grimacing, Max gets a firm grip under the arms. Vincent gets the legs. VINCENT (CONT'D) Got it? MAX Yeah. They start shuffling toward the trunk. Suddenly, Max lets out a YELL, almost dropping his end. VINCENT What? MAX His hand moved! His goddamn hand twitched! VINCENT It's a spasm! Jesus, don't be such a girl... ANGLE FROM INSIDE TRUNK as they heave the body inside, pausing to catch their breath. VINCENT (CONT'D) (to heavy dead person) * Never heard of a treadmill? * He slams the trunk, shutting us into DARKNESS... 25",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CAB - NIGHT 25 ...and we find Max frozen like a statue while Vincent is dousing the hood with Max's 1.5 liter bottle of drinking water. VINCENT Six liters of blood in the average Angeleno, he's gotta dump all his...on your cab. (a final dousing) Okay, that's good enough. Vincent heads for the car, notices Max's feet are frozen to the * concrete. * (CONTINUED) 9/14/03 MM revs. (cherry) 21. 25 CONTINUED: 25 MAX Uh, look...why don't you, like, take the cab... VINCENT ""Take the cab..."" MAX Yeah. I - I'll chill. You know. And...they don't check. You know? They don't. They don't know who's driving these things. You, me... VINCENT And you promise you will never tell anybody? Right? ...get in the fucking car. Max does. Vincent gets into the back seat... 26",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAB - MAX 26 behind the wheel, turns the key. The ENGINE GRINDS. He tries again. MORE GRINDING. VINCENT Can we leave the scene of the crime, * now, please? MAX I'm trying... He turns the ignition again. GRIND. GRIND. Vincent's getting steamed: VINCENT Max. MAX It's not me! Grind. Grind. VINCENT The engine is already on. Put the little pointer on the letter ""D."" ""D"" stands for Drive. (CONTINUED) 9/29/03 MM revs. (salmon) 22. 26 CONTINUED: 26 Max pulls out of the alley... 27",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. STREET - AS MAX'S CAB 27 MAX You're making me nervous. VINCENT I'm making you nervous? I'm the one on a schedule... ...accelerates away, disappearing, another CAR appears. 27A",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. UNION STREET 27A It cruises down the street and stops in front of the apartment building. RAY FANNING emerges from the car. Edged hair, an earring, * sports clothes. A salesman or a player or a dealer. Forties, a face with character and some miles. And something insistent about his intent... He heads towards the entry gate, rings a buzzer. Waits a moment. Rings again. Nothing. Plus...he looks like he could kick your ass if he wanted to. He pulls a thin plastic card from an inner pocket of his jacket, jimmies the door lock... 28",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. APARTMENT BUILDING COURTYARD, THIRD FLOOR - FANNING - 28 * NIGHT approaches across the balcony walkway against the junky palms and downtown skyscape. He knocks on the door...causing the door to swing in slightly. He glances down, sees the lock was pulled. Tensing, he fades to one side, his hand going to his holster at his hip. He draws a Beretta, reaches out and pushes the door all the way open... 29",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. APARTMENT - NOTHING - NIGHT 29 A dark shambles. Old take-out. A TV. Fanning enters * cautiously, alert for the slightest movement or sound. FANNING * Ramone? (beat) Estas fiestando con una chica? (CONTINUED) 9/29/03 MM revs. (salmon) 22A. 29 CONTINUED: 29 Nothing. Fanning cautiously enters the bedroom, worried now. * Reemerges. Nothing. 30",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. APARTMENT - FANNING 30 * carefully negotiates the corners and slides along the wall to SEE... (CONTINUED) 9/30/03 MM revs. (cherry) 23. 30 CONTINUED: 30 THE BROKEN WINDOW Glass missing. He leans out. A dizzying drop. A halo of broken glass on the alley below...in the center of which is a big blank spot. FANNING Fuck. And he produces his police radio and we realize he's a cop. 31,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAB, TRAVELING - MAX - NIGHT 31 Max winds his way through surface-street traffic, in shock, sneaking anxious glances at Vincent in back. Vincent's got the tablet PC from his briefcase, studying it. The silence is thick. Max's hand is shaking. He lifts it off the wheel, tries to steady his fingers. Vincent diverts some attention to Max... VINCENT (O.S.) Try deep breathing. MAX What? VINCENT Adrenaline's wearing off. You get shaky after. Some people slip into shock. It's not uncommon. Deep breathing helps. Max starts drawing in breaths, letting them out slowly. VINCENT (CONT'D) Is that better? MAX I think so. They stop at a RED LIGHT. Max glances at the passenger seat. Dressing and stray pieces of lettuce and mortadella. He parks the gearshift and goes for the paper towels, cleaning up. Vincent over the tablet PC, taking in Max. Softly: * (CONTINUED) 10/4/03 MM revs. (blue) 24. 31 CONTINUED: 31 VINCENT What are you doing? MAX It's a mess. VINCENT So? Max keeps wiping, as if getting the seats clean might put everything right again. VINCENT (CONT'D) Lady Macbeth. Leave the seats. The light's green. We're sitting here. A CAR HORN HONKS behind Max. The car whips around them to get through the intersection. DRIVER Asshole! VINCENT You no longer have the cleanest cab in La-La Land. You gotta live with that. * Focus on the job. Drive. Right. Max puts the car in gear and proceeds. VINCENT (CONT'D) (checks the PC) 7565 Fountain. You know it? MAX West Hollywood. VINCENT (checks his watch) How long, you figure? Max has to force himself to concentrate: MAX Seventeen minutes. Why? Silence from the back. Max into the rearview, realizing: MAX (CONT'D) Oh. Oh, no. You're kidding. We... VINCENT I told you we had other stops to make tonight. (CONTINUED) 9/30/03 MM revs. (cherry) 25. 31 CONTINUED: (2) 31 MAX You said you were visiting friends! VINCENT They're somebody's friends... (changes display) * You drive a cab. I make my rounds. We both do our jobs, you might make it through the night and come out seven hundred bucks ahead. MAX I...I'm not trying to piss you off, see? Okay? But I can't drive you around so you can murder people... Man, that's not my job... VINCENT Tonight it is. MAX You don't get it. I mean it. Really. I'm not up for this... Vincent realizes Max is on the verge of panic. VINCENT You are stressed. I understand that. * Keep breathing. Stay calm. Max starts deep-breathing again, exhaling slowly. Vincent stows * the PC. * VINCENT (CONT'D) Are you breathing? MAX Yes. VINCENT Good. What else calms you down? Candy? Cigarettes? Breathe. MAX Music. VINCENT Play music. Max turns on the CD. SOFT CLASSICAL. VINCENT (CONT'D) Chopin prelude. Stodgy. (Max nods) Here's the deal. (MORE) (CONTINUED) 9/24/03 MM revs. (green) 26. 31 CONTINUED: (3) 31 VINCENT (CONT'D) You were gonna drive me around and never be the wiser. But because of El Gordo's high dive, we're into Plan B. Still breathing? (beat) Now. We have to make the best of it. Improvise. Adapt to the environment. Darwin. ""Shit happens."" The I * Ching...whatever. Roll with it... MAX I Ching? You threw a man out a window! VINCENT I didn't throw him, he fell. MAX What'd he do to you? VINCENT Nothing. I only met him one time. MAX Then how can you kill him like that? VINCENT I should only kill people after I get to know 'em? (off Max's look) Six billion people on the planet and you get bent out of shape 'cause of one fat guy? MAX Who, who was he? VINCENT What do you care? Ever hear of Rwanda? MAX Rwanda. Yeah. * VINCENT Tens of thousands killed before sundown. Nobody's killed people that fast since Hiroshima and Nagasaki. Did you bat an eye, Max? Did you join Amnesty International, Oxfam or something? No. (off Max's silence) (MORE) (CONTINUED) 9/14/03 MM revs. (cherry) 27. 31 CONTINUED: (4) 31 VINCENT (CONT'D) I off one Angeleno, you throw a hissy fit... Max stops at another RED LIGHT. MAX I don't know Rwandans. VINCENT You don't know the guy in the trunk, either. (beat) If it makes you feel any better, he was a criminal involved in a Continuing Criminal Enterprise. MAX Oh, that makes it okay, then. 'Cause * all you're doing is taking out the * garbage... VINCENT Something like that... (distracted) What you need to remember is that nobody gets out of this alive. Even if we quit smoking. Cut out red meat. Everybody dies... Suddenly -- A BRILLIANT GLARE OF FLASHING LIGHTS stabs at the cab. Max sees -- -- an LAPD CRUISER behind the cab . The ROOFTOP LIGHTS FLASHING... COP #1 (P.A.) Please pull the vehicle over to the curb. Max complies. A second bright beam lights up the interior. TWO UNIFORMED COPS emerge from the patrol car. Faceless silhouettes, approaching cautiously. VINCENT (low) Get rid of 'em. MAX How? VINCENT You're a cabby. Talk yourself out of a ticket. The cops are now circling to either side of the cab, using Maglite FLASHLIGHTS. (CONTINUED) 10/11/03 MM revs. (goldenrod) 28. 31 CONTINUED: (5) 31 Vincent eases the briefcase off his lap, his hands clear his field of movement, spread open his jacket to better reach his waistband and his H+K. MAX Please. Don't do anything. VINCENT Then don't let me get cornered. You don't have the trunk space. MAX I can't believe this... Vincent's hand reaches... VINCENT Believe it. MAX Don't. I'll talk to them, I'll talk to them...! VINCENT (re: cops) Probably married. A COP'S HAND descends to the driver's window, raps loudly, GOLD WEDDING BAND catching the light as it taps on the glass. VINCENT (CONT'D) Maybe that one's got kids. Probably * his wife's pregnant... MAX I'll deal with it! A FLASHLIGHT BEAM pops on at the driver's window. Cop #1 glaring light into Max's eyes. A SECOND FLASHLIGHT BEAM pops on, this from Cop #2 on the passenger side. Checking out Vincent in the back. Vincent smiles good-naturedly. Max rolls his window down. Cop #1 leans down, and we see his face for the first time. A clean-cut blonde guy. (CONTINUED) 10/11/03 MM revs. (goldenrod) 29. 31 CONTINUED: (6) 31 COP #1 License and registration. Max pulls them off the visor, hands them over. The cop examines them by flashlight. COP #1 (CONT'D) Pulled you over 'cause your * windshield's smashed. * (beat) * All of this current? * MAX Yes, officer. From the other side of the cab, COP #2 lets out a laugh. He's playing his flashlight beam across the seats. Mustard and mayo everywhere. COP #2 Wha'd you, have a food fight in here? Max gives Vincent an ""I told you so"" look in the rearview mirror. Meanwhile, we HEAR dimly on the POLICE RADIO about a domestic disturbance on 83rd and Hoover and some officers responding. Cop #2 plays his beam across the cracked windshield and damaged hood. Faint reddish traces in the pa",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int. His smiles fades. COP #2 (CONT'D) Is that blood? * MAX Yeah. See... (thinks fast) I hit a deer. COP #1 A deer... MAX Over by Slauson. COP #1 A ""South Central"" deer? MAX Goddamn deer jumped out in front of me. You believe that? COP #1 (indicates Vincent) Why you still carrying a passenger? (CONTINUED) 10/11/03 MM revs. (goldenrod) 29A. 31 CONTINUED: (7) 31 MAX I was headed back to my depot, see, you know? And his drop's on the way. COP #1 Yeah, but your cab's not safe to drive. And we're going to impound it. We need to do a vehicle inventory while we wait for the tow truck. Pop the trunk and step out of the vehicle. (swings flashlight beam to Vincent) (MORE) (CONTINUED) 9/30/03 MM revs. (cherry) 30. 31 CONTINUED: (8) 31 COP #1 (CONT'D) I'm sorry, sir, you'll have to phone for another cab. VINCENT Is that necessary, Officer? I'm just a half mile from here. COP #1 I'm afraid it is. Please exit the vehicle. (to Max) You, too. Max hears a SOFT CLICK behind him. The unmistakable sound of a safety CLICKED OFF . He meets Vincent's gaze in the rearview * mirror. A whisper: VINCENT You open that trunk, they go inside. Behind Vincent, through the rear windshield, Max sees Cop #2 moving to the trunk, playing his flashlight across it... Max, mouth dry... MAX Hey, man, it's been a long day. You know? It's so slow, I pay this guy to ride so I don't get lonely... (re: Vincent) My first fare. How about a break? I'm heading to the barn, anyway... COP #1 Get out of the car. And open the trunk... Max tosses a hopeless look into the rearview. Vincent's staring at him. No mercy there. Max steps from the car. The cop escorts Max toward the rear, Vincent smoothly pulls his H+K from his waistband and emerges on the passenger side, gun held out of sight and a heartbeat away from opening fire... ...a CRACKLE OF STATIC, a PANICKY VOICE COMES OVER THE POLICE BAND: POLICE RADIO Officer needs help. We got a man with a gun. Shots fired at 83rd and Hoover... Cop #2 to his partner. (CONTINUED) 9/14/03 MM revs. (cherry) 30A. 31 CONTINUED: (9) 31 COP #2 Let's go. Off-screen radio talk from many responding units... (CONTINUED) 10/2/03 MM revs. (tan) 31. 31 CONTINUED: (10) 31 COP #1 (to Max; leaving) Get that cab back to your garage... The cops pile into their black-and-white and ROAR off into the night. Max and Vincent are left standing, gazing across the cab at each other. VINCENT Breathe. Max starts deep-breathing as they get back in the cab... CUT TO: 32",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HOTEL + PENTHOUSE - CORPULENT MAN - NIGHT 32 * in an attorneys suit with rapper clients. VINCENT (to himself) I thought Californians exercised...? REVEAL Vincent looking at his PC. Vincent pulls from his briefcase an identity card for a Notary Public and a second gun, a .45 Cal Para-Ordnance back up. He moves the slide, checking there's a round in the chamber. Max hears metal on metal, looks up. As Vincent holsters it in the small of his back... VINCENT (CONT'D) (abrupt tone) What are you lookin' at? He gets out and enters the passenger seat next to Max in the front. VINCENT (CONT'D) Hands on the wheel. Ten and two. Like they taught you in driver's ed. MAX Why? (CONTINUED) 9/30/03 MM revs. (cherry) 32. 32 CONTINUED: 32 VINCENT Because I say so. * Max grips the steering wheel. Vincent has plastic ties and proceeds quickly and efficiently to bind Max's hands to the steering wheel. VINCENT (CONT'D) Cab's a disgrace. No wonder the cops * pulled you over. On the way out of the car... DISPATCH RADIO (O.S.) Max? Max? You out there, you son of a bitch? Vincent looks to Max... VINCENT Who...is that? MAX Lenny, my dispatcher. LENNY (O.S.) I know you're out there! Answer the goddamn call! VINCENT What happens if you don't? MAX He'll keep calling. LENNY (O.S.) Max? Answer! Vincent reaches across Max, pulls the mike off the dash, holds it up to Max's mouth. VINCENT Don't blow it. Max nods. Vincent thumbs the toggle. MAX Uh, yeah? Lenny? It's me. LENNY (O.S.) I got off the phone with the cops. A desk sergeant called to check you brought the cab in... (CONTINUED) 9/14/03 MM revs. (cherry) 33. 32 CONTINUED: (2) 32 Silence as Lenny waits for a reaction. Max and Vincent trade a look. Vincent shrugs, thumbs the toggle. Say something. MAX Yeah? So? LENNY (O.S.) So? So, aside from I hate talking to cops, they tell me you crashed the goddamn cab? MAX It got crashed! I didn't... LENNY (O.S.) Do I care what, where or why? You're * payin'! VINCENT It was an accident. You're not liable. (Tell him.) * MAX It was an accident. I'm not liable. LENNY (O.S.) Bullshit! I'm making you liable! * It's comin' outta your goddamn pocket... Vincent stares at Max, expecting him to respond. VINCENT Tell him to stick the cab up his fat ass. MAX I can't do that. He's the Man. VINCENT So what? MAX I need the job. VINCENT No you don't. LENNY (O.S.) You still there? I'm talking to you! Max? Max? Vincent abruptly puts the mike to his mouth, thumbs the toggle. (CONTINUED) 9/14/03 MM revs. (cherry) 33A. 32 CONTINUED: (3) 32 VINCENT He's not paying you a damn thing! * (CONTINUED) 9/30/03 MM revs. (cherry) 34. 32 CONTINUED: (4) 32 LENNY (O.S.) Who the hell are you? Vincent glances up, tilts the visor down to see Annie's business card. VINCENT Richard Riccardo, Assistant U.S. * Attorney. A passenger in this taxicab, and I'm reporting you to the DMV... LENNY (O.S.) (beat) Let's not get excited. VINCENT Not excited? How am I supposed to not get excited, listening to you try to extort a working man? You know * goddamn well your collision policy and * general liability umbrella would cover the damages. What are you trying to pull, you sarcastic prick? LENNY (O.S.) I'm just tryin' to...to... VINCENT Tell it to him. (shifts the mike) Tell him he's an asshole. MAX (hesitates) You're an asshole. VINCENT Tell him next time he pulls any shit, you're gonna stick this yellow cab up his fat ass. MAX Next time you pull any shit, I'm gonna stick this yellow cab up your fat ass. Vincent clicks off, hangs up the mike. Looks at Max. Beat. Max, taped to the steering wheel, nods. VINCENT (smiles) Don't wait up, hon. I gotta work late. (CONTINUED) 9/24/03 MM revs. (green) 34A. 32 CONTINUED: (5) 32 He grabs the ignition keys, shuts Max's door, strolls away. (CONTINUED) 10/2/03 MM revs. (tan) 35. 32 CONTINUED: (6) 32 Max watches in the sideview mirror as Vincent vanishes into the building. Max is left alone, trapped in his own cab in the alley. Max jerks and strains against the duct tape, trying to free his hands. He gives up, breathing hard. 32A OMIT 32A 32B",TWIST +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOTEL, PENTHOUSE - NIGHT 32B * The overweight LAWYER, SYLVESTER CLARKE, who we saw on Vincent's P.C., separates from two girls and a second man, all watching TV, to answer a phone... SYLVESTER CLARKE * He identify himself? * (beat) * Sure. Let him up. * 32C",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. LOBBY - VINCENT 32C * in shades leaves the Hotel Security and enters the elevator. * Meanwhile... * A32D,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOTEL, PENTHOUSE - SYLVESTER CLARKE A32D * crosses towards the front door. * 32D",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HOTEL - ALLEY - MOVING IN ON MAX 32D * He glances in the sideview, wondering where Vincent is, straining for a glimpse. Nothing. Just darkness back there... Mind racing... MAX HEY! HEY! OVER HERE! I'M IN THE CAB! HEY! HELP! The street traffic's distant; nobody's around. MAX (CONT'D) HELP! GODDAMN IT! THERE'S A MAN WITH A GUN! HE'S GONNA KILL PEOPLE! Max thrashes wildly against the duct tape, screaming with frustration. He starts head-butting the car horn... BEEEEEP! BEEP-BEEEEEEEEP! BEEEEEP! BEEP-BEEP-BEEEEEEEEEP! He raises his head, checking the street traffic a quarter block away. No one on the sidewalk takes notice of Max's cab. (CONTINUED) 10/2/03 MM revs. (tan) 35A. 32D CONTINUED: 32D MAX (CONT'D) Oh, fuck me. He shifts low on the seat, getting his knee under the dashboard. He slams his knee up, hitting the RED EMERGENCY LIGHT BUTTON concealed there. EMERGENCY STROBES START FLASHING at the front and rear of the car... ...and still nobody notices. MAX (CONT'D) GODDAMN IT, I'M FLASHING LIKE A CHRISTMAS TREE OVER HERE. He throws a look to the sideview mirror, sweaty and tense, knowing he's out of time. (CONTINUED) 10/11/03 MM revs. (goldenrod) 36. 32D CONTINUED: (2) 32D THE SIDEVIEW MIRROR IN WHICH WE SEE Max's reflected eyes. Seconds ticking breathlessly away as he struggles... He head butts the horn again. BEEP-BEEP. BEEEEP. Flashers and horn! MEANWHILE the ANGLE SHIFTS in the mirror, leaving Max's eyes and bringing into view the building and the penthouse at the top and we SEE... ...TWO SILENT MUZZLE FLASHES light up the windows like flashbulbs going off. Another death. Then A THIRD FLASH...then nothing. Lights out. Meanwhile... MAX (CONT'D) * Oh shit, oh shit, oh shit. * He is head-butting the horn. BEEEEP. BEEP-BEEP. And he checks * the mirror. This time when he looks, he sees... YOUNG WHITE GUYS. 20-25. They were on the sidewalk. Now they detour into the alley and approach the distressed cab from the back, shielding their eyes from Max's flashing lights. MAX (CONT'D) Oh. Oh, thank God! Hey, hey, man, help me out here! WHITE GUY #1 Yo, whassup? MAX (fast, stumbling) I got my, my hands taped to the steering wheel, here, by this guy, who's taped me in the car, 'cause he's up in the building somewhere... CLOSER, now, the four are in baggies, hoodies and tattooed with lightning bolts on their necks, swastikas on chests, one has ""5150"" tattooed on his shaven eyebrow (police code for emotionally disturbed)... WHITE GUY #2 You all trapped in there and shit? MAX ...yeah, he's coming back. Hurry. Get me loose so I can call the cops... WHITE GUY #1 nods...and pulls a chromed .380 and points it at Max. (CONTINUED) 9/22/03 MM revs. (yellow) 36A. 32D CONTINUED: (3) 32D WHITE GUY #1 * Fuck that, man, gimme your wallet. (CONTINUED) 9/22/03 MM revs. (yellow) 37. 32D CONTINUED: (4) 32D The others have walked off down the alley, laughing. One tosses * a beer bottle that smashes. Utter disbelief from Max... MAX Are you kidding me? WHITE GUY #1 I will fuck you up! Hand it over. MAX (beat) My hands are taped to the damn steering wheel ! It takes a moment for WHITE GUY #1 to process this. He steps to the window, presses the .380 against Max's cheek. It's utterly terrifying, everything happening fast: MAX (CONT'D) ...don't shoot me, don't shoot me... WHITE GUY #1 Then get your ass up, up ... Max pulls himself up by the steering wheel, trying to get his butt off the seat to give the Young Man access. The White Guy #1 gropes for Max's back pocket, trying to get the wallet, pressing the gun to his face, the other guys down the alley, turn the corner. White Guy #1 pulls Max's wallet, pockets it... ...and pauses, seeing Vincent's briefcase on the back seat . He yanks open the back door, grabs Vincent's briefcase, too, and walks off after his friends. White Guys #3 and #4 turned the corner. White Guy #2 lingers. Max, still taped, is shaken. He can't believe what happened. He looks through the windshield at... WHITE GUY #1 ...walking off, cocky as hell, about to vanish into the night... BACK OF WHITE GUY #1 VINCENT (O.S.) Yo' homie... White Guy #1 turns, to see the silhouette of Vincent. He raises his .380 side-handed, like he sees gangsters do on MTV. White Guy #2 joins him. (CONTINUED) 10/4/03 MM revs. (blue) 38. 32D CONTINUED: (5) 32D VINCENT (CONT'D) (even) That my briefcase...? White Guy #1 approaches Vincent from the front...#2 from Vincent's left. WHITE GUY #2 May-be. And what the fuck else you got? He closes on Vincent with the .380, held high and on the side. Vincent's left slams aside #1's .380. Draws and FIRES from the hip, putting TWO ROUNDS into #1. HAMMERS-ON TWO ROUNDS to the sternum, pivots. ONE to the head of #2. All in 1.6 seconds. White Guy #2, falling backwards, is dead before he hits the ground. #1 never saw it coming. Vincent picks up his case, retrieves something from #1's pocket, puts one more into the * head of #1 on the way back to the cab... ...where Max saw it all. Frozen in horror. Astonished. The rear door opens. Vincent hefts his briefcase into the back seat. He gets into the front. Vincent sits for a moment, staring off, not looking at Max. Maybe ready to kill him. Vincent raises something into view. Max's wallet. He tosses it in Max's lap. Vincent flicks his hand. CLICK-CLACK, a Reeves folding hunter in dull metal, razor sharp... VINCENT (quietly) Where's the button? Under the dash? MAX (dry whisper) Yeah. Vincent leans over and slices the plastic tie, freeing Max's hands. Beat. VINCENT You mind turning it off? Max doesn't move for a moment, then reaches under the dash and turns off the strobes. 10/11/03 MM revs. (goldenrod) 39. 33",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAB - MAX + VINCENT (TRAVELING) - NIGHT 33 Vincent in the back seat. (Juxtapose to a different continuity. * Through the side window, we see Crenshaw Boulevard barbershops, * music shops. We're stopped for a light.) Max is shell-shocked. VINCENT Another collateral. MAX What's that? VINCENT Collateral damage. People in the wrong place at the wrong time. (meets Max's gaze) And you? You attract attention? You are gonna get people killed who didn't need to be. Understand? MAX I'm low on gas... VINCENT Pull in there. 33A",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. GAS STATION, IN STREET - TAXI - NIGHT 33A pulls by. TIME-LAPSE - MACRO-CU: NUMBERS race by. WIDEN. SEE Max filling up the taxi. Vincent is positioned off the right rear corner from where he is line-of- sight to everything. His affect is flat, distant. Max has witnessed violent death and the full, lethal capabilities of Vincent. Neither say a word...until softly... MAX Vincent? VINCENT Yes, Max? MAX Am I collateral? Pause. A long one. VINCENT I haven't decided. Max is silent. Absorbing this. Vincent checks his watch. Unexpectedly, his mood changes up. (CONTINUED) 10/11/03 MM revs. (goldenrod) 39A. 33A CONTINUED: 33A VINCENT (CONT'D) But, hey! New news. We are ahead of schedule. MAX Huh...? * (CONTINUED) 10/11/03 MM revs. (goldenrod) 40. 33A CONTINUED: (2) 33A VINCENT We got time to kill. (fast change-down) You like jazz? MAX I'm...what? Sorry? VINCENT Jazz. MAX Not that much. VINCENT Guy told me about a place off Crenshaw. Leimert Park. All the West Coast greats played there. Dexter Gordon, Thelonious Monk, Chet Baker. Like that... (off Max's look) Buy you a drink. Expand your * horizons... Max doesn't get Vincent's mood up-change. CUT TO: 34",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SOUTH UNION APARTMENT BUILDING, ALLEY - CRIME SCENE - 34 NIGHT COPS and FORENSIC TECHNICIANS. In the midst of it all is: Ray Fanning. He wears his badge, visibly, now. We find him turning as his superior, RICHARD WEIDNER, 50-ish, is entering the crime scene. WEIDNER ...this informant of yours, what's his name, Ramone? FANNING Ramone Gallardo. Supposed to take him for a drink. I come here, find this. WEIDNER You been working him? * FANNING Four months...a low-level player, he's * been feeding me stuff on Felix. (CONTINUED) 10/4/03 MM revs. (blue) 40A. 34 CONTINUED: 34 WEIDNER * Reyes-Torrena? Forget Felix. Feds * are all over that. They don't want us anywhere near it. (CONTINUED) 10/11/03 MM revs. (goldenrod) 41. 34 CONTINUED: (2) 34 FANNING Since when is the LAPD working for the * Feeb? * (points up) Besides, Ramone flew out a window. My * C.I. flew out a window, he's got Felix's handprints on his ass. Yes? That makes it ours. WEIDNER (as if to a child) Where's the homicide, Ray? Where's a * body? All we got is glass... He spreads his hands at the alley floor in a gesture that says ""show me something besides glass."" FEMALE CRIMINALIST (O.S.) And blood... * WEIDNER * Huh? * FEMALE CRIMINALIST * (off looks) ...blood...down here...in the glass...here's some more... A FEMALE CRIMINALIST (SID) examines the alley floor with Luminol * and a handheld BLACKLIGHT WAND, picking out dark patterns. * FEMALE CRIMINALIST (CONT'D) ...small splatter patterns here...all * over there... * SHINING FLASHLIGHTS pick out blood on the alley wall. Fanning steps to where the cab was parked, stands in the middle of the blank spot surrounded by the glass, points down: FANNING Ramone flew out the window. Went * splat. Here's the glass. * (beat) Then some tires rolled over it. * WEIDNER How's that spell homicide? Maybe he jumped. FANNING Sure. He's depressed. So he jumps four stories out a window onto his head. (mimics) (MORE) (CONTINUED) 10/11/03 MM revs. (goldenrod) 41A. 34 CONTINUED: (3) 34 FANNING (CONT'D) ""Wow, that feels better!"" Picks himself up. ""Now, I think I'll go on with the rest of my day..."" PLAINCLOTHES COP (O.S.) (from above) Ray! Catch! Two uniformed cops have approached. * (CONTINUED) 10/11/03 MM revs. (goldenrod) 42. 34 CONTINUED: (4) 34 Weidner and Fanning glance up. A PLAINCLOTHES COP is leaning * out of Ramone's broken window, dangling a clear plastic baggy. He drops it. It comes sailing down... * ...right into Fanning's grasp. He glances down at it, shows it to Weidner... TIGHT ON WEIDNER ...revealing two spent .45 cal. shell casings in the bag. WEIDNER (switches) * So, who's got what? Any witnesses? We been knocking on doors? COP #1 Old guy across the street, lives above the deli? Says he saw a cab parked here earlier tonight. There were two guys working under the hood. WEIDNER Description. What did he see? COP #1 ""Kinda"" saw...guy's got glasses like coke bottles. FANNING Did he ""see"" it or did his seeing eye dog see it? COP #1 Late-model four-door Ford. Yellow or * orange. * (off Fanning's look) Maybe it was a taxi cab. WEIDNER Four thousand taxis in LA County. (beat) What else...? That's it. Uniforms go back to work. Photographer shows. He doesn't know what to shoot. (CONTINUED) 10/11/03 MM revs. (goldenrod) 43. 34 CONTINUED: (5) 34 Meanwhile, Fanning, lost in thought... FANNING Remember fall, 2001? That Bay Area * deal? Oakland. Cabbie drove around * all night. Killed three people... WEIDNER Then he flipped out, put the gun to his head. So what? * FANNING So the Oakland PD detective, * whatshisname, never bought it. WEIDNER Why? FANNING The Cabbie had no criminal record. No history of mental illness. Pops three people, then himself? And the victims weren't random. Two were involved in some pharmaceuticals scam... (off Weidner's look) Anyway, the detective always thought there was somebody else in that cab. 35",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ""DANIEL'S"" JAZZ CLUB - NIGHT 35 Dark and elegant - in an early '60's modern jazz kind of way with a low ceiling, small tables, leatherette booths, history soaked into the walls. A BLACK MAN in his late 50's, DANIEL, is playing a muted trumpet on stage with a QUARTET. CUSTOMERS are few, clustered at small tables or at a few curved leather booths. The walls are lined with great FRAMED PHOTOS of jazz icons. At one table, we find Vincent and Max. Vincent about the music... (CONTINUED) 10/4/03 MM revs. (blue) 44. 35 CONTINUED: 35 VINCENT ...a little '60's, early Miles thing * happening... * MAX * I never learned to listen to jazz. VINCENT You don't learn to listen...anymore * than you learn to breathe. Open your * ears. * Vincent's attention's focused on the music. * MAX * I get a beat. I don't really hear a * melody... * VINCENT ...he's off the melody, behind the * notes. Outside what's expected. * Improvising off impulse. Kind of like * tonight. * MAX * Like tonight? * VINCENT * Sure. * (beat) * This is nothing, if not ""What's next? * Right now. In the moment."" * (beat) * There's people...ten years from now? * Same job, same place, same shit. * Everything the same; keepin' it safe. * Over and over and over and over... * (beat) * ""Ten years from now?"" Man, you don't * know where you'll be...ten minutes * from now...tonight. * (beat; re: saxophonist) * That's what he's saying. Open your * ears. You'll hear it...in his * ""dialoguing"" with the trumpet... * The WAITRESS arrives, an Asian woman with a tray of drinks: WAITRESS 'Nother Vodka tonic, hon? (CONTINUED) 10/4/03 MM revs. (blue) 45. 35 CONTINUED: (2) 35 VINCENT And one for my friend. (indicates stage) Who's on the tenor sax? * WAITRESS That's Daniel, baby, he's the owner. VINCENT He is terrific. Would you be so kind * as to invite him over after his set? * I gotta buy him a drink. * WAITRESS Sure thing, darlin'... Vincent gives her a radiant smile and tucks a twenty dollar bill into her apron as she leaves... TIMECUT: ...and we find Daniel sharing more than a few drinks with Vincent and Max, the place almost closed. Just the three of them. DANIEL ...I was a young cat back then, about nineteen, bussin' tables. Right here. Didn't pay but shit, but that wasn't the po",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int. Being around the music, that was the thing. And I was. Take this one night...July 22, 1964...who walks in. Mr. Louis Armstrong. VINCENT You're kidding me. DANIEL Right through those doors. The man himself. VINCENT Jesus... DANIEL He was in town playing two gigs a night at the Coconut Grove in the Ambassador Hotel... After his last set, he decides to come on down to South Central to hang with his people. That's how he was, you see. Never forgot who we was. Money and fame an' all that? Meant nothin', long as he could blow that horn. (MORE) (CONTINUED) 10/4/03 MM revs. (blue) 46. 35 CONTINUED: (3) 35 DANIEL (CONT'D) So before you know it, he's up on that stage, doin' his thing. VINCENT Was it great? Better than great, it had to be... DANIEL Like Winton Marsalis says, it was pure, spiritual essence. Louis was playing. God was smiling. VINCENT You heard Armstrong play live. I've never been this jealous. You get to talk to him? DANIEL Did better'n that. Vincent gives him a questioning look. Daniel smiles, raises his hands, mimes blowing a trumpet. VINCENT No. DANIEL Oh, my, yes. VINCENT C'mon... DANIEL Fella owned this place back then, cat * named Dix Dwyer, he let slip to Louis * that I played. So Pops, he just waves me right up. My heart about stopped. But I got up there all the same, and we played for nearly twenty minutes. VINCENT Unbelievable... (to Max) ...you hearing this? Max is drawn into the story in spite of himself: MAX How'd you do? DANIEL How do you think? You ain't shit when you playing next to Louis Armstrong. But, Dippermouth, he was kind. He could see me trying. He carried my ass as best he could. (CONTINUED) 10/4/03 MM revs. (blue) 47. 35 CONTINUED: (4) 35 VINCENT Remember what you played? DANIEL Most vividly. (ticking them off) ""Potato Head Blues,"" ""Sleepy Time Down South..."" (laughs) ...then Pops laid some ""Cornet Chop Suey"" on me, and left me in the dust like a whipped dog. VINCENT * Whipped dog? * DANIEL * Whipped dog on a wet night. * VINCENT * Crowd dig it? * DANIEL (smiles, nods) The crowd was most kind. (beat) I was born in 1945, but that was the moment of my conception. Right here in the used-to-be crowded room. * Daniel picks up the bottle to freshen up their drinks... VINCENT Crowds not here now? DANIEL Oh, jazz ain't the draw it used to be. VINCENT But the place looks great. DANIEL Only 'cause I got the wherewithal to * finance keepin' it up on my own. * VINCENT What a great story. I'll tell the * folks in Culiacan and Bogota that story. ...and Daniel's hand freezes just as he's about to pour. He glances up at Vincent. (CONTINUED) 10/4/03 MM revs. (blue) 47A. 35 CONTINUED: (5) 35 DANIEL You know the people in Culiacan and Bogota? VINCENT (softly) 'Fraid so. Max is glancing from one to the other, unsure what's going on. Realizing it isn't good. (CONTINUED) 10/4/03 MM revs. (blue) 48. 35 CONTINUED: (6) 35 DANIEL And here I thought you were such a cool guy. VINCENT I am a cool guy. With a job I was hired to do. You know how it is. There's genuine regret in Vincent's tone. Max feels his heart pounding, but manages to keep his voice steady: MAX Let him go, Vincent. VINCENT I'm working here. MAX You're the one who keeps talking about going with the flow. You like the man, you like the way he plays. How about a little jazz, huh? VINCENT Improvisation? That's funny from you. * (thinks about it, looks to Daniel) Okay, some jazz for the jazz man. How's this? I'll ask a question? DANIEL What question? VINCENT Jazz question. You get it right, we roll. You disappear. Tonight. You don't go home, you don't pack a bag, you leave town...and nobody, I mean nobody, ever hears from you or sees you again. DANIEL How do I know you'll keep your word? VINCENT I never lie. Ask Max. Max, have I lied? Daniel looks to Max. Hope, fear, and desperation in the older man's face. MAX No. No. He hasn't lied... * (CONTINUED) 10/4/03 MM revs. (blue) 49. 35 CONTINUED: (7) 35 Daniel absorbs this, looks back to Vincent. DANIEL * Means you're a man who lives on * reputation. (beat) I will take your word. And I will give you mine. If I walk out of here tonight, I'd go so far away, it'd be just like I was dead. Vincent nods. We have a deal. He eases something from his waistband. Max knows. His heart is in his throat. DANIEL (CONT'D) And one more thing. Those guys and * their man, here, what's his name, * Felix? * VINCENT * Yeah. * DANIEL * Tell them, if by some chance I get * this wrong...you tell them I had to. * They laid a grant of immunity on me. * So it was flip and play ball or go * back inside. I ain't goin' back * inside. VINCENT Sure. * Daniel pours himself that drink. He lifts his shot glass, hand trembling slightly, knocks it back. Sets the glass down. DANIEL Lay it on. VINCENT It's simple. What was Louis' first musical instrument? DANIEL I know all there is to know about Louis. VINCENT Then let's have it. Daniel hesitates. (CONTINUED) 9/14/03 MM revs. (cherry) 49A. 35 CONTINUED: (8) 35 MAX (blurts out) It was a trumpet! Wasn't it? Wasn't it a trumpet? Daniel shakes his head. DANIEL Coronet. Bought it from a New Orleans pawnshop when he was a kid. (MORE) (CONTINUED) 10/4/03 MM revs. (blue) 50. 35 CONTINUED: (9) 35 DANIEL (CONT'D) Cost him five dollars. Got a two- * dollar advance on his salary from a fine Jewish family he worked for, saved up the rest. A frozen moment. An endless pause. Max not even breathing, staring at Vincent, waiting... ...a beat of regret... ...and Vincent's gun came up so fast, Max didn't even see it. THREE SMALL POPS. A different gun: .22 caliber Ruger with a thick, silent barrel. Three small holes. And Daniel's head falls forward. Vincent catches it, arranges Daniel's arms so that Daniel's head rests on them as if he's taking a nap. And Vincent did it gently, almost regretfully. A red mist of blood swirls in the air. Max is stunned beyond words, and powder-burned at such close range. Silence now. No one's noticed. The waitress was in the kitchen. Softly: VINCENT Tin horn. Cost him a dime. Rode the junk * wagon and played for the neighborhood. People sold them stuff. Rags. Bottles. Whatever. Max sits frozen, unable to move... CUT TO: 36",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. STREET OUTSIDE JAZZ CLUB - NIGHT 36 ...and they exit the club. Vincent heads for the cab, turns and sees Max standing there. VINCENT Let's go. MAX No. VINCENT What you mean, no? MAX I'm done. Find another cab. Max turns, walking away. Vincent blinks at him, almost laughs. (CONTINUED) 9/30/03 MM revs. (cherry) 51. 36 CONTINUED: 36 VINCENT Max? MAX Leave me alone. (shouting) I'm collateral anyway, so do it and * stop making me a part of this! * (beat) * I don't wanna know you ! Vincent grabs the back of his collar, slams him against the wall. Max's neck is a centimeter from breaking. Their faces are inches apart. VINCENT * (low, threatening) I'm not playing. MAX You played him, man. * (off Vincent's look) He got the answer right, would you * have let him go? The question hangs in the air. Before Vincent can answer, the DISPATCH RADIO CRACKLES: LENNY (FILTERED) Max? Maaax. Pick up, you dipshit. VINCENT What is it with this guy? LENNY (FILTERED) Maaaaaax! Vincent spins Max, controls him, as he propels him to the cab, slams him against the fender. Vincent releases him, points at him. Don't move. He reaches into the cab, pulls out the radio mike, clicks it on. VINCENT You hassling my man again? LENNY Who are you? (CONTINUED) 10/4/03 MM revs. (blue) 52. 36 CONTINUED: (2) 36 VINCENT Same fare you talked to last time. LENNY (FILTERED) What are you guys, taking an all-night tour? VINCENT We're gay lovers, what's it to you? * LENNY (FILTERED) Nothing! Aside from every night Max's mother driving me crazy, I'm dancin' on a rainbow! May he come on the line, please. VINCENT Hang on. (to Max) Carefully... Max takes the hand mike, clicks it on. MAX Yeah? LENNY (FILTERED) Your mother's calling every ten minutes. Why didn't he show? Are you * all right? Where are you? VINCENT (whispers) Show for what? MAX (ignoring him) Tell her I can't make it tonight, okay? LENNY (FILTERED) What am I, related to you? You tell her yourself! Lenny CLICKS OFF. Dead air. VINCENT Show up for what? MAX She's in the hospital. (CONTINUED) 10/4/03 MM revs. (blue) 53. 36 CONTINUED: (3) 36 VINCENT You visit every night? MAX Yeah. What difference does it make? VINCENT Cause if you don't show it breaks a routine. MAX So? VINCENT So people start looking for you, this cab. That is not good. * MAX No. I can't take you to see my mother... VINCENT Since when was any of this negotiable? CUT TO: 37",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOSPITAL - ENTRANCE - NIGHT 37 Stark corridors, queasy fluorescent lighting, PATIENTS and STAFF MEMBERS. A row of INJURED PEOPLE are seated along one wall, waiting for attention. The AUTOMATIC DOORS swing open. Max and Vincent enter, the briefcase held at Vincent's side. As they enter and proceed up the corridor... VINCENT Stay three paces in front of me and one to my left... Max, seeing the innocent people along the walls, complies. Vincent sees in the ceiling a security camera mounted in a Perspex hemisphere and averts his face towards Max... VINCENT (CONT'D) Flowers? Max turns, sees a row of FLOWER BOUQUETS at the gift counter. MAX Waste of money. Won't mean a thing to her. Vincent pulls an arrangement, tosses the flowers to Max, pulls his wallet to pay. (CONTINUED) 9/21/03 MM revs. (pink) 53A. 37 CONTINUED: 37 VINCENT (sincere) She carried you in her womb for nine months. 9/29/03 MM revs. (salmon) 54. 38",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HALLWAY - NIGHT 38 The elevator arrives. Vincent and Max get on. Vincent presses the button and the doors start to close... MAN'S VOICE Hold, please... Vincent puts his hand out, stopping the doors. A MAN slides in the elevator with them... 38A",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. THE ELEVATOR 38A ...and turns around. Detective Ray Fanning . He doesn't see Max * in the back corner. His back is to him. FANNING * Five. Thanks. Vincent hits the button. The doors close. The three of them ride up in that awkward silence you only ever experience with strangers in elevators. He glances to Vincent at the control panel, nods. VINCENT Having a good night? FANNING * Mezzo-mezzo. You? Vincent nods. Making do. The elevator stops. Vincent and Max get off to the right. Fanning continues riding up one more * floor... 39",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FIFTH FLOOR HOSPITAL CORRIDOR - ELEVATOR DOORS - NIGHT 39 open. Fanning gets off, turns a corner. SEE a sign indicating * ""MORGUE."" 40",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOSPITAL ROOM, LOWER FLOOR - MAX - NIGHT 40 (POSSIBLY INCLUDE CORRIDOR) Enters with the flowers. Vincent appears behind him, hovering in the doorway. Max moves toward the bed... ...where IDA RILKE lies hooked up to a heart monitor, a clear plastic oxygen mask over her mouth. She opens her eyes. MAX Hi, Ma. (CONTINUED) 9/29/03 MM revs. (salmon) 54A. 40 CONTINUED: 40 IDA I've been calling and calling. (CONTINUED) 10/4/03 MM revs. (blue) 55. 40 CONTINUED: (2) 40 MAX I got caught up at work. IDA Why couldn't you call me on the telephone? I'm lying here, wondering if something horrible happened to you... MAX (to cut her off) * I brought you flowers. IDA What am I gonna do with flowers? MAX You're gonna cheer up. IDA How? By worrying... * (wheezes) * ...that you spend money on * things...that all they're gonna do is * wilt and die? MAX (to Vincent) See? (to Ida, defensively) * I didn't buy 'em. He did. * IDA Who? Come in. What I got is not * contagious. * (beat) * Why didn't you tell me we had company? * (to Vincent) And what's your name? Sorry. My son is rude. VINCENT No harm done, madam. She takes the flowers from Max, making a fuss over them: IDA You paid for my flowers? They're beautiful. Max, will you introduce us? (CONTINUED) 10/4/03 MM revs. (blue) 56. 40 CONTINUED: (3) 40 MAX Mom, Vincent. Vincent, my mother, Ida. Vincent sets his briefcase by the door, approaches the bed, offers his hand. She takes it. He glows with charisma. VINCENT I'm really happy to meet you, Mrs. * Rilke. IDA Oh, call me Ida. To what do we owe this pleasure? Vincent sits in the chair at bedside. VINCENT Well, I was with Max when he got the call. IDA And you came all the way here to see me? VINCENT It's nothing. IDA Tell my son. You have to hold a gun to his head to get him to do anything. VINCENT Tell me about it. Vincent leans in, helps her adjust her pillows. IDA You must be an important client of Max's. This catches Vincent slightly off guard. He glances to Max. VINCENT Client? I like to think of myself as his friend. A mentor. * IDA Max never had many friends. Always talking to himself in the mirror... It's unhealthy. MAX Hey, mom. How many times do I have to ask you not to do that? (CONTINUED) 10/4/03 MM revs. (blue) 57. 40 CONTINUED: (4) 40 IDA Do what? MAX Talk about me like...I'm...not...in the room, here. IDA (to Vincent) What's he sayin'? VINCENT Ida, he says he's standing right here. * In the room. Here. * IDA (to Max) Yesss, you are, honey. (back to Vincent) He's sensitive. VINCENT I know. But I'm sure you're proud of * him. IDA (directed at Max) Of course I'm proud. You know, he started with nothing. Look at him today. Here. Vegas. Reno... Vincent looks at Max...squirming under the exposure. MAX Mom, Vincent's not interested. (to Vincent) Let's go. VINCENT No. I am interested . * IDA What's your name, again? * VINCENT Vincent... (CONTINUED) 9/30/03 MM revs. (cherry) 58. 40 CONTINUED: (5) 40 MAX I came to see you. I saw you. You look fine. Let's go. He's kissed her and wants to get out of there. IDA Limousine companies. VINCENT * Yeah? * IDA * He drives famous people around, you * know? * VINCENT Limousine companies? What an achievement... Max heads for the door... IDA Visit again? * VINCENT I'm only in town tonight. * IDA When you come back? * VINCENT Sure. I promise. * IDA * Well, nice to meet you, Vincent. * He turns to find Max gone. He looks down, eyes widening. So is the briefcase . Vincent races out into... 40A",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. THE HALLWAY 40A ...and spins around, frantically trying to see where Max went. Nothing but a FEW PATIENTS and HOSPITAL STAFF... ...and a door marked ""STAIRS"" swinging shut at the end of the hallway . He runs in that direction... 40B",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOSPITAL STAIRWELL 40B Vincent bursts through the door into the stairwell, hearing RUNNING FOOTSTEPS below. He peers over the railing... (CONTINUED) 9/30/03 MM revs. (cherry) 58A. 40B CONTINUED: 40B ...and sees Max three flights down. Max freezes, looking up, clutching the briefcase. A moment of eye contact... VINCENT Stop or I'll go back and kill her. MAX You'd do her a favor. ...and Max keeps going, vanishing from view. Vincent takes off after him, plunging down the stairs at breakneck speed... VINCENT I'll tell her the truth! (CONTINUED) 9/21/03 MM revs. (pink) 59. 40B CONTINUED: (2) 40B MOVING WITH MAX careening dizzily down the steps with the briefcase, hurtling from one landing to the next, FOOTSTEPS ECHOING on concrete. MOVING WITH VINCENT racing down the steps like a madman, yanking his H+K from under his jacket... 41",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HOSPITAL - ON REAR DOOR - NIGHT (OPTIONAL) 41 Max comes through the stairway door, racing like crazy along a row of HUGE ROARING INDUSTRIAL WASHERS, trying to make it to the EXIT DOOR at the far end... ...and Vincent bursts from the stairwell in pursuit, pausing to whip his H + K up in a two-handed grip, aiming down the length of the laundry room... ...as Max vanishes through the exit door at the far end. 42",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. HOSPITAL/ON REAR DOOR - NIGHT 42 Max races out. 42A OMIT 42A 42B,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HOSPITAL STAIRWELL - VINCENT 42B * racing down the stairs... * 42C,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. HOSPITAL - REAR DOOR - VINCENT 42C bursts through parking lot. 42D,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. HOSPITAL - WIDE: VINCENT (VFX) 42D See Vincent at end of parking lot running towards us. PAN LEFT to Max running up a walkway over the freeway. 43,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PEDESTRIAN BRIDGE - MAX 43 runs to camera along the bridge which we now reveal is above and... OVER THE FREEWAY Max runs up, exhausted. The stream of lights beneath them. Max swings the briefcase back, preparing to hurl it... VINCENT Don't! (CONTINUED) 9/21/03 MM revs. (pink) 59A. 43 CONTINUED: 43 ...and Vincent's H+K is aimed at Max. Max looks back, sees Vincent, gun aimed at him... VINCENT (CONT'D) Red-light-green-light, Max. A heartbeat. A hesitation. And then... (CONTINUED) 10/4/03 MM revs. (blue) 60. 43 CONTINUED: (2) 43 MAX Bullshit. ...Max hurls the briefcase with all his might. Vincent watches in horror as it spins lazily through the air and crashes onto the freeway below where it's run over, flips in the air, is hit by a truck and the tablet PC is de-constructed into useless pieces of plastic and silicone. Vincent approaches. VINCENT (hisses) What the fuck was that? MAX Jazz. Max is suddenly on the ground, not knowing how he got there, about to die. Vincent, above, staring at Max. VINCENT You are screwing...with my work! My * prep was in there. I'm coming up on number four. The night is no longer young. Are we getting adversarial? * Each syllable like a bullet. Should Vincent kill him? Then, almost admiring... VINCENT (CONT'D) Didn't know you could do that... (beat) Let's see what else you can do. ...and he pulls Max to his feet. CUT TO: 44",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOSPITAL MORGUE - NIGHT 44 Fanning's in the ""cold room"" with a MORGUE ATTENDANT. ATTENDANT (checking his clipboard) We've had three come in tonight. Two John Does. Maybe one's your guy. The attendant nods at the first of four PLASTIC-WRAPPED CORPSES lying on stainless steel tables. Fanning draws the sheet back: Homeless Man with a beard. FANNING No. Not Ramone. (CONTINUED) 10/4/03 MM revs. (blue) 61. 44 CONTINUED: 44 The attendant makes a notation on his clipboard. Fanning nods at the next corpse. FANNING (CONT'D) Try that one. The attendant draws the sheet back. It's the Younger Man who mugged Max and took Vincent's briefcase. FANNING (CONT'D) No. N",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","ext... ATTENDANT That's what's funny. These three came in within half an hour of each other. And the kid and that last guy (number 4)...they were done by the same shooter. FANNING Why do you say that? Fanning gets alert. ATTENDANT Same wound pattern. Two in the sternum. One in the head. Add this cat's shooting tight groups. (indicates chest) Double taps are a couple millimeters apart. Intrigued, Fanning steps to the fourth corpse. Attendant draws the sheet back. Fanning stares down at the dead face. Instant recognition. 45",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOSPITAL HALLWAY + AUTOPSY ROOM - MINUTES LATER 45 Fanning is on a pay phone, amped up, talking with Richard * Weidner. (Weidner's at home, perched on the edge of his bed, in * a crowded bedroom overlooking MacArthur Park or palm trees and city lights, rubbing the sleep from his eyes. INTERCUT as needed:) FANNING ...yeah, I'm still at MLK. The John Doe doesn't pan out. Not Ramone. But you'll never guess who else is in the meat locker. WEIDNER * Elvis Presley? (CONTINUED) 9/29/03 MM revs. (salmon) 61A. 45 CONTINUED: 45 FANNING * Sylvester Clarke. Criminal-lawyer turned lawyer-criminal? (CONTINUED) 10/6/03 MM revs. (pink) 62. 45 CONTINUED: (2) 45 WEIDNER ""Sly"" to his clients... FANNING ...including my high-diving informant, Ramone, who he represented, who's still missing. Both of whom were in the exotic-substances business... WEIDNER Ramone and ""Sly"" Clarke in one night? FANNING In one night. Something bad is going down. And I don't think the Feeb know about it... Weidner hangs up, hauling himself off the bed as we... * CUT TO: 46",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MAX'S CAB, TRAVELING - MAX - NIGHT 46 Max drives in self-conscious silence, feeling Vincent's gaze on the back of his neck. VINCENT Limos, huh? MAX Don't start. Vincent enters text into a cell phone/pager. VINCENT Hey, I'm not the one lying to my mother. MAX She hears what she wants to hear. I don't disillusion her. VINCENT Yeah, right. Maybe she hears what you tell her. Vincent sends. Waits. (CONTINUED) 10/4/03 MM revs. (blue) 63. 46 CONTINUED: 46 MAX Whatever I tell her's never good * enough. It's always been that way... My three older brothers...their wives made 'em move outta town. Vincent closes the pager/cell. VINCENT You're goin' to a place called El Rodeo. It's on Whittier Boulevard in Anaheim. MAX Where on Whittier? VINCENT Look it up. MAX What's at El Rodeo? VINCENT Just drive. (beat) They project onto you their flaws, what they don't like about themselves, their lives, whatever. And then they rank on you, instead... MAX How do you know? VINCENT I had a father like that. MAX Mothers are worse. VINCENT * Mine died when I was one. * MAX What happened? VINCENT He hated whatever I did. Got drunk. Beat me up all the time. MAX Then what? VINCENT (intimate) I killed him. I was 12. (MORE) (CONTINUED) 10/4/03 MM revs. (blue) 63A. 46 CONTINUED: (2) 46 VINCENT (CONT'D) He was the first. (off Max's look) I'm kidding. He died of liver cancer. MAX I'm sorry. (CONTINUED) 9/30/03 MM revs. (cherry) 64. 46 CONTINUED: (3) 46 VINCENT No you're not. (beat) So driving this cab ""temporarily"" is * all bullshit...? MAX It's not bullshit. VINCENT Twelve years is not temporary. MAX You gotta get cash together. Insurance, bond, maintenance, tires. Staff-up. Client lists. It's not get the car, put asses on seats. VINCENT Why not? MAX 'Cause Island Limos will be more than a ride...like a club experience, a cool groove you don't want to end. Like that. So it's gotta be perfect . * Perfect . VINCENT Uh-huh. MAX Plus I got bills. She's been dying of the disease since I was in high school... 47",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. EL RODEO NIGHT CLUB (ANAHEIM) - NIGHT 47 Headlights pull through the jammed lot. Max's cab. And it pulls past the entrance to a parking slot near the alley. 48,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAB - NIGHT 48 VINCENT Here's good. Max backs in, cuts the engine. Vincent checks it out, concealing himself as much as possible in the shadows of the back seat. VINCENT (CONT'D) Gimme your wallet. MAX Why? (CONTINUED) 9/14/03 MM revs. (cherry) 64A. 48 CONTINUED: 48 Vincent snaps his fingers impatiently. Max pulls his wallet, passes it back. (CONTINUED) 10/4/03 MM revs. (blue) 65. 48 CONTINUED: (2) 48 VINCENT I'll hold it for you in case they search you. MAX In case who searches? Vincent nods toward El Rodeo. VINCENT The people inside. Go in and ask for Felix. He's expecting you. MAX Felix? Okay. What's he look like? VINCENT Dunno. Never met him. MAX Who is he? VINCENT He's from who hired me. MAX I don't get it. VINCENT You destroyed my work-ups. And number four is due. Whatta you think, night's over? Called on account of rain? (beat) Go be me. In there . Score the * backups. He'll have 'em on a flash drive or CD... MAX (appalled) Why me? I can't. Why don't you go? * VINCENT They don't know what I look like. And * I don't meet people. Like in risk * management. Protect anonymity. And you're not going to screw that up. MAX How'm I gonna be you? (CONTINUED) 10/4/03 MM revs. (blue) 66. 48 CONTINUED: (3) 48 VINCENT Max, who's SoCal Cab Company? Ralph SoCal? MAX No. VINCENT Ever met the owner? * MAX No. VINCENT Well, I don't work for them. I work for their bosses. They don't get to meet me, either. MAX If...if I don't pull it off...? VINCENT They're gonna kill you. * (shrugs) You got ten minutes. 10:01? I drive the cab to the hospital and execute your mother on my way out of town...and don't pretend indifference. MAX I can't do this. VINCENT You threw my PC onto the freeway. You've got balls bigger than Toledo. MAX If I pull it off, it's gonna get other people killed... VINCENT Out of options, Max. Take comfort in * knowing you never had a choice. MAX Uh, how long you been doin' this? * VINCENT Why? MAX In case he asks. VINCENT Private sector? Six years. (CONTINUED) 10/6/03 MM revs. (pink) 67. 48 CONTINUED: (4) 48 MAX You get benefits? VINCENT No. Nor paid sick leave. Quit stalling. Get out of the cab. Max hesitates, opens the door, gets out... 49",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. STREET - LONG LENS: MAX - NIGHT 49 Crossing towards the entrance. FED #1 (O.S.) Who is this? FED #2 (O.S.) Not Julio Iglesias... ...and we hear WHIRRING. ANGLE PULLS BACK... 50,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SURVEILLANCE LOCATION - NIGHT 50 Reveal FEDERAL AGENTS clustered loosely at a row of monitors, in a hard location. On the monitors are multiple views of El Rodeo's exterior entrances, two ND homes, the interior of two ND cars. One agent watches Max cross to the El Rodeo entrance. The room is littered with SURVEILLANCE EQUIPMENT and pizza boxes. SENIOR AGENT FRANK PEDROSA, permanently agitated, stands. The camera on Max ZOOMS in, tracking him. 50A",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. STREET OUTSIDE ""EL RODEO"" - PARKING LOT, FOUR- 50A FIXTURE LIGHT STAND Move closer. REVEAL it's a camouflage housing, holding a video surveillance camera that RIGHT NOW pans and ZOOMS IN on Max. AGENT #1 (O.S.) Mark the time. 50B",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SURVEILLANCE LOCATION - PEDROSA 50B reacts to a SOFT KNOCK on the door. Fanning and Weidner are * ushered in. Pedrosa glances at them, motions ""hang on a second,"" as he stares at the monitor. 51",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. EL RODEO, ENTRANCE - NIGHT 51 Entrance does NOT have a crowd waiting to get in past disco bouncers. Only light traffic flows in and out. But, it does have extensive security. Max, hiding his terror, steps up to two men at the door. (CONTINUED) 9/29/03 MM revs. (salmon) 67A. 51 CONTINUED: 51 MAN #1 Yeah. (CONTINUED) 10/6/03 MM revs. (pink) 68. 51 CONTINUED: (2) 51 MAX Uh, hi... MAN #2 Que pasa? Wha's up, homes? MAX I'm here to see Felix. He has something for me. MAN #2 (cold, believable) Don't know no Felix. That's it. Max failed. He won't make it past the front door. MAX Uh. Say...say it's Vincent. I'm Vincent. The two men trade surprised look. Suddenly cautious and respectful. They lead Max inside. 52",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SURVEILLANCE LOCATION - NIGHT 52 Pedrosa watches the group exit into El Rodeo, then turns to Fanning and Weidner for quick introductions: * WEIDNER Lt. Richard Weidner. LAPD. Major Narcotics Division. FANNING Detective Ray Fanning. LAPD. Major Nar... PEDROSA (interrupts, shaking hands) Yeah, hi, okay. Agent Frank Pedrosa. WEIDNER Thanks for seeing us... PEDROSA Yeah. You're welcome. How can I help? What's up? Why do you wanna know about our case? FANNING Has there been any unusual activity tonight? PEDROSA As in... (CONTINUED) 10/6/03 MM revs. (pink) 68A. 52 CONTINUED: 52 FANNING As in a murder or maybe a murder spree in Wilshire Central. PEDROSA All quiet on the western front. Various people are asleep. Various people are not. They come and go in cars, pickups and taxis. Other than that, we're watching air move. (repeats) ...your interest in our case? Fanning trades a surprised look with Weidner. A taxi ? Fanning * gestures. Pedrosa nods okay. Fanning rushes to the monitors, * sees Max's cab peeking out from behind the corner of the * building. * FANNING Hood's all beat to shit. Weidner's fumbling on his cell phone, out, already dialing. PEDROSA * On what?! * FANNING * On that. * (CONTINUED) 10/4/03 MM revs. (blue) 69. 52 CONTINUED: (2) 52 WEIDNER * What's the license number? Technician on the joystick pans a remote camera to the cab, pulling out his notebook and scribbling down the number... 53",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ""EL RODEO"" - NIGHT 53 ...as Max is led into a cavernous, blue Day-Glo Sinaloan disco. And they move through dancers, in Sinaloan style: white cowboy hats, jeans, braided key chains, endangered-species cowboy boots. Hot ladies in spandex and other couture by Earl Scheib. As they approach a row of booths opposite a mural of famous corrida singers...more sophisticated security appears. PACO pats down Max. Another, Rubio, cautiously covers him. Then... MAX is led to a booth in which sits FELIX REYES-TORRENA. FELIX - unlike El Rodeo's population - wears Hermes bought in Paris. Reserved elegance... FELIX I thought you'd be taller. He's not invited to sit. FELIX (CONT'D) Anyway I look at this, I see only one thing. I see one thing with you. Here. Tonight. I see trouble. Gestures... Max sits, forces himself to meet Felix's gaze. FELIX So. Vincent. Explain... Meanwhile... 54",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SURVEILLANCE LOCATION - MONITOR - NIGHT 54 REPLAYS Max's entrance. It's enhanced and the audio is filtered, eliminating RF interference and background noise. We and they HEAR... MAN #2 Don't know no Felix. MAX I'm Vincent... (CONTINUED) 9/1/03 MM revs. (yellow) 70. 54 CONTINUED: 54 The reaction in the room is electric. FED #3 Did he say ""Vincent?"" 55",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. EL RODEO - NIGHT 55 FELIX (light complaint) * Vincent don't meet people. The jefes * in Culiacan, Bogota, maybe. But he * won't talk to you. But, now you are * here. Okay. Why? For a moment it looks like Max isn't even going to get the words out. Then: MAX I lost my stuff. Pause. FELIX ""Stuff""? Your ""stuff""? MAX Yeah. FELIX I want you to listen to me real well. (beat) Special teams put together that list * of...""dedos."" * MAX Dedos? FELIX Fingers. Informants. * (litany) * Signal intercepts, voice-recognizing * software, surveillance...very * expensive counterintel produced that * list. * (beat) An important list, wouldn't you say? And you ""lost"" it? MAX I'm sorry. FELIX Sorry? Sorry does not put back together again Humpty Dumpty... (CONTINUED) 9/1/03 MM revs. (yellow) 70A. 55 CONTINUED: 55 Max is nearly pissing himself. (CONTINUED) 9/3/03 MM revs. (goldenrod) 71. 55 CONTINUED: (2) 55 FELIX (CONT'D) Do you believe in Humpty Dumpty? Felix makes eye contact to PACO. Paco nods. Rubio, next to him, has his hand on an SMG and moves right to get a better line of fire on Max. MAX No. FELIX Do you believe in Santa Claus? MAX No. FELIX Neither do I. (beat) But my children do. They are still small. But do you know who they like even better than Santa Claus? His helper, Pedro Negro. Black Peter. There's an old Mexican tale that tells of how Santa Claus got so very busy looking out for the good children that he had to hire some help to look out for the bad children. So he hired Pedro. And Santa Claus gave him a list with all the names of all the bad children, and Pedro would come every night to check them out. And the people, the little kids that were misbehaving, that were not saying * their prayers, Pedro would leave a little wooden donkey on their windows. And he would come back and if the children were still misbehaving, he would take them away and nobody would ever see them again. Now, if I am Santa Claus and you are Pedro, how do you think jolly old Santa Claus would feel if one day Pedro came into his office and said, 'I lost the list.'? How FUCKING FURIOUS do you think Santa Claus would get?! Paco's gun is visible. Safety clicks off Rubio's SMG. FELIX (CONT'D) So tell me, Vincent. Tell me what you think. MAX I think... (CONTINUED) 9/30/03 MM revs. (cherry) 72. 55 CONTINUED: (3) 55 He can't finish. FELIX What? MAX I think... (to security) ...I think you should tell the man behind me to put that gun away. FELIX What did you say? MAX (low, tight) I said. Tell him to put the gun away. Before I take it and beat his bitch * ass to death with it. Felix eases back, measuring Max. MAX (CONT'D) I picked up a tail. FELIX Federal? MAX You tell me. How do I know? So I tossed the list and work-ups to protect...in part... (sees his clothes) ...your Hermes, Facconable sorry ass. Felix considers ""Max."" MAX (CONT'D) You think I like comin' here? Like I got stupid all of an instant? Shit happens. You gotta roll with it. Darwin. I Ching... FELIX Has, uh... MAX The fat man. The penthouse guy. The jazz man. It leaves two. FELIX (checks his watch) Can you finish? (CONTINUED) 10/6/03 MM revs. (pink) 73. 55 CONTINUED: (4) 55 MAX In six years, have I ever not? Meanwhile... 56",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SURVEILLANCE LOCATION - NIGHT 56 ...while the Feds go apeshit at what they've been told. Meanwhile, Weidner answers his cell... * PEDROSA ...are you telling me Ramone Gallardo and Sylvester Clarke were murdered tonight? Both killed...? FANNING ...Sylvester for sure, Ramone... WEIDNER (interrupts) We got another D.O.A. One ""Daniel Baker"" in South Central... FED #3 That's three? He killed three in one night? WEIDNER Three what? Fed #3 looks at Pedrosa. Mute. PEDROSA Three witnesses. (beat) For a secret grand jury, secret my ass... FANNING So who's left? Before you lose them, too... 57",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. EL RODEO - NIGHT 57 In a carrying case, a ruggedized PC is brought to the table. Felix turns it on. Enters a password. Downloads two ""files"" (Targets #4 and #5) into a flash drive in the USB port. FELIX The last two... Felix unplugs the flash drive and pushes it across to Max. Max takes it. Their eyes meet. (CONTINUED) 9/29/03 MM revs. (salmon) 73A. 57 CONTINUED: 57 FELIX (CONT'D) Do not fail. MAX I never do. Felix releases the flash ram. Max rises... (CONTINUED) 9/29/03 MM revs. (salmon) 74. 57 CONTINUED: (2) 57 MAX (CONT'D) And as a token of appreciation...I want to offer you a discount. Yeah. All my services, here, tonight... Twenty-five percent off. FELIX Twenty-five? MAX Hell, make it fifty. FELIX Very generous. MAX (beat) By the way. Daniel said he was sorry. Felix nods. Max turns and walks out. The moment he's gone, Felix glances to Paco. They're giving him questioning looks. FELIX (in Spanish) Go to Fever. He's met me. If it begins to go wrong, close his eyes. He cannot fall into their hands... They rise. 58",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. EL RODEO - MAX 58 exits, taking in a deep breath of night air, stunned that he's still alive... 59",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SURVEILLANCE LOCATION - MONITORS 59 The Feds swarm, remotely ZOOMING and capturing images, everybody talks at once... ALL THE FEDS (chaotic, ad lib) ...his face, make sure you get his face...Vincent the ghost...too grainy, too much noise...plus twelve dB of gain, you get noise or you get no image...you getting this? ...yeah... ANGLE SHIFTS to Fanning, cell phone to his ear, trying to block * out the noise as: (CONTINUED) 10/9/03 MM revs. (yellow) 75. 59 CONTINUED: 59 FANNING ...yeah, uh-huh...African-American, medium build, dark hair...are you sure? Meanwhile, Pedrosa has separated from the group and on both a hard line and a Nextel is speaking urgently... PEDROSA (into Nextel) * LA101 to chase units... I want a three-car revolving tail on that cab. * LA102 is on him, now, at El Rodeo. We * will do a take-down of the cab with Vincent in it before he gets where * he's going. (into hard line) * Locate our witness, Peter Yip...wife, * girlfriends, mommy, daddy, whatever. * Get him evacuated. Get him safe. * (into Nextel) * On the cab, the assault team, when * they are in place, will do the take- * down. Do NOT spook him before. I want Air Support up and to maintain at 1,500 feet. Meanwhile... FANNING (into cell phone) E-mail me his license. Okay? I'll wait... (to Weidner) Anybody else in that cab? Weidner can't tell from the angle of the surveillance camera. In the street below, Max walks to the cab... 60",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAB - MAX 60 ...gets in behind the wheel, feeling limp. He lets out a slow breath, reluctantly passes the flash drive to Vincent, who already has Max's PC ripped from the dash and in the back seat. Vincent plugs the flash drive into the USB port. The icon appears. Vincent double clicks the cursor on it. VINCENT Vegas odds would have compelled a ""don't pass"" bet on you walking out of there... MAX ...I'm very impressed. (CONTINUED) 10/9/03 MM revs. (yellow) 75A. 60 CONTINUED: 60 Vincent enters a code. He sees what he needs. (CONTINUED) 10/9/03 MM revs. (yellow) 76. 60 CONTINUED: (2) 60 VINCENT Washington Boulevard. After-hours dance club near Crenshaw called ""Fever."" Know it? MAX Twelve minutes. Vincent quits the flash drive, looks at Max. Max starts the car and pulls out... 61",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MAX'S CAB - VINCENT 61 looks at Max through the rearview mirror. VINCENT You'll be late. Jump on the freeway * and get me to the 105 west. * MAX Why? VINCENT Do it. 62,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SURVEILLANCE LOCATION - NIGHT 62 While the Feds are departing to interdict the killer before he can take their next witness, Fanning is trying to get a word in edgewise to a fast-walking Pedrosa... FANNING ...according to the cab company's dispatcher, this cabbie's been driving that cab for twelve years... PEDROSA So what? FANNING ...so, you're telling me this cabbie walks into a phone booth and, shazaam, changes into a meat-eater, super- assassin? What's he do, squeeze 'em in between fares? PEDROSA No. Cabdriver Max is floating down a storm drain. He is stuffed in the trunk of a cab. He is being devoured by flesh-eating stretococcus... Fanning displays on his cell phone Max's picture from the DMV on Max's license. It's blurred, low-res. (CONTINUED) 10/9/03 MM revs. (yellow) 76A. 62 CONTINUED: 62 FANNING The guy, who walked out, looks like this guy...! 10/9/03 MM revs. (yellow) 77. 63",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SURVEILLANCE LOCATION REAR LOADING DOCK 63 ...and coming down the steps, fast, Fanning and Weidner at their heels. Talking over his shoulder... PEDROSA 'Cause he picked a cabdriver who looks like him... FANNING What's Vincent look like? PEDROSA Who knows. He's a ghost... Vincent's not even his name. FANNING I don't know... PEDROSA We do. (nods to Fed #1) FED #1 We see private-sector security working for cartel groups in Colombia, Russia, Mexico...hiring ex-Special Forces types, ex-KGB all the time... PEDROSA Guys with trigger time, skill * sets...real tradecraft... * (beat) ...like, look like a ""cabdriver."" They near their cars... FANNING What are you gonna do? PEDROSA Take down his ass. Save our witness. ...as Pedrosa and other Feds climb into a Cadillac and a Buick and a third car. FANNING What if they're wrong? WEIDNER The guy identified himself as ""Vincent"" and just met with the bad people! (CONTINUED) 10/9/03 MM revs. (yellow) 77A. 63 CONTINUED: 63 FANNING Bullshit. There is something else going on. WEIDNER It's not our game! CUT TO: 10/9/03 MM revs. (yellow) 78. 63A",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MAX'S CAB - REAR SHOT OVER MAX - NIGHT 63A to the 405 south on-ramp to the 105 west. Plus PROFILES * (L to R) + FRONTAL driving shots of cab to an off-ramp. * 64,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. LAX PARKING STRUCTURE - MAX'S CAB - NIGHT (GARY'S 64 AIRPORT SHOT) enters and drives past CAM into the interior. Is Vincent parking and leaving early? VARIOUS LOCATIONS + ANGLES INSIDE PARKING STRUCTURE... Max's cab drives up ramps under white strips of neon and crosses the bridge to the adjacent parking structure at the northwest corner of the parking area across from the Bradley Terminal. 64A,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LAX PARKING - FBI MONTE CARLO 64A darts in after Max's cab...hesitates, keeps a distance...sees it's clear, then accelerates, tailing the cab. 64B",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LAX PARKING, UP-RAMP - MAX'S CAB 64B accelerates up an up-ramp... A64C",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MAX'S CAB, ROOFTOP - VINCENT A64C has turned around in his seat and looks out the rear window. We see why the FBI couldn't follow... 64C",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. PARKING STRUCTURE - FBI MONTE CARLO 64C pulls in and stops. It's in sight of but doesn't approach the latest up-ramp to the roof. FBI AGENT #3 I follow him up there...we blow the * tail! * 65 OMIT 65 65A,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. EMPTY ROOFTOP LOT - WIDE 65A EMPTY PARKING LOT ROOF. Anybody tailing Vincent and Max would expose themselves right here. It's called a choke po,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MAX'S CAB - VINCENT 66A VINCENT (to Max) Let's go. (CONTINUED) 10/9/03 MM revs. (yellow) 78A. 66A CONTINUED: 66A Max starts towards the down-ramp. 66B,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARKING STRUCTURE - FBI MONTE CARLO 66B FBI AGENT #4 (into Nextel) LA103 to LA101. Pedrosa, Pedrosa... (to Agent #3) Air support... FBI AGENT #3 (into radio) LA103 to Air 4...you still have him? HELICOPTER PILOT (O.S.) Air 4 to LA103. I lost him. You're in controlled air space. I gotta stay out until I get clearance from LAX tower... FBI AGENT #4 (into Nextel) Pedrosa...! 67",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PEDROSA'S BUICK - PEDROSA - NIGHT 67 Listens. Then... (CONTINUED) 10/11/03 MM revs. (goldenrod) 79. 67 CONTINUED: 67 PEDROSA (on his cell phone) ...you lost him? (he listens) He can head anywhere out of LAX. North or south on the 405, east on the 105, the 110... Pedrosa's plan to intercept and take down Vincent just crashed. He rapidly recalculates. PEDROSA (CONT'D) They locate Peter Yip? FED #1 (on phone) On with the wife. She thinks he's at Fever. They called. Can't get through. PEDROSA (to Driver) Washington and Crenshaw. Move! (into radio) LA101 to LA103, LA104, LA105. Fever. After-hours club on 2407 Washington, near Crenshaw. Pico Union. Hit it! LA105 (O.S.) (into radio) LA105 to LA101. Copy that. A67A OMIT A67A B67A AERIAL - MAX'S CAB B67A from inside the curve ""cloverleafs"" onto 105/110 interchange. C67A",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. MAX'S CAB C67A * under the interchange north (or southbound 110). D67A,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BLACK SUV D67A One of Pedrosa's chase units with four SWAT-types in sports clothes jams off the freeway onto an exit ramp to surface streets, north on Western or north on Crenshaw. 67A",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MAX'S CAB - MAX + VINCENT - NIGHT 67A are riding in pensive silence through the neon visual noise of Koreatown. VINCENT Would you have called her? (CONTINUED) 10/11/03 MM revs. (goldenrod) 79A. 67A CONTINUED: 67A MAX Who? VINCENT Your lady friend. The one who gave you her business card. (Max is silent) Or was she just being polite? MAX I don't know. VINCENT Why hold back? Why not act off your impulse? Pick up the phone? MAX All I owe a fare is a ride, Vincent. (CONTINUED) 9/30/03 MM revs. (cherry) 80. 67A CONTINUED: (2) 67A VINCENT It's not what you owe me . Time is fleeting. Life is short. Time is luck. One day it's gone... (beat) You make it out of this alive, you should call her. That's what I think...anyway... It's an important speculation from Vincent, given what's going to come later. And meanwhile... 68-69 OMIT 68-69 70",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FBI CADILLAC - PEDROSA 70 with two or three agents in the other two cars. One checks there's a round in the chamber of his .9mm, as the silent neighborhoods pass by. 71",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. S600 MERCEDES - PACO, RUBIO + TWO OTHER COLD-EYED 71 KILLERS Rubio has a silenced .9mm with an Aimpoint laser sight. 72",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LAPD UNMARKED CAR - FANNING 72 at the wheel. Tailing the FBI cars at a distance, CROSSCHATTER drifting from the police band... 72A",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. OLYMPIC (OR?) - MAX'S CAB - NIGHT 72A cruises east. Korean neon burns into the sodium-lit magenta sky. The streets are empty at four a.m. Reflected streetlights flow up the windshield, colors kicking off dented bodywork. The streets are deserted; the city seems dangerous. Max and Vincent's attention, suddenly, is taken by something else... 72B",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MAX'S CAB - MAX + VINCENT'S POV: THREE COYOTES - 72B * NIGHT separate and apart lope diagonally across Sunset. Adult males. Hunting. They're indifferent to urban habitation, as if they, not we, own this city... 72C",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ALEXANDRIA STREET - ABSTRACT SIGNAGE 72C becomes a frontal of Max's battered cab TO CAMERA and it turns right, as... 73-74 OMIT 73-74 9/21/03 MM revs. (pink) 81. 75",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. FBI BUICK - OVER PEDROSA + HIS POV THROUGH 75 * WINDSHIELD - NIGHT A half block ahead he/we GLIMPSE Max's cab pull into the Fever * forecourt... PEDROSA There...! 75A,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MAX'S CAB, APPROACHING ""FEVER"" NIGHTCLUB - NIGHT 75A There's chaotic valet parking with Bentleys and a Lambo in choice spots. The party-till-dawn crowd. And in the thick of it... 75B",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FBI BUICK 75B But they are preceded by a Porsche SUV, and a limo cuts them off * and tries to disembark a diva, two girlfriends and two guys, * with players heading into a club before Fever. Heavyweight * Security has a fuck-you attitude towards Pedrosa's Buick and the * SUV (LA105) until... * 76",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. KOREAN MALL - FEDS - NIGHT 76 in tactical vests with CAR-15's; side arms...deploy. Vanity * muscle undergo instant attitude change. Pedrosa ad libs telling * diva to shut up and get back in the limo. BUT Max's cab has * disappeared from view. 77-78 OMIT 77-78 79,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FRONT OF CLUB FEVER - PEDROSA - NIGHT 79 * PEDROSA We get Yip out. You take Vincent. * Clean shots! Watch your backgrounds. Pedrosa approaching the front entrance, the non-HRT are with the * BOUNCER, who, in response to a request we didn't see, is trying * to get a response on his radio from people in the interior...but fails, as his men enter. Meanwhile... 80 OMIT 80 81",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CLUB FEVER - VINCENT - NIGHT 81 * propels Max past a bar, through screens of glass, frosted * alcoves...jammed with people. * VINCENT Booth towards the back. That's where he hangs. Fat Korean guy. Terminal acne as a youth. You go first. (MORE) (CONTINUED) 9/21/03 MM revs. (pink) 81A. 81 CONTINUED: 81 VINCENT (CONT'D) Fifteen feet in front and three to my left. Wander, and innocent bystanders get the first rounds. Clear? It's all black lacquer and frosted glass. (CONTINUED) 10/6/03 MM revs. (pink) 82. 81 CONTINUED: (2) 81 Back rooms - in Korean luxo - are for karaoke or the Korean hotties who hang by a counter, like a check-in area. Panels of glass in semi-circles in front of planting, some with sheets of water running down, separate the different zones. OR...it's cheesy disco with flat screens playing Korean music videos and stock market quotes with out-of-date Christmas decorations and black-lit outer-space murals. Visually, it's as noisy as the Korean hip-hop, which makes it impossible for anybody to hear anything. 81A",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FRONT OF CLUB FEVER - FANNING + WEIDNER - NIGHT 81A flash their LAPD badges, brush past the doorman, proceed in... 81B",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FEVER - CLOSE: VINCENT 81B with Max in front and to his left, snakes through the crowd, swimming among them, scanning for Peter Yip, seeking his target in the back booths... 81C PEDROSA + THE FEDS 81C enter up the stairs. Staying as discrete as possible while urgent, while Pedrosa shoots looks, his POVs, Feds move south along east wall into densest part of the club...searching for ""Vincent,"" trying to spot him before he can assassinate Peter Yip, searching for Yip, as... 82",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BACK STAIRS - MAX + FANNING 83 race past karaoke and music recording rooms and escape down the * back stairs. Fanning pushes Max ahead, covers their rear. MAX + FANNING FROM THE BOTTOM OF THE STAIRS MAX Oh, man, am I happy to see you! I don't believe it! FANNING Yeah. I know. Relax. Breathe. You're okay. Other patrons have collapsed on the stairs and huddle on the landing. Max and Fanning slide by and step over them to get to the exit door to the back alley. MAX I can't believe it. I can't believe it...! Fanning guides Max forward. Emotions flood out of Max. Ten hours of traumatic stress. Max's nightmare is over. He's home free. Tears stream down his face. 84",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SIDE STREET BEHIND CLUB - WIDE: FANNING + MAX 84 emerge. BOOM, BOOM, BOOM. Fanning is dead before he hits the ground. Max is horrified. Vincent grabs Max, propelling him forward. VINCENT (fierce) GET IN! (CONTINUED) 10/9/03 MM revs. (yellow) 87A. 84 CONTINUED: 84 He throws Max behind the wheel, gets in the back... (CONTINUED) 10/9/03 MM revs. (yellow) 88. 84 CONTINUED: (2) 84 VINCENT (CONT'D) DRIVE! Max - numb - hits the gas, peels out, his door left open, hands * barely on the wheel, driving and motor skills impaired, scraping off the sides of adjacent cars. Dead Detective Fanning, now inert, is left behind. CUT TO: 85",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. AERIAL SHOT: LOS ANGELES CITYSCAPE - NIGHT 85 STRAIGHT DOWN from above. Acid-mint streetlight in pools on Olympic Blvd. The yellow cab is the only vehicle heading east. Everything else streams west. Emergency vehicles. Flashers. 86,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MAX'S CAB - MAX 86 in shock. Back in purgatory...eternally in his cab's front seat. As the lone yellow cab drives east... SINGLE: VINCENT * VINCENT What a clusterfuck. Only thing didn't show up was the Polish cavalry. Max's life, controlled by Vincent, is a nightmare, perpetual and eternal... VINCENT (CONT'D) You don't wanna talk, tell me to fuck off... MAX (inaudible) ...fuck off. Vincent's attention is out the window at the streams of emergency vehicles...at the earpiece, filled with LAPD and news helicopters. 86A",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. STREET - FRONTAL: THE ANONYMOUS YELLOW CAB 86A heads east. All other traffic races to the debacle left behind... VINCENT (O.S.) ...blood, bodily fluid and death get to you? Try deep breathing. Or remember, we all die anyway... MAX (O.S.) You had to kill Fanning?! (CONTINUED) 9/29/03 MM revs. (salmon) 89. 86A CONTINUED: 86A VINCENT (O.S.) (blasé) Who's Fanning? * 86B",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAB 86B MAX That cop! (beat) Why'd you have to do that? You couldn't wound him? The guy had a family, maybe parents, kids who gotta grow up without a dad, he was a good guy, and he believed me... VINCENT I shoulda saved him 'cause he believed you...? MAX No, not just that. VINCENT Yeah, that... MAX Yeah, so, what's wrong with that? VINCENT It's what I do for a living... MAX Some living. VINCENT Head downtown... MAX What's downtown? VINCENT How are you at math? I was hired for five hits. I did four. MAX (grim) One more. VINCENT There you go...! MAX Whyn't you kill me and find another cab. (CONTINUED) 9/27/03 MM revs. (buff) 90. 86B CONTINUED: 86B VINCENT 'Cause you're good. (shrugs) We're in this together. You know...fates intertwined. Cosmic coincidence. All that crap... MAX You're full of shit. VINCENT I'm full of shit? (beat) You're a monument of it. You even * bullshitted yourself, all I am is taking out the garbage. Bad guys killing bad guys... MAX 'Cause that's what you said... VINCENT And you believe me...? MAX What'd they do? VINCENT How do I know? (beat) But, they all got that ""witness for * the prosecution"" look to me. It's probably some major federal indictment against somebody who majorly does not want to get indicted... I dunno. MAX That's the reason? VINCENT That's the ""why."" There is no reason. (beat) No good reason; no bad reason. To live or to die. MAX Then what are you? VINCENT (looks up) ...indifferent. Vincent hesitates, then back out the window... (CONTINUED) 9/30/03 MM revs. (cherry) 91. 86B CONTINUED: (2) 86B VINCENT (CONT'D) Get with it. Get over it. ...millions of galaxies of hundreds of millions of stars and a speck on one in a blink...that's us. Lost in space. The universe don't care (about you ). (beat) The cop, you, me? Who notices? MAX What's with you...? * VINCENT As in...? MAX Man, if someone had a gun to your head and said: ""You gotta tell me what's goin' on with that person across the street, there, what they think, who they are, how they feel, or I will kill you""...they'd have to kill you...wouldn't they...? (beat) 'Cause you don't have a clue...about...anyone. * (struggling for the words) ...I don't think you, you have a clue, * period. Did anyone ""do"" for you in your life...? Ever? When you draw breath in the morning? Open your eyes in the a.m.? You anticipate...anything? Want anything? Expect anything? I don't think so... (beat) 'Cause you are low, my brother, way low ... and some standard parts that are supposed to be there?...with you, aren't. So what happened to you , man? What happened to you? VINCENT ...all the cabbies in LA, I get Max, Sigmund Freud meets Dr. Ruth... MAX Answer the question. VINCENT Look in the mirror. (on the attack) (MORE) (CONTINUED) 9/30/03 MM revs. (cherry) 92. 86B CONTINUED: (3) 86B VINCENT (CONT'D) ...with your paper towels...a bottle * of 409...a limo company someday. How much you got saved? MAX None of your business. VINCENT Your business ""plan?"" Someday? ""Someday my dream'll come...""? (beat) And one night you'll wake up and discover it all flipped on you. Suddenly you're old. And it didn't happen. And it never will. 'Cause you were never going to do it, anyway. The dream on the horizon became yesterday and got lost. Then you'll bullshit yourself, it could never have been, anyway. And you'll recede it into memory...and zone out in a Barcalounger with daytime TV on for the rest of your life... (beat) Don't talk to me about killing. * You're do-in ' yourself. In this yellow-and-orange prison. Bit by bit. Every day. EXTREMELY CLOSE: Max is soaking up every word. VINCENT (CONT'D) All it ever took was a down payment on a Lincoln Town Car. What the hell are you still doing in a cab? The needle on the speedometer is creeping past forty... MAX 'Cause I never straightened-up and looked at it, you know...? VINCENT Slow down. MAX (ignoring him) ...myself, I should have. My brothers did... (beat) Tried to gamble my way out from under. (That was) Another born-to-lose deal! Then, ""it's gotta be perfect to go!"" You know? Risk all torqued-down. Needle pushing sixty... (CONTINUED) 9/30/03 MM revs. (cherry) 93. 86B CONTINUED: (4) 86B MAX (CONT'D) But you know what? It doesn't matter. What's it matter, anyway? 'Cause we are...insignificant out here in this * big-ass nowhere. Twilight Zone shit. * Says the badass sociopath in my backseat. So that's one thing I got to thank you for, bro... Until now, I never saw it that way... The cab goes blasting through an intersection on a red light. A LOS ANGELES TIMES DELIVERY TRUCK SLAM ON ITS BRAKES as Max swerves, barely avoiding a collision. VINCENT That was a red light! Max glances in the rearview. MAX ...not until now. So what's it all matter? It don't. Fuck it. Fix it. Nothing to lose. Right? Vincent's H+K's aimed at Max's head. Max almost laughs. VINCENT Slow the hell down! MAX Why? What are you gonna do? Pull the trigger? Kill us? Go ahead, man! Shoot ...my ass. VINCENT Slow down! MAX Vincent? Their eyes meet in the rearview mirror. Vincent is arrested by a look in Max that he's not seen before. It's the even, confrontational look of a man with nothing to lose. MAX (CONT'D) Go fuck yourself. Max slams on the brakes and cranks the steering wheel hard right... 9/27/03 MM revs. (buff) 93A. 87",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. STREET - RIGHT WHEEL 87 hits a low divider...rear end comes unstuck, rotating over the front right and flipping the cab into a violent roll onto its roof, spinning down the street, SMASHING off other cars, pieces falling off, spewing glass... (CONTINUED) 9/30/03 MM revs. (cherry) 94. 87 CONTINUED: 87 ...and then settling upside-down, revolving slowly to a creaking stop, antifreeze spilling across the pavement. And then everything goes silent, motionless, still. 87A",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAB 87A Wreckage. Steam from the ruptured radiator. Crumpled metal. Missing hood. Disintegrated windshield...shattered glass. Max is trapped upside-down in his seatbelt, his roof half caved in, one side of his face streaked with blood. Alive but dazed. Movement in the back. Sharp intake of breath. Then a voice... VINCENT Well. That was brilliant. MAX Was your seatbelt fastened, honey? -- and a BLOODY HAND shoots from the darkness behind him, * plunging an aluminum section that used to hold the perspex screen in place . Max jerks his head aside and the aluminum rail misses him by inches, ramming solidly into the headrest instead. Max releases his seatbelt, dropping and hitting the ceiling of the cab. Vincent, sardined in the reduced space in the back, lunges forward. Max wildly fights to keep the knife at bay and crawl out his window. We hear a POLICE SIREN. Vincent, eyes glittering, kicks out the window on the other side. Max, crawling away on the pavement, keeping low, the taxi between them, looks back... MAX'S POV: VINCENT ...in a glimpse, running off into the night. Vincent's hand pulls the .45 Para Ordnance backup from his waistband. Vincent's SHOES CRUNCH on broken glass. He vanishes into darkness as the SIREN GROWS near... Max pushes painfully to his feet. Looks around. A surreal moment. Max standing by his overturned cab, the empty city all around him, breathing the cool night air. Alive . It strikes him in that moment. He's survived the night. The blood pumping through his veins is a fact . It stuns him. Overwhelms him. (CONTINUED) 9/30/03 MM revs. (cherry) 95. 87A CONTINUED: 87A How good is life? The LAPD black and white screeches to a stop. A SERGEANT gets out. SERGEANT (into radio) 12A75 requesting an RA unit at Grand and 9th for a TC with injuries... SERGEANT, looking at the truly wrecked cab... SERGEANT (CONT'D) Are you alright? What happened? And the mundane beauty of the question makes Max look at him like he's crazy, and there are tears streaming down his face. The Sergeant approaches Max, gentle but firm: SERGEANT (CONT'D) (as if to a child) You've been in an accident. An ambulance is on the way to help you. Do you understand what I am saying to you? Sit down on the curb. Okay? (Max nods) Anybody else in there? Max shakes his head. The Sergeant shines his flashlight on the passenger compartment, concerned about Max. SERGEANT (CONT'D) Don't worry about the cab. They'll get you a new one. You okay? * MAX (finds his voice) I'm...fine. Fine. Just dizzy and * shit. * SERGEANT Sit there and breathe deep, sir. * You'll be okay. * The Sergeant, now at the rear of the cab, to make sure there's no gasoline spill, suddenly freezes, his flashlight beam finding the trunk lid ajar from the crash, and inside is the corpse of Ramone Gallardo in a sprawled heap. SERGEANT (CONT'D) Put your hands where I can see 'em! Get on your knees! Slowly! MAX Huh? (CONTINUED) 10/2/03 MM revs. (tan) 96. 87A CONTINUED: (2) 87A Sergeant's gun is out on Max. Max does as he's told, getting to his knees on the pavement. Curious. The whole thing strikes Max as insane. Absurd. 87B OMIT 87B 87C",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. STREET - MAX 87C MAX Sure. Arrest me. Take me in. Police station. LA County's good. ...and he's on his knees, hands on his head. Sergeant coming up behind him, covering him. Per procedure, Sergeant holsters his weapon, draws his cuffs, and grabs Max's right wrist, cuffing it. MAX (SLO-MO) One arm is brought down behind his back... MAX'S POV: PUSH SLOWLY INTO DEBRIS from the wreckage. Granules of shattered safety glass. Max's on-board computer that Vincent used - upside down - and ""ON""... And... TIGHTER ON MAX (SLO-MO) as he sees the display from Vincent's flash drive of the last * two targets. Max's falls forward and flattens his face on the pavement to see... (CONTINUED) 9/30/03 MM revs. (cherry) 97. 87C CONTINUED: 87C MAX'S POV PUSHING IN The split image. On the left is Peter Yip. On the right is... ANNIE FARRELL. ASSISTANT U.S. ATTORNEY. MAX (SLO-MO) Breath goes out of him. Target #5 is Annie. As the Sergeant is * struggling for Max's left hand, now, Max's lunges for... * UNDER SHATTERED GLASS the visible grip of Vincent's .45 H+K. * MAX pulls the Sergeant off-balance, whips the H+K around while still on his back, jamming the gun to the Sergeant's head. Sergeant's hand reaches for his holstered Beretta... MAX (CONT'D) Get your hand off your gun! Max jams the gun tighter to the Sergeant's head. He's not certain where to point it. MAX (CONT'D) Look, someone's gonna get killed if I * don't, it's... * SERGEANT (cuts in) * PUT YOUR GUN DOWN! MAX NO! I gotta go, see, you don't... * SERGEANT (cuts in) * PUT THE GUN DOWN! MAX HEY, HEY! When did this become a negotiation? Max grabs the gun out of the Sergeant's holster and tosses it under the car. He takes his second set of cuffs... MAX (CONT'D) Cuff yourself to the goddamn door. Sergeant cuffs his arm through the window frame of the open squad-car door. Max tosses the key. Trapped. (CONTINUED) 9/30/03 MM revs. (cherry) 98. 87C CONTINUED: (2) 87C SERGEANT You're in a world of shit... MAX Good! Do us a favor. Call the police! I'm going to 6th and Fig. * (running off) * I got no time to explain... * ...and the last the Sergeant sees of him, Max is vanishing up the street into the darkness. A87D",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. STREET - MAX A87D * Running. Stripped of everything now. Operating purely on instinct. Vincent's gun in his right hand, handcuff dangling from his left wrist... Running. The city silent around him. The only sound is his feet hitting the pavement... Running. TWO COP CARS rocketing through an intersection a block or so behind him, SIRENS WAILING. Max veers for cover, not breaking stride, pressing on... More distant SIRENS, now, police units responding...Max, racing up the middle of the street... Seeing a late-night PARTIER coming out of The Standard with a CELL PHONE, Max grabbing the phone right out of his hand as he sails past him, the Partier spinning around to chase after him... PARTIER Hey, asshole! Max whips around, H+K snapping up. MAX Fuck off ! The man does. Max keeps running, dialing, fumbling Annie's business card from his pocket, getting the numbers wrong, trying * again... (CONTINUED) 9/2/03 MM revs. (green) 99. 87C CONTINUED: (3) 87C ...and he finally stops, gasping for breath, punching in the final numbers. LOUSY signal. CAMERA CIRCLES AROUND MAX * TO REVEAL... * 87D",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PARKING STRUCTURE 87D Max runs up the stairs of a parking structure to get a better * signal. He and we SEE... * MAX'S POV: FEDERAL BUILDING across the freeway. Dark offices. Only a few have lights on. * Except... Three floors that are completely lit, 14th through 16th. MAX (gripping cell phone) C'mon, go through, go through... Through intermittent CELL PHONE STATIC, we hear RINGING on the * other end... 87E",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. FEDERAL BUILDING LOBBY - VINCENT - NIGHT 87E uses a card similar to the one we saw in the front to gain * access to the elevator lobby without setting off the alarms. BUT this card's connected to a wristband with other key cards * and an identification card of a heavyset black woman. We don't understand... WIDER * beyond Vincent the lobby's vacancy is sinister... * 87F OMIT 87F * 88,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ELEVATOR - NIGHT 88 Vincent rides up, watching the numbers climb... 89 OMIT 89 89A",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PARKING STRUCTURE - NIGHT 89A Max waits, heart pounding, phone ringing, eyes scanning the * windows... He sees a FIGURE on the uppermost well-lit floor, 16, through * the south windows cross an office to grab the phone. Annie . INTERCUT WITH: 9/2/03 MM revs. (green) 99A. 90",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. US ATTORNEY'S OFFICE - ANNIE - NIGHT 90 * lays down some files and grabs up the phone, bleary from exhaustion. She wasn't kidding about pulling an all-nighter. (CONTINUED) 9/30/03 MM revs. (cherry) 100. 90 CONTINUED: 90 ANNIE Annie Farrell. MAX (gasping for breath) Annie...it's Max. ANNIE (uncertain) Max... MAX Max, the cab driver! ANNIE (beat) Max? (glances at clock) ...kind of a strange time to be calling... MAX Listen! Listen, okay? There's a man. His name's Vincent. He's come to kill you! ANNIE He's...what? Where are you...? * MAX (shouting) Kill you! He is coming to kill you! ANNIE (beat) Is this a joke? 'Cause it is not funny. MAX A guy, Felix, hired him! Or people Felix works for. He's already killed witnesses, now he's coming after you! He was scoping out your building when I dropped you off. I don't know what happened, but he got into my cab. 90A",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ELEVATOR LOBBY - ELEVATOR DOORS 90A slide open. Vincent emerges onto the floor, using a master key card to enter the office... 9/30/03 MM revs. (cherry) 101. 91",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. OFFICE - ANNIE 91 tries to decipher what Max is saying through the CELL PHONE DROPOUTS: ANNIE Did you say Felix ? As in Reyes- Torrena? How do you know about my case? I don't understand... MAX It doesn't matter! Get out of the goddamn building... 92,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HALLWAY - NIGHT 92 ...but it's too late, Vincent's at a wooden door in the wood-and- glass office interior with an ""Assistant U.S. Attorney Annie Farrell"" sign. He kicks in the door at the lock. It slams open. He's through, H+K up... REVERSE: NOTHING Empty. No one's home. It's not the same office. Vincent steps in... 92A",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. 16TH FLOOR OFFICE 92A Annie finally grasps what Max is telling her: ANNIE ...okay, okay, Max, I believe you...I'll get out of the building... MAX No, no, wait ...! 93 OMIT 93 93A",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PARKING STRUCTURE - MAX 93A sees across the freeway: Vincent looking through Annie's office. It's on the 14th floor... LOW ANGLE PAST MAX * CAMERA TILTS UP to reveal Annie two floors above . She's frozen * at a table in the law library on the south wall, phone to her * ear. * 93B",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. 14TH FLOOR, ANNIE'S OFFICE - VINCENT 93B SEES purse, take-out, coffee cups...Vincent KNOWS she's still * here. (CONTINUED) 9/30/03 MM revs. (cherry) 101A. 93B CONTINUED: 93B And the ANGLE becomes OVER VINCENT out the window to the parking structure below and to the speck on the roof - Max, watching him. 93C",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PARKING STRUCTURE - MAX 93C MAX ...he's two floors below you. (CONTINUED) 9/30/03 MM revs. (cherry) 102. 93C CONTINUED: 93C ANNIE * In my office?! MAX Where are you, what floor? ANNIE Sixteen, law library and files. * MAX He doesn't know you're up there! Stay right where you are! Call 911! ANNIE Max, are you sure? MAX Call the goddamn police! Don't move from that spot... 94",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. 14TH FLOOR - NIGHT 94 Vincent pauses from examining offices with half-glass interior walls. His eyes going to a desk phone. Three banks of extensions. All dark. ONLY ONE of the extension buttons is GLOWING . Then it goes out. Then it lights up again. * Glowing light. It's Annie calling 911. Next to it is typed the * extension's location. Files Section, 16th Fl. Vincent looks up. He knows where she is. CAMERA TILTS UP of his look... 95 OMIT 95 95A",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PARKING STRUCTURE - MAX 95A sees, realizes Vincent knows where she is... MAX (into cell phone) Hang up. Hang up! Annie, get out! He knows where you are! 96",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. 16TH FLOOR FILES SECTION - ANNIE 96 lost in CELL PHONE INTERMITTENT CUT-OUT ... (CONTINUED) 9/30/03 MM revs. (cherry) 103. 96 CONTINUED: 96 ANNIE Hello? Max? What did you say? No use. He's gone. She punches a clear line, dials 911... 97 OMIT 97 97A",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PARKING STRUCTURE - MAX 97A frantically hits redial. Nothing. No signal. SHRILL FAST-BUSY TONE. No cell service. MAX Shit! Pure desperation. He glances over the abutment to the grass slope below. No time to think. He acts. Fuck it. He jumps, clumsily, falling, rolling... 97B FALLING DOWN THE SLOPE 97B with Max. Desperate, not graceful, pushing to his feet, ankle wrenched, racing/hobbling, grass-stained hoody, across... 97C",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. 14TH FLOOR - LONG LENS ON MAX 97C ...crossing the bridge over the Harbor Freeway to the office building... 98,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. 16TH FLOOR FILES SECTION - NIGHT 98 ...as Annie listens to the 911 RECORDING: VOICE ...call will be answered in the order received. If this is not an emergency... 99 OMIT 99 99A,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FEDERAL BUILDING, LOBBY (GAS CO. WEST OVERVIEW) - MAX 99A enters. The sidewalk is elevated above the lobby. Through the brightly-lit glass walks Max sees the lobby is strangely vacant. * No security guards. (Then he SEES a LONG SMEAR OF BLOOD across * the white stone...) 99B OMIT 99B 100",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. 16TH FLOOR FILES SECTION - ANNIE 100 finally hears a CLICK ON THE LINE as: (CONTINUED) 9/21/03 MM revs. (pink) 104. 100 CONTINUED: 100 FEMALE VOICE (FILTERED) 911. How can I help you...? ANNIE There's a man in the building! He's trying to kill me. I'm... 100A,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. UTILITY ROOM, 16TH FLOOR - FIRE AX 100A WHACK! Vincent swings it again, instantly severing the 16th floor's power and telephone trunk line . Sparks emit from the bundled cables in the thick conduit. He tosses the ax, exits into the hallway, jabs the elevator button... 100B",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FEDERAL BUILDING, LOBBY (EAST VIEW) - MAX 100B * appears. And SEES...dead NIGHT WATCHWOMAN squeezed behind the * security desk... * 101",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. FILES SECTION - NIGHT 101 ...as Annie finds herself talking to a dead line: ANNIE ...hello? Meanwhile... 102,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BUILDING LOBBY - NIGHT 102 Max hurls a steel trash can at the glass wall with all his might. It just bounces off . Max pauses, stymied. He raises Vincent's H+K clumsily in one hand, braces himself, squeezes the trigger. Nothing. Is there a safety on this thing? He finds it. He tries again. FIRES TWO SHOTS into the glass door. The gun almost kicks out of his hand. But the door disintegrates. He walks through... 103",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. 16TH FLOOR FILES SECTION - NIGHT 103 Annie, frozen with indecision. What to do? Stay or go? (In keeping with the building's design, a WALL OF GLASS separates this area from the corridor beyond, which is separated by glass from other offices and the lobby. Normally, you'd be able to see people working, walking the hallway.) Right now, the corridor's dark. Terrifying. She forces herself to move, to cross the office, run now...for the door to the... (CONTINUED) 9/21/03 MM revs. (pink) 104A. 103 CONTINUED: 103 INTERNAL CORRIDOR ...but she only gets ten feet before she's stopped by... (CONTINUED) 9/30/03 MM revs. (cherry) 105. 103 CONTINUED: (2) 103 A door opening. A SOFT FOOTSTEP. Somebody's there. Somebody * stealthy. * She backs up, against the floor-to-ceiling windows. Frozen. * Heart pounding. Listening. Against the city at night out the windows... * She backs up, further towards the windows, back into... * 103A",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FILES SECTION 103A ...where she backs past file cabinets. Not deep enough. Nowhere to hide. So she backs along the glass. Nothing now but the CITY GLOW spilling faintly through the windows. Low shelves of legal books. Tables offering no cover. While... A SHADOW tracks against the city laid out to the south, the 110 and 10 like arteries carrying white and red cells (headlights and taillights)... ANNIE crouches under a table and crawls backwards. She can't hear a thing. Her heart pounds. The silence makes her want to scream. A POV of empty, scary office. Over the table, b.g., is the glass wall running the length of the office area. The corridor beyond. Empty. A SHADOW...? Did she see a shadow pass against the murky darkness out there? A soft sound. Feet on carpet. Did she hear it? Is she imagining it? The breath catches in her throat. Eyes wide. THE SHADOW in the bullpen by a corridor. It lurks, silently. Waiting. It's Vincent. FRONTAL: VINCENT And then he moves. Softly. Quietly... TIGHT ON ANNIE Under the table...by the windows. A huddled form against the city lights and helicopters. Waiting. Not breathing. Still as a statue. Then the urge is too strong. She's got to get out, get out now! Annie on her hands and knees, trying to crawl away, soundlessly... (CONTINUED) 8/24/03 MM revs. 106. 103A CONTINUED: 103A ...not realizing that walking upon her, SOUNDLESSLY, from the * back is Vincent. She doesn't know. He's a shadow in the * dimness. ANNIE senses. Stops. Turns...and she sees the shape - twenty feet * away - of Vincent...the Para-Ordnance .45 coming up. The .45 * cal barrel like a tunnel into nothingness. * VINCENT'S EYES are cold, indifferent. * VINCENT'S FINGER * squeezing off the slack on the trigger. * VINCENT'S EYES sense. Stops. Turns. * A SILHOUETTE in a doorway. Aiming a gun. He's backlit by a red emergency * light on a rear wall. For a moment, Vincent can't bring himself * to believe it... * VINCENT Max? MAX Let her go. Vincent smiles, it's harsh, almost canine... * VINCENT What are you gonna do, shoot m-- BLAM! A MUZZLE FLASH. Vincent got kicked in the head. He goes * sprawling. Max rushes up to Annie. Grabs her arm, jerks her away... * ANNIE Max...? He pulls her to her feet. Both of them backing away, running * for the door. A GROAN. Max pulls her harder. * VINCENT rises, gets behind cover. Sitting up, eyes glittering, hand * clasped to the side of his head, blood coursing through his fingers. (CONTINUED) 9/30/03 MM revs. (cherry) 107. 103A CONTINUED: (2) 103A VINCENT Jesus, Max. You shot my ear off. * He pulls his hand away, sitting on the floor, staring at the * sheet of blood on his palm. He looks at the fleeing Max. VINCENT (CONT'D) Okay, MAX! 103B",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GLASS CORRIDORS - MAX 103B has the H+K aimed, backing for the elevator lobby... 103C VINCENT APPEARS 103C around a corner, clearing space. Fast. His Para-Ordnance up. Max and Annie running, now... Vincent sees vague shapes... BOOM-BOOM! BOOM-BOOM! Gunshots punch through the glass, inches from Max and Annie, collapsing walls revealing Vincent against the LA-scape. Blossoms of white flame: BOOM-BOOM... 103D",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ELEVATOR LOBBY 103D ...and a moment later the GLASS WALL EXPLODES into the corridor, by a chair, CRASHING through it, followed by Vincent, into the elevator lobby, while... 103E",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ELEVATOR - MAX 103E hits the ground-floor button and ""close,"" the doors taking a million years to do that. As they're sliding shut, he sees Vincent across the lobby, raising the gun... Max throws himself on Annie, both to the floor. BULLETS PUNCH through the paper-thin sheet-metal doors. But the elevator's moving now... 103F",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. 16TH FLOOR HALLWAY 103F ...leaving Vincent behind. He darts for the stairs. 103G,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ELEVATOR 103G Max and Annie on the floor, breathing hard, staring at each other in wordless shock. They reach the ground floor... 103H",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BUILDING LOBBY 103H ...and Max drags her forward, the two of them racing across for the exit, seen WIDE + HIGH in REAR SHOT (Gas Co. lobby, running to S.E.)... 9/30/03 MM revs. (cherry) 108. 103J",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BUILDING STAIRWELL 103J Vincent careens down the steps, the entire side of his head bloody, his ear mostly gone. He SLAMS through a door into -- 103K",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LOBBY 103K -- where he finds the elevator standing empty. He hears a door alarm, turns, runs across the lobby... 103L",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. LOWER LOBBY - VINCENT 103L enters and races down the frozen escalator to CAMERA. * A103M,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MTA - REAR SHOT: MAX + ANNIE A103M * enter and run through the interior hall OR down the lower * staircase. * 103M,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MTA - LOW/WIDE ANGLE: VINCENT 103M entering from the street, diagonally, down to CAM. (The office building is behind him.) 104 OMIT 104 * 105",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BOARDING PLATFORMS (GREEN LINE) - MAX + ANNIE 105 * race towards the boarding area. * Hardly anyone in sight, except for an OLD WHITE HOMELESS GUY * with a TV set in a shopping cart powered by a car battery. * MAX * CALL THE POLICE! He stares at them like they're nuts. They run towards the empty * platform. No train! * Neon-lit, strange art, like dead people floating in a pool, * hangs from the ceiling. * Max and Annie run, turning this way and that, trying to decide * what to do. * A105A OVER MAX + ANNIE - SAME A105A * They run down ANOTHER STAIRCASE where we see the BLUE LINE * PLATFORMS, running at 90 degrees. No train there, either! They * race down, anyway to get away, because... * 9/30/03 MM revs. (cherry) 108A. 105A",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. TOP OF STAIRS TO GREEN LINE PLATFORM - REAR SHOT: 105A * VINCENT * runs into frame, SEES Max and Annie 50-75 yards away, racing * down the stairs to the Blue Line...a difficult shot, Vincent * aims, elevates the front sight... (CONTINUED) 9/30/03 MM revs. (cherry) 109. 105A CONTINUED: 105A BOOOOOM! BOOOOOM! BOOOOOM! Vincent FIRES THREE ROUNDS... * 105B",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. BLUE LINE PLATFORM - MAX + ANNIE 105B * cut by .45 caliber bullets chewing craters in the ceramic tiles * inches from them. 106,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BLUE LINE - MAX + ANNIE 106 * HEAR, NOW, A TRAIN PULL IN. BUT it's upstairs on the Green * Line. They run down the platform for the stairs back UP! * A106A",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GREEN LINE PLATFORM - VINCENT A106A * running, SEES the train arriving on the OPPOSITE PLATFORM. He * looks down to the stairs to the Blue Line. A train pulls in * there, too! Decision time. * B106A",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GREEN LINE, THE FOURTH SUBWAY CAR - MAX + ANNIE B106A * ...are discovered crawling into the car. They collapse, low on * the floor, waiting for the doors to close, the train to pull * out, hoping Vincent hasn't followed... * VINCENT * has to decide, has to second-guess Max. A beat. The train sits * there for seconds. It seems like hours, like fucking forever . * Vincent riveted to the spot. Max + Annie praying Vincent * doesn't appear. * The doors start to close, sliding irrevocably shut. * VINCENT * Then he knows. With no hesitation, he leaps off the platform * onto the rails as the train starts to pull out. * C106A",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FOURTH SUBWAY CAR - MAX + ANNIE C106A * are at the sliding which adjoins the fourth car to the * third car. The train's picking up speed. Where's Vincent? As * a precaution, they start for the third car. * D106A",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. MTA - HELICOPTER FROM ABOVE D106A * ...we're out of the subway on the surface... * 106A,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. THIRD CAR - MAX + ANNIE 106A * low, down the aisle of the third car, rising for the door. And * Max turns and looks: * (CONTINUED) 9/30/03 MM revs. (cherry) 109A. 106A CONTINUED: 106A VINCENT * standing in the fourth car, staring at him. * 106B OMIT 106B * 9/30/03 MM revs. (cherry) 110. 106C",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. SECOND CAR - MAX + ANNIE 106C * race in as ROUNDS pound through glass into the second car. * ROUNDS SLAM through metal and glass. * 106D,FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FOURTH CAR - VINCENT - NIGHT 106D * VINCENT * is coming... * VARIOUS ANGLES ...and the SEQUENCE BUILDS, Vincent working toward the front... Max and Annie desperately looking for cover. City racing by. Train racing by city. A few RAGGED PASSENGERS trying to huddle out of harm's way with nowhere to go. As the TRAIN THUNDERS AND SHRIEKS over the track junctures... THE FIRST CAR Max and Annie rush in, slide the door shut. This is as far as they can go. They drop into a crouch at the door, breathing hard, terrified, Max with his back against the wall, arm stiffly keeping the door handle wedged tight, his head just below the door's window. A harsh, ragged whisper: ANNIE Where's the next station? A frozen moment. Eyes locked. Knowing they're probably going to die together, even though they hardly know each other. THE TRAIN GOES BLACK, LIGHTS DYING AS THEY SHRIEK OVER ANOTHER JUNCTURE...then the LIGHTS RETURN, stuttering. Max rises slightly up, peers over the lip of the window. Here comes fucking Vincent down the aisle of the second car. He sees Max. He shouts, barely audible from here... VINCENT YOU CAN'T WIN, MAX! I DO THIS FOR A LIVING! ...and he keeps coming, .45 at his side, a sheet of blood down his face from the missing part of his ear. ...the visage of Vincent, the .45 in his hands, scares the shit out of the early-morning passengers. ...and Max clutches the H+K, takes a deep, shaky breath, his eyes on Annie's, not even sure in that moment what he's going to do, probably die, and he lunges up, Vincent not ten feet away... AND THE TRAIN GOES DARK . (CONTINUED) 9/30/03 MM revs. (cherry) 110A. 106D CONTINUED: 106D A BLIZZARD OF MUZZLE FLASHES, both men FIRING THROUGH THE WINDOWS at each other, GLASS SHATTERING between the cars and getting sucked away by the wind, Max screaming, face lit only by the GUNFIRE, clumsy in how he holds Vincent's H+K, firing one- handed, not aiming, not looking where he's shooting...Vincent's Para-Ordnance BOOMING OUT MASSIVE ERUPTIONS OF FLAME... (CONTINUED) 9/30/03 MM revs. (cherry) 111. 106D CONTINUED: (2) 106D ...and then abrupt silence as the LIGHTS RETURN, Max looking * down, his expression nearly childlike with terror. He stares at the H+K in his shaking hand, sees the slide is locked back - gun's empty. He rises up. His look says, ""go ahead, kill me..."" through the shattered window. Vincent's standing in the other car, right where we left him. Watching Max. A little smile on his face. 107",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. VINCENT'S CAR - NIGHT 107 Vincent ejects the empty magazine. Before it even hits the floor or at his feet...Vincent's hand loading a full mag, the weapon pointed at Max, like it was when he reloaded and shot Peter Yip the first time. Odd, though. His fingers aren't working that well. His brilliant sleight-of-hand seems gone. He fumbles the reload, in fact. The magazine of stacked .45's drops, landing at his feet among the expended casings. A few fresh droplets of blood patter quietly. Vincent considers picking up the mag, but it suddenly seems like way too much trouble. He blinks at the .45 in his hand, as if confused, then turns and starts unsteadily back toward the back of the car. The .45 slips from his fingers, clattering to the floor. Max watches Vincent walk away. Vincent only makes it halfway. He has to sit. He grabs an aluminum pole, eases himself onto the seat, trying to catch his breath. Max slides his door open, steps across the bridge between cars. Slides the second door open. Enters. Vincent turns his head slightly, watching Max draw cautiously nearer. Max stares down, seeing the blood spreading across the floor beneath Vincent. Turning into quite a pool. Vincent tries to speak, can't quite manage. Max sits across from him. Annie appears in b.g., watching them. VINCENT + MAX sit there, riding the train. Softly: MAX We're almost at the next station. (CONTINUED) 10/9/03 MM revs. (yellow) 112. 107 CONTINUED: 107 Vincent smiles faintly. He leans his head toward Max as if conferring a secret. In a halting whisper: VINCENT Guy. Gets on a subway. Dies. (off Max's look) Think anybody'll notice? MAX looks into Vincent's eyes. It means ""I'm that guy"" and ""will anybody notice me when I'm gone?"" VINCENT leans back, gazing straight ahead now. Rocking gently with the motion of the train... ...and with much effort and to Max's amazement, Vincent emits a soft, rasping wheeze, but it's a faint laugh all the same. Max has no idea what's so funny to a dying man. Vincent looks. Max follows his gaze. There, right across the car, among all the ADVERTISEMENTS near the ceiling, is: AN AD The whitest sand and bluest sea you can imagine. A dream place. Limitless horizon. * 107A",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. VINCENT'S CAR - MAX - DAWN 107A Vincent's no longer laughing. In fact, Vincent's no longer doing anything. Ever. Annie comes to Max and sits. She shivers. Max takes off his zippered, hooded sweatshirt and puts it around Annie. It's a small gesture. But it's a protective and confident act... She takes his hand. Dawn lightens the sky ahead. They ride the train together, side by side, neither saying a word. For now. The train pulls in to a station... WIDE ANGLE OF SUBWAY CAR ...and Max pulls Annie to her feet. The doors open. They silently get off. The first sideways streams of yellow light shaft into the station. The doors close again. The train pulls out. (CONTINUED) 8/24/03 MM revs. 113. 107A CONTINUED: 107A WE HOLD ON Vincent for a while. Riding the train by himself, into the dawn, his head back as if sleeping, alone in the car, * as the sun rises. Another dead guy on the subway...riding into a new day. And Max, in his Polo shirt and dirty pants, an arm around Annie, * wearing his stained sweatshirt, rises to us up the * escalator...freeways, arteries of traffic behind them. * FADE OUT",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. THE AUTOBODY SHOP. DAY.COSTELLO's profile passes in a dark room.COSTELLO (V.O.) Years ago, we had the Church. That was only a way of saying we had each other. The Knights of Columbus were head-breakers. They took over their piece of the city.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SOUTHIE. VARIOUSThe neighborhood. 1980's. We won't be here long. This isn't where Costello ends up. It's where he began. Liquor stores with shamrocked signs. MEN FISHING near Castle Island. Catholic SCHOOLKIDS playing in an asphalted schoolyard.COSTELLO (V.O.)Twenty years after an Irishman couldn't get a job, we had the presidency. That’s what the niggers don’t realize. If I got one thing against the black chaps it's this. No one gives it to you. You have to take it.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LUNCH COUNTER. DAYCOSTELLO comes in. The shop is one that sells papers, sundries, fountain drinks...and fronts a bookie operation.YOUNG COSTELLO(leaning over cluttered counter)Don’t make me have to come down here again.(CONTINUED) PROPRIETORWon’t happen again, Mr. C.The frightened proprietor hands over money. Fifty bucks, a hundred, doesn’t matter. COSTELLO is never the threatener. His demeanor is gentle, philosophical. Almost a shrink’s probing bedside manner. He has great interest in the world as he moves through it. As if he originally came from a different world and his survival in this one depends on close continual observation and analysis.YOUNG COLIN looks up. CLOSE ON his eyes. He is fourteen or fifteen, but small for his age. Bookish.COSTELLO eyes the proprietor’s TEENAGE DAUGHTER, working behind the counter. He takes a propane lighter, and, strangely, pays for it (the proprietor startled) and waits for change. He lights a MORE cigarette with the lighter.YOUNG COSTELLO Carmen’s developing into a fine young lady. You should be proud. You get your period yet, Carmen?The PROPRIETOR is uneasy. COSTELLO turns to YOUNG COLIN (about 14) staring at the local hero. Costello reaches up above and behind the counter and takes down some cigarettes. YOUNG COSTELLO (CONT’D)You Johnny Sullivan’s kid?COLIN nods.YOUNG COSTELLO (CONT'D)You live with your grandmother?COLIN nods.YOUNG COLINYeah.COSTELLO tells the Proprietor to takes three loaves of bread and some soup off the shelves and puts them in Colin’s bag. COSTELLOGet him three loaves of bread. And a couple of half gallons of milk. And some soup. He goes over to the fridge and puts two half gallons of milk in the bag. Some soup. Costello turns to Colin. 2.CONTINUED: (CONTINUED) COSTELLO (CONT'D)Do you like comic books?Colin nods. He adds a couple of comic books.When the PROPRIETOR looks at him, he takes out the money he put in his pocket and gives back half.YOUNG COSTELLO You do good in school?YOUNG COLIN nods, holding the big bag of loot.COLINYes.YOUNG COSTELLO That’s good. I did good in school. They call that a paradox.He gives some money to Carmen.YOUNG COSTELLO (CONT'D)Buy yourself some makeup. Keep the change.Looks intently at COLIN to see if he gets it. Colin does.YOUNG COSTELLO (CONT’D)You ever want to earn a little extra money, you come by L street. You know where I am on L street.COLIN nods: everybody does. YOUNG COLINThank you.He pushes out with the bags of groceries.The PROPRIETOR can do shit about it.YOUNG COSTELLO watches YOUNG COLIN go off down a slummy street.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. A CHURCH. MORNING. 1985-ISHYOUNG COLIN, the good boy, the very good boy, is serving at a funeral Mass. Various views of the church. Stained-glass light. The altar is still wreathed in the smoke of incense. 3.CONTINUED: (2) (CONTINUED) PRIEST (V.O.)To you, O Lord we commend the soul of Alphonsus, your Servant; in the sight of this world he is now dead; in your sight may he live forever. Forgive whatever sins he committed through human weakness and in your goodness grant him everlasting peace.ALLAmen.CLOSE on COLIN'S face.PRIEST (VO) May the angels lead you into paradise; May the martyrs come to welcome you and take you to the holy city, The new and eternal Jerusalem.A liturgical bell tings.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. THE AUTOBODY SHOP. DAYCOSTELLO is talking informally (we realize that this is a continuation of the philosophical talk, the shadowy pacing). YOUNG KIDS. Useful young men. YOUNG COLIN, three years older, is among them. YOUNG COSTELLO Church wants you in your place. What sort of man wants to be kept in his place? Do this don't do that, kneel, stand, kneel, stand...I mean if you go for that sort of thing... YOUNG COLIN, the recent altar boy, visibly doesn't go for that sort of thing.YOUNG COSTELLO (CONT'D)I don't know what to do for you. A man makes his own way. No one gives it to you. You have to take it.(a beat)Non serviam.YOUNG COLINJames Joyce. 4.CONTINUED: (CONTINUED) YOUNG COSTELLOHim and Lucifer. And me.(to the room)Guineas from the North End and down Providence, tried to tell me what to do...And something maybe happened to them.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. A REMOTE BEACH. DAWNRose-colored dawn. YOUNG COSTELLO, with a pistol, executes a MAN kneeling in the surf. She falls on the body of a man who has just been executed.COSTELLOJeez, she fell funny.FRENCH moves forward with an axe in his hand.FRENCHFrank, you gotta see somebody.They go about their business.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. THE AUTOBODY SHOP. DAYYOUNG COSTELLO walking, talking...Not continuous with the above. We see that only YOUNG COLIN is present.YOUNG COSTELLO You decide to be something, you can be it. That's what they don't tell you, the Church.MISTER FRENCH is doing books off behind a window of dirty glass.YOUNG COSTELLO (CONT'D)When I was your age, they would say, we become cops or criminals. Today, what I'm saying to you is this: When you are facing a loaded gun...very close on COSTELLO, holding Colin's shoulder.YOUNG COSTELLO (CONT'D)What's the difference?ECU: COLIN’S EYES swerve up. We are now on (MATURE) COLIN’S EYES eyes. This is how the character transits the “age leap”...on the unchanging eyes. 5.CONTINUED: THE SAME EYES. Pull back to reveal:POLICE TRAINEES. (INCLUDING BARRIGAN, who is included in all Colin's trainee scenes). COLIN is in the class, wearing a trainee's uniform. He has a notebook, a pen. Writing.INSTRUCTORThe slug enters the skull by forming a small entrance hole. Blood and brain matter is ejected backwards from this hole. The bullet, which may expand, fragment or tumble, then passes through the brain...COLIN writes.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FIRING RANGE. DAYPOLICE TRAINEES ON A FIRING RANGE. As we go along the line we see COLIN, firing dry and then speed-changing a clip in a BERETTA 92F. He is a perfect trainee.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. A TRAINING FIELD. DAYSTATE POLICE TRAINEES standing in a pissing rain, a DI yelling at them OS. COLIN is staring forward. RAIN streaming down his face. His opinion on the experience is not decipherable. Ad libs: ""Sir, yes, sir.""",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. THE BOSTON COMMON. DAYGuys we recognize from the previous shots at the State Police Academy (wearing Statie t-shirts), including COLIN and BARRIGAN, are playing rugby against some FIREFIGHTERS. Very rough game. The game breaks up with each group giving each other the finger. FIREFIGHTERS are moving away triumphantly.COLINFucking firemen are getting pussy for the first time in the history of fire. Or pussy.COLIN sits on a bench looking at THE GOLD DOME OF BEACON HILL. The terraces of fine townhouses. Aqueous golden light behind. Misty golden beauty. 6. (CONTINUED) BARRIGANWhat are you looking at? Forget it. Your father was a janitor, and his son's only a cop.COLIN(not vainglorious, but innocently stretching for the idea)You're in trouble if you're ""only"" anything.BARRIGANDon't tell me I'm looking at the first dickhead-American president of the United States.COLIN doesn't have a great sense of humor but he knows how to pretend that he does. He smiles.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. STATE POLICE GRADUATION CEREMONY. DAYBagpipes and bullshit. Flags cracking. Line after line of paramilitary-looking graduates, among them COLIN.SPEAKER (V.O.)The Massachusetts State Police has a long tradition of excellence. Your graduation today solidifies your acceptance into one of the finest law enforcement agencies in our nation. As the Governor of the Commonwealth of Massachusetts, I am confident each and every one of you will serve with distinction, honor and integrity. CAMERA swirls around COLIN as he moves, a lone person, through the breaking up crowd. Other graduates are hugged by family. COLIN, alone, comes to the gates of the yard.THE MAYOR VOCongratulations. You are dismissed.The bagpipe band plays ""Minstrel Boy.""COLIN'S POV:AN OLDSMOBILE. COSTELLO and MISTER FRENCH standing by the car. 7.CONTINUED: (CONTINUED) COLIN walks over to the car. COSTELLO gives COLIN a BOX. COLIN flips open the top and then quickly closes it. NOTE: The box could contain an eyeball, money, drugs, a picture of Colin fucking his school teacher...we will never know.COSTELLOSchool’s out. You earned it. Yeah, no more teachers, no more books.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. AN EXAMINATION ROOM. DAYTITLE: FOUR YEARS LATERA test is reversed on a desk lit with fluorescents. BILLY takes up a Number Two pencil. He is in a room full of trainees, far enough along in their traineeship that their hair has grown in. A CLOCK TICKS, sweep hand coming around.BILLY'S EYES on it.INSTRUCTOR (O.S.)Begin.BILLY takes the test, marking multiple choice answers swiftly while all around him trainees are sweating and still trying to read the questions.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. A TRACK. DAYBILLY, wearing a State Police sweatshirt is running, alongside BROWN a black trainee with specs.BROWNShe tells me, you never finish anything. (puff puff)You finish the police course you get taken care of again baby. (puff puff)So after graduation(puff puff)I get a blowjob again.BILLYThat's great. Your mom must be a wonderful woman.BROWNFuck yourself. 8.CONTINUED: (CONTINUED) BILLYLook at it this way, you're a black guy in Boston. You don't need any help from me to be completely fucked.BROWNWays to get ahead, though, man, ways to get ahead.BILLY(exasperated by this)To where. (Yeah)BROWN is left thinking about this.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. TRAINING FIELD. DAYBILLY with other trainees is being braced by a DI.DRILL INSTRUCTORThis is not the regular police. This is the state police. Your training will illustrate the difference. What's the difference?BILLY(sotto voce to BROWN)Rage issues and lower median IQ.DRILL INSTRUCTORYou say something?BILLYSir, I was agreeing with you about our obvious superiority to other forms of police, sir.DRILL INSTRUCTORWe're not superior, we're the best.BILLYSir, yes sir.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FIRING RANGE. DAYBILLY, in glasses and ear-protectors, waiting for the target. Go from the GUN to 9.CONTINUED:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. A CRACKHOUSE. DAY. COLIN, four years a veteran of the gang unit, is on the job, on a raid, clearing rooms, part of a team working with massive aggression. He moves through a door. A SAD SACK OF SHIT is throwing drugs out a window.COLIN(calling to other cops)Douchebag!COPS enter past Colin and pigpile the man. COLIN is chewing gum, all testosterone and aggression, glad to be a cop. The smartest guy in the room.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FIRING RANGE. DAYBILLY fires, and changes clips.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. A STREET IN BOSTON. DAYA BLACK-WINDOWED, MODERN, POLICE BUILDING, beetling over a plaza. Older Boston reflected in the featureless glass. The Boston of this film is almost futuristic. COLIN looks up at the building with great intensity. He puts on his sunglasses and walks towards the door.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. QUEENAN'S OFFICE. DAYCOLIN, in civvies (a very good suit), stands at suave attention before CAPTAIN QUEENAN, a mild and scholarly man who might as well be a Jesuit history-teacher.QUEENAN Congratulations on passing the detective exam, and welcome to the Special Investigation Unit.DIGNAM(tonelessly)Whoop-di fuckin’ do.QUEENANWe won't be working directly together, you'll be working for Captain Ellerby, but I like to see everybody. (contemplating him)You're a worker, you rise fast. 10. (CONTINUED) DIGNAM Like a twelve year old's dick.(Alt: Like a turd in the pool.)COLINThank you, Sergeant.DIGNAMMy pleasure.COLIN(to Queenan)Thank you, sir.He turns to go.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. QUEENAN'S OFFICE WAITING ROOM. DAYAs COLIN leaves the office, looking very satisfied and not a little saturnine (it's not as if he isn't pleased by recognition and it's not as if he won't get revenge on Dignam), he barely glances--and does not actually see--the TRAINEE sitting off to one side. He sees polished brogues, and walks on.QUEENAN'S SECRETARY(whispering, joyful, in love with COLIN)Congratulations.COLINThanks, hon.As COLIN leaves she moderates her expression and:QUEENAN'S SECRETARY (coldly)You can go in there now.BILLY looks up. He has not seen COLIN, and COLIN has not seen him. He has his interview on his mind.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. QUEENAN'S OFFICE. MOMENTS LATERBILLY stands at attention. The picture of a spit-and-polish trainee.QUEENAN You can sit.BILLY does. 11.CONTINUED: (CONTINUED) QUEENAN (CONT'D)So.BILLY has no idea why he is in this room with the brass. Sgt. Dignam is staring at him aggressively, with contempt, stirring his coffee. DIGNAM is more intelligent than he seems.QUEENAN (CONT'D)Do you know what we do here? My section?BILLY doesn’t want to answer unless he can answer correctly.BILLYSir, yes, sir, I have an idea...SGT. DIGNAMWhoa, let’s say you have no idea and leave it there. No idea. Zip, none. If you had an idea about what we do we would not be good at what we do. We would be cunts. Are you calling us cunts?BILLY wouldn't normally take crap from this guy; but he does. He's openly intrigued by the situation. Dignam is staring at him. BILLY looks evenly at QUEENAN.QUEENAN(not looking up from papers)Staff Sergeant Dignam has a style of his own. I'm afraid we all have to deal with it.SGT. DIGNAM (getting to business, hard)You have family connections down in Southie. Through your father. Tell us about your uncle Jackie.BILLYUncle Jackie was a carpet layer for Jordan Marsh.SGT. DIGNAMUncle Jackie was a small-time bookie who tended bar at the Vets in Somerville. 12.CONTINUED: (MORE)(CONTINUED) He got popped by Nicastro in '95. They found his body out by the airport.BILLY says slowly:BILLYThat's right.(tightly)I remember his funeral.SGT. DIGNAM(cruelly)Closed casket?BILLYThat's right.SGT. DIGNAM You tell anybody at Deerfield - that is, before you got kicked out for whaling on a gym teacher with a folding chair - you had an uncle met his demise like that? BILLY says nothing. Eyes luminous.SGT. DIGNAM (CONT'D)I got a question. How fucked up are you?",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CORRIDOR POLICE BUILDING. DAYCOLIN, in his good suit, moves along the hall. He owns the building. He looks into offices. He is looking at his future. From one room BARRIGAN (still working in uniform) gives him the thumbs up. COLIN gets a coffee. He looks at a secretary's ass. Caught at it, he smiles beautifully. She smiles back.BARRIGANWhat you got? (with admiration and envy)""Staff Sergeant"". In four years you're a sergeant.COLINSIU. What a country.BARRIGAN(after a beat)Perfect. 13.CONTINUED: (2)SGT. DIGNAM (CONT'D) (CONTINUED) Meaning to some extent ""Perfect for a dick like you"". This is how friends come apart. BARRIGAN is unable to continue his pose of congratulation. COLIN (close on Colin) is on to him.COLINI don't mind going it alone. If you could go it alone you might get somewhere yourself.BARRIGANWe're cops. This isn't ""somewhere"".COLINI know you're a worker. I might be able to do something for you. You got any suits at home or you like coming to work looking like you're gonna invade Poland.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. QUEENAN'S OFFICE. DAYBILLY is still at attention. DIGNAM going with wet thumb through papers.SGT. DIGNAM Let's look at the rest of the family tree. Your maggot uncle Tommy Costigan--he's another goof--got busted selling guns to federal officers. Among many, many, many other departures from, ah, ""normative behavior"".QUEENAN is inspecting Billy, watching his reactions. Specs catching light.BILLYWhat's this got to do with me?SGT. DIGNAM Why are you pretending to be a cop?",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. OCS CONFERENCE ROOM. CONTINUOUSCOLIN is eyeing a woman COP across the table. She smiles at him and lowers her eyes. At the end of the table:ELLERBYThis unit is new, and you are the newest members of it. You have been selected for it on the basis of intelligence and aptitude. 14.CONTINUED: (MORE)(CONTINUED) This is an elite unit. Our job is to smash--or at least marginally disrupt--(he gets the laugh he expected)--organized crime in this city by our own efforts and by enhanced cooperation with the FBI, represented here by Agent Frank Lazio-- (show the deeply unreliable dandy LAZIO)and we will do it. And by organized crime in this city...you know who we mean. SURVEILLANCE PHOTOS come up. COSTELLO in sunglasses standing in front of the Autobody shop. COSTELLO standing with UNCLE JACKIE COSTIGAN.ELLERBY (CONT'D)(clicking the button)That's Jackie Costigan...that's an old picture. Jackie met his demise.PHOTO OF JACKIE'S DEMISE: PHOTO OF JACKIE, DEAD. ELLERBY (CONT'D)Last known photograph.MORE RECENT PHOTOS. FITZY, DELAHUNT, FRENCH, all photographed with COSTELLO. Coming out of buildings, talking on the street, getting into cars.ELLERBY (CONT'D)Costello uses three key guys. There's Fitzy...off the boat psycho...lives in Brockton with his mother who looks like she's straight out of ""Going My Way""...There's Delahunt, muscle, and here’s French...the number one. But of course the rock star is...[you know who]A picture of COSTELLO comes up. COLIN looks at it. In the MUG SHOT Costello is serene, untouchable legally, untouchable at the heart. He's like a hilarious devil.ELLERBY (CONT'D)We've done a briefing book. Read up. 15.CONTINUED:ELLERBY (CONT'D) (MORE)(CONTINUED) I want to have any and all ideas, so I can pass them off as my own.(laughter, a long beat)Do your jobs and you will rise fast. You’re in the best position in the department. Let's go to work.The recruits disperse into a glittering modern office. COLIN, in his flash suit, gets a cup of coffee. He looks at the BRIEFING BOOK. He opens to a picture of COSTELLO.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. QUEENAN'S OFFICE. DAYDIGNAM still working Billy.DIGNAMYour old man was a hump from Southie. Baggage-handler at the airport. Family's all criminals except your old man.BILLYAnd one priest. Since you seem to know everything.DIGNAMI ain't sure about him, either. (ALT: Last I heard he was happily married to a 12 year old boy and living on a beach in Thailand.) Family's dug into the Southie projects like ticks. Lifers down there. Three decker men at best. You grew up, however, up the North shore. La di (fuckin') da.Dignam leans over Billy.DIGNAM (CONT'D)You were kind of a double kid, I bet, right? One kid with your old man. One kid with your mother. Upper middle class in the week, and then dropping your 'r's and hanging in the Southie projects with daddy the donkey on the weekends. I got that right? BILLY, opened up expertly and crudely, stares with contained hatred. 16.CONTINUED: (2)ELLERBY (CONT'D) (CONTINUED) SGT. DIGNAM You have different accents? You did, didn't you. (You little fuckin' snake.) You were different fuckin’ people.BILLY You a psychiatrist?SGT. DIGNAMIf I was I'd ask you why you're a Statie making thirty grand a year. And I think if I were Sigmund fucking Freud himself I wouldn't get an answer. So tell me, what's a lace curtain motherfucker like you doing in the Staties?BILLY Well. Families are always rising or falling in America. Am I right?QUEENAN(appreciative, kindly, looking up from his papers)Who said that?BILLYHawthorne.SGT. DIGNAM (although he knows perfectly well who Hawthorne is) makes a fart-noise with his mouth. BILLY looks at him with an ""I'm going to kill you"" expression which is not without wit and which Dignam seems to admire.DIGNAMWhat’s the matter, smartass? You don’t know any fuckin’ Shakespeare?QUEENAN We have a question. You want to be a cop, or do you want to appear to be a cop. It's an honest question. Lot of guys want to appear to be cops. Gun. Badge. Pretend they're on TV... SGT. DIGNAMA lot of em just want to slam a nigger’s head through a plate glass window. 17.CONTINUED: (CONTINUED) BILLYI’m all set without your personal job application, Sergeant.DIGNAM(after a ""we got a live one"" glance at Queenan)What the fuck did you say to me, trainee?BILLY looks at him, and then looks forward.BILLYSir, with all due respect, sir, what is it you want from me?DIGNAM Hey asshole, he can’t help you. I know what you are, and what you aren't. I'm the best friend you ever had on the face of the earth. I'm gonna help you understand something: You're no fuckin' cop.QUEENANHe's right.(Billy looks at Queenan)We deal in deceptions here. But what we don’t deal with is self-deception. In five years, you might be anything else in the world, but you won't be a Massachusetts State trooper.BILLYYou sure of that?QUEENANI'm sure of that.DIGNAMGuaranteed.QUEENAN(looking up from his papers)You don't have much family.CLOSE ON BILLY. 18.CONTINUED: (2) (CONTINUED) BILLY(deciding this on the spot)I don't have any family.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HUNTINGTON AVENUE. LATE DAYA TROLLEY goes past. HOSPITAL HILL, above the trolley line, is sinister, quiet. HOSPITAL at the top like a malign fortress, above rows of endlessly repeated condominiums. BILLY CROSSES from the Trolley stop, desperately, an angry young man at his life's turning po",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. A HOSPITAL ROOM. LATERBILLY’S MOTHER lies as if floating in her bed. Tubes, lights. A bald head on a barely-dented pillow. She is a cancer patient in a coma, weighing possibly 80 lbs. Gasping for air. Her airways are cleared with a suction tube. BILLY sits watching as the tube goes in. BILLY sits looking at her.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. THE HOSPITAL CORRIDOR. LATERBILLY is leaning against a wall. A maternal WASP UNCLE, a not-bright guy (pretensions, rather than status), speaks briefly to a DOCTOR further along the hall, then approaches BILLY, hands in the pocket of a good suit. WASP UNCLEWhat's this I hear from Stephanie about you becoming a policeman?BILLYYou mean Stephanie who was the only one who came to my father's funeral? That Stephanie?UNCLEThat Stephanie.BILLYNothing much to it Uncle Edward.UNCLEAre you trying to prove something to the family?BILLYWhen you say ""family"", what do you mean? You? 19.CONTINUED: (3) (CONTINUED) UNCLEYou always question everything, don't you?BILLYYeah, well, maybe it would have done you some good to have a question from time to time. ""Am I an asshole?"" ""Are my kids a mess?"" ""Is my wife a money-grubbing whore?"" Those are questions.(the UNCLE starts to leave)""Have I been good to my dying sister or am I just pretending to be?""(he's stung THE UNCLE)Too late now, right?UNCLEDo you need some money for the funeral?THE UNCLE moves away, bends to get his overcoat.BILLY When my mother dies we don't have any connection. You got it?",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. BOSTON. TWILIGHTAERIAL. FLY FROM the HOSPITAL TO:THE GOLD DOME ON BEACON HILL,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. AN APARTMENT ON BEACON HILL. TWILIGHTA REALTOR switches on lights. An empty, flash apartment above the Parisian rooftops of Beacon Hill. A view of the Dome. More than you'd think a cop could afford. We see, as COLIN does, beyond his reflection in the glass, the STATE HOUSE DOME.REALTORThis is it. Nice. You've got high ceilings, parquet floors. There's a lock on the fridge in case you have eating issues.... Joke...not a very good one.(uneasy)So, you're a policeman? 20.CONTINUED: (CONTINUED) COLIN(like something he is used to reciting)I'm a State Police detective.REALTOR(wondering where he gets his money from)State Police Detective. You a married State Police Detective?COLIN(coming out of his reverie and coldly:)...No.REALTOROh, cuz it's big and I wondered if a cop...COLINI have a cosigner.REALTOR You intend to have a housemate. That's cool.COLINGive me the fuckin' papers.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HOSPITAL HILL OVERLOOK. NIGHTBILLY sits on a bench looking out over the whole city. (It is the best view of Boston, never seen in a film). He’s smoking a cigarette, making his decision.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. QUEENAN'S OFFICE. DAYContinuation of the interview.BILLYSo what do I do?QUEENANDuring the war, Churchill used river mines. He'd float them down the rivers into Germany. They'd either hit something, or not. That's what we’ll use you for. I'll float you down the river. The rest will happen. Or it won't...(a beat) 21.CONTINUED: (MORE)(CONTINUED) By the way, this isn't police work for peanuts. There's money behind this operation. You won't be paid as a cop, but there is a bonus involved. Tax free.QUEENAN writes on a slip of paper and hands it to BILLY. BILLY looks up from the paper, impressed.DIGNAMLuck of the Irish. All that and you're still young enough to fuck undergraduates.QUEENAN We can't conceal that you've been a trainee. You'll be convicted of a crime. We're thinking that a guilty plea to assault and battery might make sense.DIGNAMGiven your nature.QUEENANYou'll serve enough jail time to convince anyone that it's no set-up. You'll be on probation. The whole nine yards.DIGNAM I need you, pal. You've already pretended to be a Costigan from South Boston.BILLY looks up with a glazed insolence. In one beat he is not a scared trainee but a smart criminal.BILLYEvery weekend...Sergeant.DIGNAMPerfect.QUEENANDo it again. For me.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. HOSPITAL HILL OVERLOOK. NIGHTBILLY throws down his cigarette. He has decided.FILM TITLE: THE DEPARTED 22.CONTINUED:QUEENAN (CONT'D),THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CEMETERY. DAYPriest's cassock whipping in the wind. A few mourners (shabby genteel ladies, contemporaries of his mother), but Billy seems to have no real connection with any of them.LATERBILLY is alone at the grave. He looks at the tags on wind-blown wreaths. One gives him pause. Under a picture of The Virgin it reads: ""Heaven holds the Faithful Departed"" and is signed: ""F. Costello"".",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. JAIL HOLDING TANK. DAYA CELL DOOR CLOSES. On Billy. Looking like a real criminal. Not a pretend one. Frightened and resolute at once. BILLY is in a holding tank.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. THE BALCONY OF COLIN'S APARTMENT. MORNINGCOLIN, in a bathrobe, leans on the rail and looks at Boston. THE GOLD DOME visible. Colin drinks coffee. Not satisfied: worried.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. A PROCESSING FACILITY. DAYBILLY, naked, holds his clothes in a bundle. Being processed out of jail. Beside him another guy, furtive, gruff, not trying to be friendly.OTHER PRISONER You're Bill Costigan?BILLYWho wants to know?OTHER PRISONER Nothin.' I know a Sean Costigan. L Street.BILLYMy cousin.OTHER PRISONERConnected but not too bright-- (BILLY looks at him with an only-I-can-insult-my-cousin look)No offense.Billy gets his clothes. 23.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CONFERENCE ROOM. DAYOn the wall is a rogues gallery of COSTELLO and all his primary guys...MISTER FRENCH, DELAHUNT, FITZY. COLIN and others sitting listening. COLIN, reading a paper (Boston Herald) which may or may not have the headline, CASE DROPPED AGAINST DRUGS CADET (featuring a picture of Billy), looks up as SGT. DIGNAM comes in.SGT. DIGNAMSorry I'm late.ELLERBYStaff Sergeant Dignam is our liaison with the undercover section. Their undercover work is extensive. He's here to give us his report. Sgt. Dignam.SGT. DIGNAMOK. They're out there, my people. They're like the fuckin' Indians. You're not gonna see them. You're not gonna hear about them except through me or Captain Queenan. You will not, ever, know the identity of undercover people. This shit hole, unfortunately, has more fuckin' leaks than the Iraqi navy.ELLERBYFuck yourself.SGT. DIGNAMI'm tired from fucking your wife.ELLERBYHow's your mother?SGT. DIGNAMGood. She's tired from fucking my father.(opens a FILE)OK, today, girls, what I got for you is microprocessors. LAZIO, the Fed, comes in and sits down. With folders, pencil. 24. (CONTINUED) SGT. DIGNAM (CONT'D)Somebody, as you may already know, stole one hundred microprocessors from the Mass Processor Corp out Route 128. They're the kind of processors they put into computers that can put a cruise missile up the ass of a camel from the other side of the planet. That's what they do out there on ""America's Technology Highway"". Worth a hundred grand apiece. Guy worked for the company two months walked out the door with a box of processors on Tuesday, has a ticket booked for Florida on Wednesday, but on Thursday he gets found in a dumpster. You know where this dirt ball started his life? Southie projects.COLINWhat was his name? The, ah, departed.SGT. DIGNAMMyles Kennefick. Got the job with a forged UMass transcript. UMass Boston, which incidentally happens to be in...LAZIOSouth Boston?SGT. DIGNAMWho forged your transcript, dickhead?COLINI know that guy. His father runs the Hibernian Liquor Mart. Kennefick's.ELLERBYWe are not here to solve the ""Case of the Dead Scumbag"". We are here to nail Costello.COLIN stands down, embarrassed. 25.CONTINUED: (CONTINUED) SGT. DIGNAMWe got a guy says that he hears Costello is moving the processors to China...that he set up the whole fuckin' job and popped Kennefick. (LAZIO is writing, lawyerish.)You don't want to miss it if Costello takes a dump.ELLERBYWe'd miss less if your informants were available to us, and of course to the FBI (Bureau)...LAZIOWithout asking for details, do you have anyone in with Costello presently? SGT. DIGNAMMaybe. Maybe not. Maybe fuck yourself. My theory on Feds is they're like mushrooms. Feed 'em shit and keep in the dark. You girls have a nice day.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. A STREET OF TENEMENTS IN SOUTHIE. DAYBILLY steps off a bus at a corner. He goes up to a house, and knocks on the door. A Southie hag answers. On an oxygen cylinder, smoking.BILLY'S AUNTBilly?BILLY nods. BILLYAunt Cathy?His aunt takes her cigarette out of her mouth and then embraces him fiercely. BILLY takes it like the imposter he is. But he might well love his aunt.BILLY'S AUNT Good to see you. Good to see you.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BILLY'S AUNT'S KITCHEN. DAYBILLY is eating soup. 26.CONTINUED: (2) (CONTINUED) BILLY'S AUNTThey said you were in the Staties, I couldn't believe it.BILLYI got kicked out about four months ago.SEANIt was in the papers.Sean is a villain leaning in a doorway. Bad tie: he takes it off. He has been at a funeral.BILLYWell. So you know.SEANAnd why are we graced with your presence?BILLYI brought your mother some pictures of my father.It's true. They are on the table.BILLY (CONT'D)My mother had them. My mother's dead.SEAN(reflexively)I'm sorry. I'm sorry for your troubles.Sean opens the fridge, opens a beer, and hands it to BILLY. He opens one for himself.SEAN (CONT'D)I was at a funeral myself. Myles Kennefick, knew him in school. Beat the fuck out of him seven or eight times as a matter of fact.(affably to Billy)You workin'?BILLYNo. 27.CONTINUED:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. THE PORCH OF THE THREE-DECKER. LATERSean and BILLY are still drinking beer.SEANWhen did I see you after that?BILLYNot for a long time. Down the cape after Rose's wedding. I think.SEANFuck, oh shit. I remember that, dude. I had that fuckin' buck knife, right, and I cut all the brass numbas off the doors at the hotel. I was trippin'...All of them. That was a night.Sean looks deflated.BILLY Listen, I got twenty thousand dollars when my mother died. Insurance.SEANYeah?BILLYIn your line of work, if I gave you ten thousand dollars what could you give me back?SEANMy line of work... I'm not in that line of work just presently because I don't have ten thousand dollars. As a matter of fact I have never had ten thousand dollars.BILLYThat's what I'm saying.Sean nods, and nods.SEANYou know what we usually say at these moments. 28. (CONTINUED) BILLYYou fuckin' moron. What are you talking about? I'm not a cop. I'm your cousin.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BILLY'S CAR. NIGHTBILLY is waiting. Sean comes out of a squalid looking house and gets into a car. Fast. Billy puts the car in gear. SEANFuckin' Ricans think they know everything. If they knew shit they wouldn't be Puerto Ricans.He has a paper bag full of money. He opens a beer.SEAN (CONT'D)(high as a kite)Double the money, double the fun.(confusing his TV jingles)Cinnamon toasty apple bun... R is for Ricans...P is for pigs...They drive past a BPD cruiser. Sean hides his beer.SEAN (CONT'D)I can't stop drinkin.BILLY laughs.BILLYWhy would you even think of stopping drinking?SEANHe don't like it. He don't like drinkin...he don't like fightin...(Sean looks sad)...he says stay out of the bars...You know, we’re not even supposed to do this on this side of fuckin’ Worcester.BILLYWho says?SEAN He says. Costello says. God says, as far as you’re concerned. 29.CONTINUED:",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. A HORRIBLE BAR IN SOUTHIE. NIGHTSean, beyond wasted, is talking to some people, including MISTER FRENCH. A table wet with spilled beer.SEANNot a cop. He got out of the joint three weeks ago. Dead up. He talks like his shit don't stink but he's good people. VILLAINCunt cop.MISTER FRENCHI knew his father. I liked his uncle Jackie better.SEANUncle Jackie was excellent. AN IRISH VILLAINFucking guineas.They solemnly toast uncle Jackie and his fate among the fucking guineas. Across the crowded room, BILLY is ordering at the bar.BILLYA cranberry juice.WELL-DRESSED SCUMBAG AT BARIt's a natural diuretic. My girlfriend drinks it when she got her period. (to BILLY)You got your period?BILLY glances over at the table where MISTER FRENCH sits with SEAN, and then smashes his glass into the face of the WELL DRESSED SCUMBAG. He stands waiting for the SCUMBAG to get up he is grabbed and shoved against the wall by MISTER FRENCH. Popped into a pay phone hard. The pay phone comes off the hook.BILLYGet your hands off me.MISTER FRENCHDo you know me? 30. (CONTINUED) BILLYNo.BILLY shakes his head no.MISTER FRENCH I'm the guy who tells you there are guys you hit and there are guys you don't. That's not quite a guy you can't hit, but it's almost a guy you can't hit, so I'm fucking ruling on it right now that you don't hit him, understand? BILLYYeah. Excellent. Fine.MISTER FRENCHI know you. I know your family. Also I know you do another drug deal with your idiot fucking cop-magnet cousin I'll forget your grandmother was very nice to me and cut your fucking nuts off. You understand that? BILLYYeah.MISTER FRENCHNow you know me.BILLYYeah.A beat: they stare at each other.MISTER FRENCHWhat are you drinking?BILLY Cranberry juice.A beat.MISTER FRENCHWhat is it, your period?BILLY laughs.MISTER FRENCH (CONT'D)Get him a cranberry juice. 31.CONTINUED: (CONTINUED) The WELL-DRESSED SCUMBAG is bleeding, incredulous. MISTER FRENCH takes him by the shoulder.MISTER FRENCH (CONT'D)(sotto voce to WELL-DRESSED SCUMBAG)That's Jackie's nephew.WELL-DRESSED SCUMBAGOh...MISTER FRENCHOh, what?FRENCH demolishes him with body blows.FRENCHGet the fuck out of here.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. A HOUSING PROJECT IN SOUTHIE. DAYCOLIN and BARRIGAN (who Colin has moved to plain clothes) stand at the door, talking, or trying to talk, with a fearful MRS KENNEFICK. MRS KENNEFICK looks like she starts drinking whiskey at 9 in the morning.COLINMrs. Kennefick, Myles and I were in school together. Myles was behind me in school but I knew him. I will get those responsible. Don't you want to see us catch whoever used him to do a robbery and then killed him?MRS KENNEFICKAllegedly.COLIN(grimaces)""Allegedly"".MRS KENNEFICKIf he was killed he probably did something wrong.COLINYou don't mean robbery do you, Mrs Kennefick? That’s not what you think he did wrong.MRS. KENNEFICK notices COSTELLO driving by. 32.CONTINUED: (2)",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. COSTELLO'S CAR. DAY.Costello and Gwen are in the car. Gwen is dressed like Jackie O.COSTELLOWave to your girlfriend.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. A HOUSING PROJECT IN SOUTHIE. DAY.MRS KENNEFICKI mean fuck yourself.She slams the door. As COLIN walks away from the door he notices the TAIL: a maroon sedan and a damaged white delivery van.COLINYou get that?BARRIGAN""Allegedly"" or ""fuck yourself?""COLINWelcome to the neighborhood.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. AN INTERSECTION. MOMENTS LATERFRENCH pulls up to a light.[COSTELLO blows a red light and leaves the tail (including the Surveillance Van which we will see again) behind him in a snarl of traffic.]COSTELLOCut 'em here.French steps on it and blows through the light, leaving the follow cars behind. COSTELLO (CONT'D)Bye, bye.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. THE ELEVATOR AT POLICE HEADQUARTERS. DAYCOLIN boards with a bunch of other cops and workers. On board, directly beside him, is MADOLYN. COLIN's age, beautiful, wearing a business suit. She has a thick stack of medical-looking files. She's a psychiatrist on contract to the Commonwealth of Massachusetts. She does probation counselling work with ""violent offenders"" and also sees policemen. 33. (CONTINUED) COLINMaking a house call?MADOLYNHave I seen you professionally?COLINNo, no. I know what you do. I know who you are.MADOLYN nods, and then because this is a (relatively) sensitive subject ignores COLIN, but she is visibly attracted by him.COLIN (CONT'D)When guys have to ""use their ""service revolvers"" in the ""course of duty"" they get to talk to you about their ""feelings"" and whatnot.MADOLYN laughs.COLIN (CONT'D)No. Oh, I know how it goes. You're a mental health professional.MADOLYN(laughing)I have an appointment on this floor.The door opens.COLINThat's good. They're all fuckin' crazy on that floor.(points up)I'm one floor up.MADOLYNOh, fancy policeman.COLINThat's right. Fancy.MADOLYNAre you a Statie?After she steps out he prevents the door from closing. 34.CONTINUED: (CONTINUED) COLIN Yeah, I'm also getting my law degree.MADOLYNSuffolk, nights?COLINThey don't run Harvard Law at night, last time I checked.MADOLYNWhen was the last time you checked?COLINBefore I went to fucking Suffolk.MADOLYNI went to U Mass. I wasn't insulting you. COLINWell I thought you were, and for that you have to take me to dinner.MADOLYN Maybe you could shoot someone and I'd have to see you professionally.COLINWhatever it takes. I'll stab someone in the heart with an icepick right now if it gets me dinner with you. MADOLYN hands him a card.COLIN (CONT'D)I don't need a card, I'm a detective. She hesitates. He takes the card.COLIN (CONT'D)I'm only joking. Nice to meet you... ""Madolyn"".The doors close. The elevator takes him up. He takes out his cellphone as if he's forgotten something. As the doors open, the signal bars light up, and the phone rings. 35.CONTINUED: (2) (CONTINUED) COLIN (CONT'D)(walking, voice low)I didn't know about your tail until I saw it myself. I couldn't call, I had the other guy with me. Blue sedan and a white delivery van, fucked up with graffiti on the side. The van is audio surveillance. OK, have a nice day.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. A COFFEE SHOP IN SOUTHIE. MORNINGThe same shop in which YOUNG COSTELLO talked to YOUNG COLIN, all those years ago. Two ITALIANS are in the shop, talking hard to the Pakistani PROPRIETOR (SINGH). These are hard guys but they're not being threatening, just persistent: the guy DOES owe them money. BILLY is finishing his breakfast. Watching. He goes over. The two GUINEAS are amazed. [Dialog on separate document].Billy is finishing his breakfast. Watching. He goes over....BILLY You guys from Providence?The GUINEAS look at him. The younger one moves to intervene. BILLY smiles and destroys them both. Maniacal violence. The biggest beatdown in gangster movie history--and obviously that's saying something. In the course of the beat-down Billy breaks his left hand--a ""boxer's fracture"". BILLY stands over his victims, breathing hard, holding his broken hand. PROPRIETORWhat have you done to my place! Get out of here.BILLY goes.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. EMERGENCY ROOM. NIGHTBILLY, unlit cigarette in his mouth, is having his hand wrapped in plaster by a lady doctor. In another life he might have dated her. Not in this one.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FRENCH RESTAURANT. NIGHTA romantic restaurant. The best Boston has (which isn't saying much, but whatever). COLIN, looking great, a man on the rise. MADOLYN in pearls, also looking great. But maybe the conversation has lapsed and the date gone south. 36.CONTINUED: (3) (CONTINUED) COLINYou also do probation work, right?MADOLYNThat's right. I see ""violent offenders"".COLINBad guys.MADOLYNThat's one way to look at it. Not necessarily.COLIN wonders if she's breaking his balls. A DESSERT arrives: some towering Japanesey concoction with a fan of sugar candy spines, sitting in a pool of sauce. COLIN looks at it, fork poised. MADOLYN looks at it. He looks up at her.COLINThat have this and they don't have duck l'orange.MADOLYN smiles: she likes him. Even with the dinner-long bitterness over the duck l'orange. MADOLYNWas your dinner OK?COLIN(holding balloon of inappropriate wine)Oh, the lobster was excellent. I just thought, French restaurant...The look at the dessert.MADOLYN I'm waiting for you to make your move.COLINI don’t know what you’re gonna do, but if it moves I’m going to arrest it (shoot it). MADOLYN laughs. COLIN sees his shot: he’s got her laughing. 37.CONTINUED: (CONTINUED) COLIN (CONT’D)What’s it like having people “find themselves?” All day long people “finding themselves.” Does it get messy with all those feelings flying around the room?MADOLYNWhy, does that make you uncomfortable? Colin stares at her. Water glass nearly goes over.MADOLYN (CONT'D)You know what Freud said about the Irish?COLINYes I do.MADOLYNIf you actually do I'll see you again.COLINWho says I want to see you again?MADOLYN(concerned, perhaps unexpectedly)Don't you?COLINYes, course I do. (a beat)What Freud said about the Irish isWe're the only people impervious to psychoanalysis.MADOLYN is impressed.COLIN (CONT'D)Tough luck for you with a client list of Mick cops, isn't it. ""Opening up""? Good luck to you. COLIN laughs but looks nervous about the concept of ""opening up"".COLIN (CONT'D)Why do you do it? 38.CONTINUED: (2) (CONTINUED) MADOLYNSome people do get better.COLIN takes it seriously; admires it.COLINFair enough.MADOLYN Sometimes, though, I want people to forget about their personal bullshit and do their jobs.Unsaid: Like I do.COLIN Including the criminals?MADOLYNIf they don't do their jobs you don't have one.COLIN Me? I'd just arrest innocent people. I'll arrest you right now.MADOLYNYou're trouble. COLINYou don't know the half of it.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. A HORRIBLE BAR IN SOUTHIE. NIGHTA slow night. BILLY IS AT THE BAR bent over a glass of cranberry juice. The women available are two CRONES. [Dialog on separate document]. Stark contrast to COLIN'S EVENING. A BOOKMAKER on the phone. BILLY, by the glances of people looking at him, has made his bones. He’s treated with respect. His hand and wrist in a cast. Out of nowhere (though Billy is aware conversation has stopped he does not look around)...COSTELLO sits down beside him AT THE BAR. BILLY observes:MISTER FRENCH sitting down at a far table. Watching. Covering the room. COSTELLO is brought a glass of water by the silent bartender. No sound whatsoever in the bar. 39.CONTINUED: (3) (CONTINUED) They say nothing, look at each other. BILLY notices DELAHUNT and FITZY, entering. They stand by MISTER FRENCH. BILLY sits motionless. COSTELLODo you know who I am?BILLY does: but shakes his head.BILLYNo.COSTELLOYou met my friend, Mister French the other night.BILLYIs his real name Mister French?COSTELLONo.(a beat)Come with me.(As BILLY hesitates)I’m not the cops. I’m not askin' you.BILLY stands up. MISTER FRENCH stands up. BILLY, COSTELLO, and MISTER FRENCH move towards the back room. As they walk to the back room of the bar, we hear COSTELLO:COSTELLO (CONT'D)You know something, they just do not stop having the Mafia in Providence, and this can cause problems for me.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BACK ROOM OF THE BAR. CONTINUOUS.COSTELLOThose guys you tuned up are connected down Providence. What they're going to do is come back up with some guys and kill you. Which, sure as you’re born, they will do unless I stop them. Do you want me to stop them?BILLYIs it something I can't do personally? 40.CONTINUED: (CONTINUED) COSTELLO appreciates the balls of this. He looks at Mister French. Then back at Billy, smiling.COSTELLO I’m going to have my associate search you.BILLY tenses. Exactly as he might if he were wearing a wire.BILLYSearch me? Search me for what?MISTER FRENCH and COSTELLO look at each other.MISTER FRENCHC'm here.COSTELLOContra-fucking-band. Take your fuckin' shoes off.MISTER FRENCHShoes off.BILLY slips out of them. MISTER FRENCH inspects the shoes. COSTELLO'S cold eyes are on BILLY. MISTER FRENCH searches BILLY. Looks into his wallet. The wallet is emptied onto a table.COSTELLO I knew your father.BILLYYeah. He’s dead.COSTELLO I'm sorry. How did he go?BILLYHe didn’t complain.COSTELLOThat was his problem.BILLYWho said he had a fuckin’ problem.COSTELLOI just said he had a fuckin’ problem. There’s a man could have been anything. 41.CONTINUED: (CONTINUED) BILLYAre you saying he was nothing?COSTELLOI’m saying he worked at the airport.COSTELLO turns to MISTER FRENCH.MISTER FRENCHHe's clean.COSTELLO The arm.With amazing violence MISTER FRENCH smashes the cast on the corner of a table. Billy drops to his knees in tears of pain. MISTER FRENCH sorts through the pieces of the cast. Ad libs: ""such a fuckin' pussy.""COSTELLO (CONT'D)(holding Billy by the collar)It makes me curious to see you in this neighborhood. Regressing. And, if I can slander my own formative environment, it makes me sad, this regressing. Plus, I don't know if it's beyond some cop prick like fucking Queenan to pull you out of the Staties, and send you after me. I just can't know. I don't know what they do in...that department, anyway. He grabs Billy's broken right hand.COSTELLO (CONT'D)Are you still a cop?BILLYNo.COSTELLO twists Billy's broken hand.COSTELLOYou swear on your mother's grave that you're not a cop.BILLYI am not a cop. 42.CONTINUED: (2) (CONTINUED) COSTELLOYou stop doing coke deals with your jerk-off cousin?BILLYYes!COSTELLO lets go of Billy's hand. Billy is weeping on the floor. COSTELLO straightens his suit.COSTELLO Take it easy. Get your hand taken care of. I'm sorry. It was necessary. As for our problem with Providence...let's not cry over spilled guineas.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. THE MAIN PART OF THE BAR. MOMENTS LATERCOSTELLO, the visiting king, points at a group of drinkers, including a BLOND WOMAN (1st), GWEN.COSTELLOWhat’s this IRA motherfucker doing in my bar? The IRA MOTHERFUCKER is terrified.COSTELLO (CONT’D)(slapping him on the back)Only kidding. How’s your mother?JIMMYAh, she’s on her way out.COSTELLOWe all are. (straightens suit and tie)Act accordingly.Costello exits.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COSTELLO'S APARTMENT. NIGHTMISTER FRENCH is methodically shelling and eating peanuts.COSTELLODo you trust him? MISTER FRENCH These days, who's reliable? 43.CONTINUED: (3) (CONTINUED) COSTELLOHis Uncle Jackie was.MISTER FRENCH The Costigans are talented in general.COSTELLOYou don’t trust a guy behaves like he’s got nothin’ to lose.MISTER FRENCH I'm reliable.And he is.COSTELLOWell, you're one in a million.MISTER FRENCHTen million.COSTELLOWhat about your wife?MISTER FRENCH I thought she was.COSTELLO She wasn't.SILENT FLASH of MISTER FRENCH strangling his wife with a wire in a 70's bathroom.MISTER FRENCHShe got reliable.GWEN looks up:GWENDon’t you people ever shut the fuck up?COSTELLO""Another county heard from.""MISTER FRENCHOne too many. 44.CONTINUED:",TWIST +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LYNN MARSHLAND. DAWNSEAGULLS squabble over unusual food. POWER PLANT IN THE DISTANCE, the MTA-train going by. TWO BODIES lie in a tidal ditch in the salt-marsh. They are the Italians who Billy fought in the restaurant. Hands taped together behind their backs. Two in the head each. COLIN is with the LYNN POLICE and the State Police forensics people. COLIN gets down and lifts a soaking lapel. Revealed is the tag of a men's shop in Providence.COLINThe principles of detection tell me that these men came from Providence.LYNN DETECTIVEI'd appreciate it if you got out of my crime scene.COLINThis is my crime scene, but knock yourself out.COLIN gets up. He walks back across the marsh. Opens his cell phone.COLIN (CONT'D)(walking)I saw a dead guy. I think I have post traumatic stress. You available for lunch? See you then.At a PAY PHONE he dials another number.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COSTELLO'S CONDOMINIUM ON THE HARBOR. MORNINGOne of Costello's homes. COSTELLOWho's the lead detective?...Good, he's a moron.BILLY cannot hear what COSTELLO is saying. He has an aluminum brace taped on his wrist and hand.COSTELLO (CONT'D)I want you to get the cops to look at Jimmy Pappas for the hit. Of course he had nothing to do with it and will say so. You look in 45. (MORE)(CONTINUED) his car...and find...the gun that did it. COLINIn the trunk or the glove box?... All right.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LYNN MARSHLAND. CONTINUOUSCOLIN deadpan, appreciative, hangs up the phone. BARRIGAN walks in the middle distance, giving the man his privacy.COLINWanna see some dead guys?",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COSTELLO'S CONDOMINIUM ON THE HARBOR. MORNINGCOSTELLO sits down in the breakfast area in his bathrobe. He has a bowl of cornflakes.COSTELLO Have a seat, Billy. BILLYThank you.COSTELLO(he looks up)You know John Lennon?BILLY sits. MISTER FRENCH are nearby.BILLY Yeah, he was president before Lincoln.COSTELLO(smiles)Lennon said ‘I’m an artist. You give me a fuckin’ tuba and I’ll get you something out of it’.BILLYI'd like to squeeze some fuckin' money out of it.COSTELLO and MISTER FRENCH look at each other.COSTELLO Smart mouth. Too bad.COSTELLO lifts a piece of plastic on the table revealing a severed human hand. BILLY tries to conceal his shock. 46.CONTINUED:COSTELLO (CONT'D)",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. SURVEILLANCE OFFICE. CONTINUOUSQUEENAN and STAFF SGT. DIGNAM are listening to the live broadcast. QUEENAN is benign. Lights of equipment in his specs.,SENTI +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. A CONDOMINIUM ON THE HARBOR. CONTINUOUS. COSTELLO takes the ring off the finger of the severed hand. Partial exchange with MISTER FRENCH. BILLY watches.COSTELLO The point with John Lennon is a man can look at anything and make something out of it. For instance, I look at you and I think what can I use you for? COSTELLO (CONT'D)(giving the hand to Mister French)Get rid of this.(back to Billy)Maybe we can work something out. Let me get dressed.He gets up.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. COSTELLO'S BATHROOM. DAYBILLY runs the water in the sink. He starts to leave the bathroom and then impulsively takes off his wire and chucks it out the window as far as he can.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. THE BUILDING. DAYThe wire falls into the water.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. SURVEILLANCE OFFICE. CONTINUOUS. Queenan reacts mildly to the loss of the signal. He removes his headphones.DIGNAMThat was quick. He dead already?,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ""ACROPOLIS RESTAURANT"". DAYA GREEK GUY (JIMMY PAPPAS) in chef's whites is cuffed and stuffed by TACTICAL OFFICERS. He has no idea what is going on. COLIN and BARRIGAN follow. 47. (CONTINUED) COLINThis will get Captain Ellerby on the six o'clock news.BARRIGANNo wonder you get ahead.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. A STREET BY THE HARBOR. DAYBILLY walking and talking on the phone.BILLYI won't do it if I have to wear a wire. No wires. Ever, ever, you understand me? You don't know what this is like. (listens)Micro what?",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SURVEILLANCE OFFICE - CONTINUOUSQueenan on the phone.QUEENANMicroprocessors. We'll probably be at war with the Chinese in twenty-odd years and Costello is selling them military technology. Microprocessors, chips, computer parts. Anybody says anything about anything like that, you let us know.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. POLICE BUILDING. DAY. TELEVISION IMAGE.ELLERBY is before a thicket of microphones.REPORTERDid you have a tip from an informant?ELLERBYNo, it was tireless police activity that ah effected ah the arrest of the ah alleged perpetrator.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COLIN'S OFFICE #1. DAYCOLIN is rolling a quarter across the backs of his fingers. BROWN (last seen as Billy's friend) and BARRIGAN, new plainclothes recruits to Colin's special squad, sit across from him. 48.CONTINUED: (CONTINUED) COLINI've been put in charge of this unit. It is a small surveillance sub-unit but it is mine. And I didn't take this job in order to fuck it up, or to let anyone else fuck it up, whosoever they may be. I hand picked this group. You are my A-team so I want you to conduct yourselves accordingly.Through glass we see ELLERBY, preening. ELLERBY gives the thumbs up.COLIN (CONT'D)Hi, Captain. And our primary target is obviously Frank Costello. But we don't communicate with anyone else in this shop. Queenan is compartmentalizing everything in SIU. It’s the right thing to do, personally I don’t trust these fucking troopers either. We think we might have a problem. We think Costello’s got a rat in the State Police.BROWNReally?COLINYeah. Really.BROWNDo we have direct access to Queenan's undercovers?COLIN(not happy about this)No. Ah...not presently. Not presently. But I'm hoping to get things...reorganized. That's it. Congratulations. Don’t disappoint me.BROWN and BARRIGAN leave. Colin leaves as well.BARRIGAN(to Brown)I know why I'm here. I made him feel guilty. Why are you here? 49.CONTINUED: (CONTINUED) BROWNIntelligence and aptitude.BARRIGANThat's new.COLIN opens his cell phone.COLIN Hello Dad. I have a new job. (ALT: I got a promotion.)",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. A BOOKIE SHOP. DAYMISTER FRENCH backhands a guy into a table of betting slips.MISTER FRENCHWhere's your fucking license? I don't see no fucking license. BOOKIEWhat license.BILLY, who is not wearing a cast anymore, watches.MISTER FRENCHThere's no such thing as a license, of course, but you definitely have to have one.(grabs the bookie by the ear)If you are not being run by us you will be run by someone else, which means you will have let undesirable elements into Mr. Costello's area.A HARD GUY sitting reaches inside his coat. BILLY in a flash breaks his jaw with a pistol barrel and then covers the sprawled HARD GUY with the gun.HARD GUY(spitting teeth)I was going for my fucking cigarettes...He was. They fall from his fingers.MISTER FRENCHHey, that's Jimmy Bags. What the fuck you doin'? 50.CONTINUED: (2) (CONTINUED) BILLYWhat the fuck. I didn't know....BOOKIEThere's no profit if I pay him two grand a week. I'm in the hole if I pay him two grand a week.MISTER FRENCH Then make more money or go out of business. This is America. If you don't make money you're a fucking douchebag. What are you going to do?BOOKIEMake more money.MISTER FRENCHThat's the spirit.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. THE STREET OUTSIDE THE BOOKIE SHOP. LATERBILLY and MISTER FRENCH emerge.MISTER FRENCHVery interesting.BILLYYeah, well. Fuck.MISTER FRENCHDon't worry about it. Guy didn't need need his teeth anyway. Maybe if he was an Eskimo. But in this country we eat a variety of items.They get into COSTELLO'S CAR. Billy in the front seat. Mister French in the back.MISTER FRENCH (CONT'D)He knocked Jimmy Bags teeth out.COSTELLO does an Edgar Kennedy.COSTELLOSo?BILLYHe was... 51.CONTINUED: (CONTINUED) MISTER FRENCHReaching for his cigarettes.BILLY Okay! You gonna give me shit, it wasn't no reason——he put his hand in his coat! I don't know if he’s a bookie or what the fuck he’s doing...COSTELLO(interrupting)Well, you know what the fuck a bookie does?BILLY(to Costello)Pays you.COSTELLOBingo. Anyway, I like a guy who goes around knocking guys teeth out for no reason. He takes out a cell phone and hands it to BILLY.COSTELLO (CONT’D)Here. From now on call the bar and ask for Mikey. Just Mikey. You ask for Mikey because there’s no Mikey. Wait. We'll call.MISTER FRENCHForty-eight hours from the time this phone first rings, you take the fucking chip out - like so - and you fucking destroy it. After three days a phone ain’t clean. If you use a phone which is not clean, you will have a accident. You never call us. We call you. You got that?BILLYI got it.MISTER FRENCHI can't fuckin' hear you.BILLYI got it. 52.CONTINUED:",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. A HARBOR RESTAURANT. BOSTON. DAY A lobster-bib kind of place. DAYTIME DRINKERS, MICKS in bad boat shoes, hyper-aware of... COSTELLO and BILLY in a back table. COSTELLO, having finished his lunch, is drawing. Billy is unused to being the subject of so many stares. He has sort of a coked-out nervousness, dirty hair. BILLYDon't look. There’s a white van across the parking lot?WE see it through the smeared glass: the WHITE VAN we always see. This time with a different magnetic business sign.COSTELLO(lifting and looking at his sketch)They don't have directional microphones.BILLYWhat, do you got x-ray vision?COSTELLO(not taking his eyes off his sketch)They don't have directional microphones. BILLY registers what seems to be inside information. COSTELLO looks over his half-glasses at Billy's untouched food. COSTELLO is sizing Billy up: has been thinking about him.COSTELLO (CONT'D)People looking at you make you self-conscious?BILLY shrugs. Indicating: Yeah, well, who the fuck wouldn't be.BILLYI don't know.COSTELLO Why? They’re minuses. They can’t tell the difference between a rock star and a career criminal.BILLYAnyone not a criminal is a minus? 53. (CONTINUED) COSTELLO What are you soft? That's not what I said. Eat something, Jesus Christ, we got a nice day by the water. Sun's shining, gulls are up...Nice smell of ozone...TWO PRIESTS and a NUN are sitting two tables over. An older priest and a younger one. COSTELLO notices. THE NUN gets up and leaves.COSTELLO (CONT'D)You know if your father were alive and saw you, sitting here with me, let’s say he would have a word with me about this, in fact, he'd kill seven guys just to cut my throat. And he could do it, which is something you may not know about William Costigan, Sr.BILLYHe never, ah, I mean never?COSTELLOHe kept his own counsel. He never wanted money. You can't do a thing with a man like that. Your uncle Jackie needed a lot of money. But even though he got his money from me, he also would kill my entire fucking family if he saw me here with you. And I think about this. BILLYSo what are talking about here? COSTELLOFact is you're not a guy fresh from the zoo who wants to run a spring water distributor and I don't see you up the dog track as a general manager.BILLY Look at it this way. It's like a tuba. I want to see if I can get something out of it.COSTELLO smiles at this, then looks at his sketch. 54.CONTINUED: (CONTINUED) COSTELLOYou ever think of going back to school?BILLYWith all due respect, Mr. Costello, school’s out. COSTELLO Well that's your problem. Maybe someday you'll wake the fuck up. He gets up and leaves the table, leaving BILLY sitting there. COSTELLO stops to speak to the priests.COSTELLO (CONT'D)Good day, Fathers.PRIESTS(terrified and simultaneously)Good morning [day], Francis, good morning.The OLDER PRIEST is very nervous, looking around. The YOUNGER PRIEST concerned for his elder but personally not implicated. COSTELLO leans over the OLDER PRIEST, a pathetic man. COSTELLO You recall our chat? (the OLDER PRIEST nods, terrified)""I am as God made me"", was that what you said? May I remind you, God don't run the bingo in this archdiocese.YOUNG PRIESTMay I remind you, Mr. Costello, that pride comes before the fall.COSTELLOWhat comes before the Fall is the Summertime. COSTELLO notices that THE NUN is heading back to the table. COSTELLO (CONT'D)How is Sister Mary Theresa doing? We had a tasty relationship before she took her vows. Enjoy your clams, cocksuckers. 55.CONTINUED: (2)",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. BASEMENT - NIGHT FITZY beats up a guy with a pipe. Billy watches from the background.,FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. WATERFRONT - NIGHTFITZY and the Costello gang blow up a car as Billy watches. Laughing, they hop in their vehicles and drive off.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ELLERBY'S OFFICE. MORNING OFFICE decorated with golf implements. ELLERBY has a hangover. Sunglasses. Eating baby aspirin by the small fistful.COLINI'm not making enough progress with Costello?ELLERBY""Progress"" is hard to define. I make progress every day. In fact, I'm making progress now. There are guys in this department make excellent progress for twenty years without ever getting anything you could definitively call a result. It's like any American industry. Nobody minds if you don't succeed as long as you don't fuck up.He has a bowl of ice water on his desk.ELLERBY (CONT'D)Objectives get lost sight of: fair enough. Who did the two guys from Providence?COLINJimmy Pappas.ELLERBYAnd what happened to Jimmy Pappas?COLINHe had a heart attack in jail and got knifed in his bed at Boston City Hospital. I believe it's been in the papers.ELLERBY stares at COLIN. 56. (CONTINUED) ELLERBYAre you happy with this result? COLINIt's a result.ELLERBYYeah, but cui bono? Who benefits.COLINCui gives a shit. It's got a bow on it.ELLERBY(with true appreciation)I think you are a cop, my son.He drops his face into the bowl of ice water.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BILLY'S MOTHER'S APARTMENT. MORNINGA stripped HOSPITAL BED stands in a fall of light. This is the apartment where his mother became ill. Billy has packed half of his mother's things into boxes—and then stopped. Billy doesn't use the bedroom. He sleeps on the couch among boxes of pictures, papers, teacups wrapped in newspaper. BILLY is sitting on the couch. He reaches into a box and lays out photographs like cards. Scenes from his life. His former life. His family life, his life as a child, his romantic life. He sits and stares at the pictures. He rearranges the photographs in different ways.NOTE: THIS IS A MEMORY BILLY HAS AS HE IS LOOKING AT PHOTOGRAPHS ON HIS MOTHER’S APARTMENT.FRENCH and BILLY break in, surprising the MAN (BRIAN), seated at his dining room table. He throws a child’s toy at them. FRENCH ducks out of the way and the toy hits BILLY in the cheek.FRENCH draws his pistol and approaches the table. BRIAN rises and starts to flee. Cut off, he retreats the other way.BRIANNo, please...FRENCHBrian, stop it, I ain’t gonna hurt you. 57.CONTINUED: (CONTINUED) He fires, using a soda bottle as a silencer. BRIAN drops to the floor. FRENCH approaches him assessing his victim.He turns to leave, passing BILLY. He give him a slap.FRENCH (CONT’D)Wake the fuck up.They leave.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. A BEACH NEAR A POWERPLANT. DAYBILLY leans against the wall of a concession stand. His knuckles are cut. A cut over his eye. He is agitated. Smoking. A car pulls up and Queenan and Dignam get out of it. In appearance, if anybody's watching, they're bracing Billy.QUEENANHey. Let's go through the routine. DIGNAMYou think you can pop someone. There's no special card to play. The guy whose jaw you broke was Boston Police Department.BILLYI'm going fuckin' nuts. I can't be someone else every day.DIGNAMMost of the people in the world do it every day. What's the big deal?Dignam is drinking coffee.BILLYI'm not them.DIGNAMYou're nobody. You signed the paper. We're the only people in the world who know that you're a cop. Maybe we'll just erase your file. This is Billy's deepest fear. 58.CONTINUED: (CONTINUED) DIGNAM (CONT'D)And zip, you're a soldier for Costello, open to arrest for how many felonies? Maybe we'll do that.BILLYMaybe I'll fucking kill you.He gets free of DIGNAM and punches him.QUEENANEasy now. That was a joke, Billy.DIGNAMJust because you play a fucking tough guy doesn't mean you are one, you lace curtain fucking pussy.The fight. QUEENAN grabs Billy and holds him against the wall.QUEENAN(gently, like a man calming a wild animal)Be smart. If someone was watching how are we supposed to not arrest you?BILLY looks desperately inland.REVERE BEACH condominium buildings. A thousand empty terraces, five thousand empty windows. BILLY is desperate.QUEENAN (CONT'D)Get in the car.They do.QUEENAN (CONT'D)Keep your act together. It's just a little while longer. BILLY nods, out of it. DIGNAM is looking at blood on his hands in disbelief.BILLYWhen are you going to take Costello? What's wrong with taking 'em on any one of the million felonies you've seen him do. Get him for pissing in the street. 59.CONTINUED: (MORE)(CONTINUED) What, are you waiting for him to chop me up and feed me to the poor? DIGNAMWell. That would stick...QUEENANYou shut up. We're building a case. It takes time. You know that.BILLYThere's something wrong.QUEENANMaybe. Maybe.DIGNAMKeep your ears opened. No bullshit.QUEENAN I want you to listen for any chatter about a spy in the Special Investigation Unit. (BILLY looks at him)You hear anything like that?BILLY shakes his head.BILLYAre you serious?QUEENANI'm afraid so.BILLYJesus H. Christ.QUEENAN Hang tight for me. Just a little longer. We're this close.BILLY nods reluctantly.BILLYOkay.QUEENANThank you, Billy 60.CONTINUED: (2)BILLY (CONT'D)",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. OBSERVATION OFFICE. DAYCOLIN walks into the office. BROWN and other team members are watching a closed-circuit monitor. The MONITOR shows FITZY sitting in an interrogation room. COLIN is spooked.COLIN(to Brown)What have you got?BROWNUniform clipped him on the Pike for a suspended licence. However, as he's the subject of an open investigation——COLIN At least one. He's one of Costello's crew.BROWN——we're entitled to get a warrant. We can't get an address off him. He paged his lawyer but the lawyer hasn't called back yet.COLINWho's the lawyer?BROWNHe didn't know the name. He just had the number on a card. Beeper number.COLIN Did he beep him?BROWNTwice.COLINAll right. COLIN glances around and sees: a briefcase lying on a desk. He picks it up. He takes off his ID badge and tosses it on a desk. COLIN (CONT'D)Give me your phone. (to Barrigan)Turn the camera off. Turn it off. 61. (CONTINUED) He takes Brown's cellphone out of Brown's pocket goes into the interrogation room.BROWNWhat?COLINGive my your phone and turn the fucking camera off. Who's is this? I'm gonna take this.He picks up a BRIEFCASE. BARRIGAN touches two buttons and switches off the sound recorder and video feed. COLIN goes into the interrogation room.BROWNHe can't do that, can he?BARRIGANHe just did.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. INTERROGATION ROOM. CONTINUOUSFITZY looks up at COLIN hopefully. COLIN says nothing. He sits down, opens his case, takes out a yellow pad.COLINMr. Fitzgibbon, afternoon.FITZYYou my attorney?COLINWhat do you think? Did you make any statements or phone calls I need to be aware of? FITZYI beeped you. The card they gave me...that's it.COLIN That's it? Don't you have to call your mother and tell her you're not gonna be home for supper?ON FITZY. He looks up at the CCTV camera. 62.CONTINUED: (CONTINUED) COLIN (CONT'D)The cameras are off. (gently puts phone on the table)Call your mother.Fitzy hesitates.COLIN (CONT'D)Lookit. They're in there suiting up for a raid. I don't know where they are going, but they do. And so do you. Call your mum. COLIN puts a cellphone on the table. FITZY takes up the phone and punches in a number. It is answered.FITZYMum, I'm not gonna make it for supper. I got held up. Yeah, talk to you later.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. A HOUSE WHERE DRUGS ARE BEING HANDLED. CONTINUOUS BILLY looks up at MISTER FRENCH, who is on the phone. Other men are frozen, holding bags of Ex.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. INTERROGATION ROOM. CONTINUOUS. FITZY closes the cellphone. He puts it into COLIN'S hand.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. A HOUSE WHERE DRUGS ARE BEING HANDLED. CONTINUOUS MISTER FRENCHEverybody out. Move.The DRUGS are swept up instantly, in sheets laid over the tables. MISTER FRENCH lights a cigarette with his ZIPPO, and then reaches out and lights the curtains on fire as BILLY watches.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. INTERROGATION ROOM. CONTINUOUS. COLIN takes the cellphone and puts it in his pocket.FITZY Who are you? When do I get out of here? 63.CONTINUED: (CONTINUED) COLINI think you need another attorney, after all, Mr. Fitzgibbon. Have a nice day.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. OBSERVATION OFFICE.CONTINUOUS COLIN comes out and hands BROWN the CELLPHONE.COLINRun the last number called. That'll be his house. Whatever the location is I'll swear I surveilled him at it. Abracafuckindabra.BROWNWhy'd you use my phone?COLINBecause you didn't go in there.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COLIN'S APARTMENT - DAYCOLIN, hung-over, sits at the breakfast table. Madolyn looks at him.MADOLYNThe light's nice here in the morning.COLIN doesn't respond.MADOLYN (CONT'D)It's all right. Guys tend to make a big deal out of it. It's actually quite common.COLINI gotta go to work.COLIN simply gets up and walks away.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MADOLYN’S OFFICE. DAYA clock ticking. Madolyn is looking across at ...Billy. Madolyn is very much a guarded shrink. But no one's more guarded than Billy.BILLYIt's like confession. Isn't it. This sort of thing. 64.CONTINUED: (CONTINUED) A beat.BILLY (CONT’D)People make things up in confession. You know that?MADOLYNI know they do.BILLYPeople are liars. They want to be stars of their little films. MADOLYNThat’s an interesting observation.BILLYDo you lie?MADOLYNWhy do you?BILLY I'm asking if you lie.MADOLYN Honesty isn’t synonymous with truth. BILLYYou lie. So, is it to do some good, to get somewhere personally, or just for the fuck of it?MADOLYNI expect sometimes...people...do it to keep things...on an even keel. BILLYSo, you had a parent who was a drunk?MADOLYN looks up at him, transpierced. Tables turned on the psychiatrist. BILLY smiles at her.MADOLYN(flustered)Did you?BILLY (simply)No. 65.CONTINUED: (CONTINUED) MADOLYNLet’s keep this with you. BILLY (abruptly)There was a cop leaving when I came in. MADOLYNHow do you know he was a cop?BILLY Bad haircut, no dress sense and a slight air of scumbag entitlement. You see cops?MADOLYN That’s part of what I do. Although, I don’t normally see cadets who were kicked out of the Academy. BILLYYou should get a better job...BILLY (CONT'D)Do they all come in and cry...your cops? MADOLYNSometimes they cry if they had trouble at home or if they’ve had to...use their weapons.BILLY Let me tell you something. They signed up to use their fuckin' weapons. Most of them. But they watch enough TV so they know they have to ""weep"" after they use their weapons. No one's more full of shit than a cop. Except a cop on TV.MADOLYNI looked through your file and I see you have a record of assault. What was it like for you in jail?BILLYYou want to hear about the showers?MADOLYNDid something happen to you? 66.CONTINUED: (2) (CONTINUED) BILLYNo.(a beat)You sit there with a mass murderer, your heart-rate jacked, your hand...steady. That's one thing I found out about myself in prison. My hand doesn't shake, ever.MADOLYN What do you expect from coming here?BILLY I have to come here.MADOLYNI know it’s not elective...on your part...but, now that you’re here, what do you want?BILLYYou want the truth? (a beat)Valium.MADOLYN If you lied, you'd have an easier time getting what you wanted.BILLYWhat's that say about what you do for a living?Madolyn is taken aback. She closes her file.MADOLYNLook, I think we better have a few more meetings before we can even talk about prescriptions.She closes his file and puts it in the rack behind her.BILLY I'm having panic attacks. You didn't even ask about that. Last night I thought I was having a fucking heart attack. I puked in a trash barrel on the way in here, I haven't slept for weeks. 67.CONTINUED: (3) (CONTINUED) MADOLYNIs this true?BILLYYes. I said something true. I want some fucking pills and you close my file? I thought I was supposed to tell the truth here. MADOLYNYes, you are.BILLYIf only fuckin' here.She retrieves his folder.BILLY (CONT'D)(giving into stress)Guy comes in in pain, against every instinct of ...privacy, of, of, self reliance... that he has, and you don't help him? You send him off to score smack on the fucking street?! (Is that what you do, Mrs. Fuckin’ Doctor?)MADOLYN stares at him, then lowers her eyes, takes out a small packet of two pills. She hands it over to him. BILLY looks at it.BILLY (CONT’D)Two pills.She nods. BILLY reaches out and deliberately places the pills on the desk.BILLY (CONT'D)Why don't you just give me a bottle of scotch and a handgun to blow my fucking head off. Are we done here with this psychiatry bullshit?MADOLYN is taken aback, guilty, astonished.MADOLYNYou can leave!BILLYWhat if that was a legitimate threat? (Hot shot). 68.CONTINUED: (4) (CONTINUED) BILLY leaves. MADOLYN stares after him.MADOLYNFuck...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PLAZA OUTSIDE THE OFFICE BUILDING. DAYVery windy. Papers blowing. Billy is walking. Madolyn catches up to him.MADOLYNWhy is the hardest patient of the day always the last one?BILLYBecause you're bored and tired and don't give a shit. It's not supernatural.MADOLYNLook, I'm not just...somebody you have to see or they put you in jail. If you are in distress I will help you.Madolyn holds out a paper and a business card.BILLY What's this?MADOLYNMy card. And a prescription for twenty Lorazepam.BILLY stands holding the prescription.BILLYIs it enough to kill myself?MADOLYN (she fixes him with a stare)Maybe it is. All right? Have I done my job up to your goddamned standards? Because by my standards you fit the model of drug-seeking behavior, and fuck you if you don't like my initial clinical reaction.BILLY(re: prescription)Thank you. 69.CONTINUED: (5) (CONTINUED) MADOLYNI'm transferring you to another counselor.She starts to go back inside.BILLYYou wanna get a cup of coffee?",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COMMAND CENTER (UPSTAIRS). NIGHT. A WEEK LATERIt's an otherwise disused floor of a new luxury office building. Cables and monitors and computers everywhere. It's crawling with State Cops as well as FBI (LAZIO is present, very nattily dressed). COLIN comes in with BROWN and BARRIGAN. This operation is all new to Colin.ELLERBYAll right, let’s bring it in, please. Come in please.(addressing room)Our target is a major transaction of microprocessors. Yes, those. I don’t know what they are. You don’t know what they are. Who gives a fuck? Cash will be handed over in a building which we have under AV surveillance. Staff Sergeant Sullivan's team...(he nods at COLIN)Will ID the bad guys and listen in on the phones. COLIN(to his guys)Did you guys know anything about this?No.ELLERBY(to LAZIO)How long have we been tapped on this building?ELLERBY (CONT'D)Our unit will not take action until a man Captain Queenan has inside the operation has verified the transaction. Questions? Anyone? This is who we're after. (taps picture of Costello) 70.CONTINUED: (MORE)(CONTINUED) We've been after this cocksucker for a long time, and tonight we're gonna get him. Get to work.ON COLIN as he reflexively touches his cell phone and thinks about the best way out of this.ELLERBY (CONT'D)We've been after this son of a bitch for a long time, and we're getting him tonight. Get to work.COLIN(to team)Go find out what we're doing and get on it.COLIN wanders off in the mill of officers. He is taking out his cell phone when ELLERBY comes up to him.ELLERBYSorry to get you at the last minute. But things leak. This lead came from Queenan's undercover guy.ELLERBY walks on to a COFFEE STATION, a yard away.COLIN (into cell)Dad?COSTELLO (O.S.)(on phone)Yes?COLIN is completely normal on the phone.COLINI'm not going to make dinner. Something big has come up.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. COSTELLO'S APARMENT. CONTINUOUSCOSTELLO is on the phone.COSTELLOToo bad. Your mother worked all goddamned day. We'll just have to sit down without you and your friends. 71.CONTINUED:ELLERBY (CONT'D),COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COMMAND CENTER. CONTINUOUSCOLIN turns away from the activity.COLINOh, my friends are still coming.COLIN sees QUEENAN staring at him.COLIN (CONT'D)We'll just say lunch tomorrow. All right, bye.COLIN ends the call. QUEENAN is there.QUEENAN The readiness is all. You know the players, call the game.COLINThank you, Captain.He gives him the clipboard, Colin goes to the work area.LATERCOLIN joins his team (BROWN AND BARRIGAN), who are seated in a U shaped work-area. COLIN, still stunned by the fact of this operations center, swallows as he notices on video three angles of a building he seems to know very well. He sits down and puts a headset on. A GEEK COP leans over and shakes his hand.GEEK COPPiece of cake. I'll operate the cameras. You ID the guys and log them.COLIN nods. QUEENAN comes up.QUEENANAll cellphone signals are under surveillance through the courtesy of our Federal friends over there...COLIN looks: sees LAZIO and two others.ELLERBY (as if on coke and he probably is)Patriot Act. Love it. Love it. 72. (CONTINUED) COLIN, using his left hand, not looking, opens his cellphone, autodials, and then taps an instant message into it, pushes ""Send.""DETAIL OF IM: ""No Phones"" ONSCREEN, CARS PULL UP IN FRONT OF THE TARGET BUILDING.COLINAll right. That's Costello right there. Costello, Mister French, Fitzy, Delahunt, Billy Costigan the new guy...Time is 10.46.BROWNWho are they meeting?ELLERBY(leaning over screens)I don't know. Some Chinamen from points unknown. They're already inside.DETAIL OF COLIN'S PHONE. COLIN hits ""send"", sending the message ""No phones"". THE SCREEN then reads ""Erasing Sent Message"".",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. TARGET BUILDING. NIGHTCOSTELLO and the boys go into the building, moving past TWO IDLING CARS. We see Costello look casually at his phone.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COMMAND CENTER. CONTINUOUSWatching images. COSTELLO'S GUYS move through pillars and disappear.CAMERA GEEK COPWe have a blind spot.ELLERBYWhy do you have a blind spot?CAMERA GEEK COPWe had two hour's notice. Two hours. What the fuck you think this is, NASA?ELLERBYIt never crossed my mind. You get a camera in the back? 73.CONTINUED: (CONTINUED) TECH COP IN DOWN VESTWhat back?Ellerby blows his nose. He is on coke. COLIN sends another TEXT MESSAGE: “Blind spot inside door.”",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TARGET BUILDING. CONTINUOUS - REVISED 6/8-9/05COSTELLO looks at his IM screen and turns to his guys.COSTELLOTurn off your cell phones.FITZY and some others mutter.COSTELLO (CONT’D)Check your weapons...Fitzy has the chicken...Everyone turns off their phones, including BILLY (but we know Billy has TWO phones).BILLY looks around at the pillared distances. He sees:A GROUP OF THREE MEN waiting and FIVE OTHER MEN spreading out through the pillars. Armed.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COMMAND CENTER. CONTINUOUSCAMERA COP(to no one, and maybe OS)Maybe if we had some Homeland security money like some other fucking douchebags I could mention...Both Brown and Colin have their headsets on.QUEENANAny calls?PHONE TECH COPThey turned off their phones.COLIN looks utterly innocent.ELLERBYSearch randomly for calls made from the area. 74.CONTINUED: (CONTINUED) PHONE TECH COPEight hundred seven phones are live in this area.ELLERBYNarrow the area.LAZIOWhat you see for coverage is what you get.DIGNAM(like Queenan, an observer of Ellerby's operation)Why the fuck did they turn off their phones?PHONE TECH COPWait, there's still one phone up.DIGNAMWhere?A single light on the screen. QUEENAN looks at an IM (from Billy) on his phone. DETAIL: ""buyers here"". (""$"")QUEENANThe buyers are there.COLIN wonders how Queenan knew this. The single light winks out on the screen. ELLERBY looks at Queenan, impressed.ELLERBYYou know, direct access to your fucking guys would have certain fuckin' advantages.QUEENAN(mildly)Not to my guy.ELLERBY stares at him.DIGNAMThis is unbelievable.(looking at screens)Fuck it, who put the cameras in the fucking place? 75.CONTINUED: (CONTINUED) CAMERA TECH COP Who the fuck are you.DIGNAMI'm the guy who does his job. You must be the other guy.QUEENANHey, hey, hey...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. AN OPEN AREA IN THE RUINED BUILDING. NIGHTCOSTELLO’S BOYS spread out. Across the open, lumber-strewn area, CHINESE GANG MEMBERS are waiting.A LOCAL CHINESE-AMERICAN MAN acting as the interpreter and fixer stands waiting near a SUITCASE on the floor. With the CHINESE GANGSTERS is a more official looking MAN IN A BAD SUIT - terrified. FITZY carries a case containing the processors.COSTELLO(to translator)How you going, Robert?CHINESE TRANSLATORTops, Mr. Costello. I want to tell you that at least two of these gents have machine guns.COSTELLO takes it all in. The CHINESE GANGSTER looks like a Malay pirate. Costello’s gunmen are perched above, automatic weapons trained on the Triad.BILLY sneaks a message to Queenan via Text Message,""$"" to indicate “buyers here.”CHINESE GANGSTER(in Cantonese, not subtitled)Waiting, waiting. We almost departed! This man is from the Embassy. He will have to blow his brains out if he is captured. His entire family will be killed.CHINESE TRANSLATORHe’s a little upset.COSTELLOTell him light on the starch. 76.CONTINUED: (2) (CONTINUED) BILLY is watching carefully. [As (INSERT) ONSCREEN in the OPERATIONS ROOM the last lights wink off...] He removes his hand from his pocket, having just switched off his phone.CHINESE TRANSLATOR(roughly translating)He’s fronting the Chinese government and he’s just scared shitless.COSTELLOGovernment man. (loudly, to Chinese)I’m concerned about Chinamen who think it's wise to bring automatic weapons to a business transaction.The CHINESE GANGSTER interjects --CHINESE GANGSTERNgup, Ngup, Ngup. Ngaw um ming. Kay ngup mutt. [Yap, yap, yap. I don’t understand. What is he saying?]The CHINESE TRANSLATOR translates Costello’s statement about “concern.”SEVERAL OF THE TRIAD, hearing a “automatic weapon,” stupidly raise their MACHINE GUNS. They don’t aim them. COSTELLO For his own good, tell Bruce Lee and the Karate Kids none of us are carrying automatic weapons because here, in this country, it don’t add inches to your dick. You get a life sentence for it.We (but no one else) hear a double click as MISTER FRENCH cocks a pistol behind his back.CHINESE GANGSTER(in Cantonese)Put away that machine gun.The MACHINE GUN is put away. 77.CONTINUED: (CONTINUED) COSTELLOIf these chinks want to nuke Taiwan any time in this century, you tell them they better shape up fast and show me one million dollars.The CHINESE TRANSLATOR translates.COSTELLO (CONT'D)What we generally do in this country is one guy shows up with the items, and the other guy pays him. No tickee...no laundry.COSTELLO gestures and a BOX of PROCESSORS is put on the floor. Opened. The CHINESE GANGSTER gestures and a case of money is put on the floor. Opened. FITZY looks at it, nods.CHINESE GANGSTERNay tiey ching chaw yut bok mon. [Make sure it’s real. It’s a million dollars.]. ALTERNATE/ALSO (insult): Ne dei yeeche ling ngnaw dong maw gok nay chun. [Next time you make me wait, I’m going to cut your dick off.COSTELLOIn English, thank you, also. CHINESE GANGSTERDu ne. [Fuck you.]The deal is done.COSTELLO The expedition continues this way.To Billy’s surprise both Costello’s men and the Chinese head out through the back industrial windows onto a canal-side pier.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COMMAND CENTER. CONTINUOUSThe CARS of the CHINESE GUYS are driven away, passing a van full of...Startled TACTICAL COPS. TWO TACTICAL UNITS are hidden outside. 78.CONTINUED: (2)",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COMMAND CENTER. CONTINUOUSELLERBY is staring at the screens.ELLERBYDon't tell me those cars were empty. Please don't tell me those Chinamen's cars were empty.(to Camera Tech Cop)Do you have a camera in the back.An IMAGE comes up. Nothing.ELLERBY (CONT'D)Can I talk to you a minute?As the Camera Technician gets up, Ellerby pounces on him.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BEHIND THE BUILDING. CONTINUOUSTied to the pier there are two boats, a NOVI LOBSTER BOAT and a BOSTON WHALER with a guys we've never seen at the wheel (random getaway hires). The TRIAD members get into the NOVI, and chug away. Fitzy carries the SUITCASES OF MONEY onto a BOSTON WHALER and it takes off. COSTELLO turns to Billy.COSTELLOSee, no surveillance here. They didn’t figure we had a navy. Always figure an exit for your business partners. What with everything all dug up, you can't trust a slant to find the Mass Pike and, with or without Staties out front, frankly I don't approve of orientals driving to begin with.BILLYWhat about us, Frank? What’re we gonna do?COSTELLOWe depart. We didn't commit no illegalities.BILLY is stunned. Admiring.MISTER FRENCHExcept sell the ching chongs a bunch of fuckin' plastic. 79. (CONTINUED) The CHINESE GUYS, staring back, chug away down the canal in the lobster boat. BILLY watches COSTELLO go, admiringly, and then follows him.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. STREET NEAR TARGET BUILDING - NIGHT 103AA few blocks from the target building, a Police Tactical unit stops the departing Triad cars with a roadblock. As officers approach the cars they realize they are empty except for hired Caucasian drivers. An officer reports this to the command center.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COLIN'S APARTMENT. DAYColin is asleep on the couch, in a bachelor disaster of Chinese food boxes. Something on TV: ""Audition."" A key in the door: He wakes as MADOLYN comes in carrying a bag of coffees and a BOX OF EFFECTS.MADOLYNGood Morning.MADOLYN smiles at him, also shy.COLINGood morning. MADOLYN I beat the movers.COLINHow was the last night in the, ah, old establishment?MADOLYN(putting the box on the kitchen counter)Lonely.COLINI'm glad to hear that. It sucked here, too.They kiss. MADOLYN takes in the apartment.MADOLYNI'm gonna thank your Uncle Alphonsus for the square footage.COLINUncle Alphonsus is in heaven. So am I. 80.CONTINUED: (CONTINUED) MADOLYN unpacks food. Coffee. Croissants.MADOLYNFrench donut?COLIN(re: box of stuff)Yeah. Hey, can I...MADOLYNSure yeah.He sorts through the box. It's all Madolyn's key stuff - a mug, a few critical books...framed family pictures, breakables...and comes up with: A PHOTOGRAPH of a young Madolyn standing in front of a North East rust belt slum.COLIN Well, we're not having this out.MADOLYNWhat?MADOLYN isn't prepared to be at cross-purposes. But she is taken aback. She puts the photo quietly away. Contaminated.COLIN You don't see any pictures of where I came from. Look, I respect who you are, but not in the living room. We might have company.MADOLYNCompany?She laughs. COLIN looks at a diploma. Veritas.COLIN Why work for the state?MADOLYNWhy not? You do.COLINNot forever, and you don't have to. You've got degrees...you're a hot shit... I mean, what you do, why make as much as a guidance counselor? 81.CONTINUED: (CONTINUED) MADOLYN (deadpan, over her coffee cup)I believe in public service.COLIN stares at her.COLINNow you're just being ridiculous.MADOLYN(kissing him, and intently:)You like me living here?COLIN(hands down her shorts)Yes I do.THE PHONE (landline with mobile handset) rings.COLIN (CONT'D)Answer it. You live here. MADOLYN, not 100% confused by his seizing on the interruption, gets the phone.MADOLYN Mayor Sullivan's Office.After a moment she holds the receiver out to COLIN.MADOLYN (CONT'D)(whispering)I'm sorry!COLINWho is it?MADOLYN I think it's a guy with a, ah,(She touches her throat, and whispers)A cancer guy.COLIN reaches in his pocket and looks at his cellphone: dead. A bad mistake in his situation. He crams the phone into a table charger beside the landline and takes the handset.COLIN Hello? 82.CONTINUED: (2) (CONTINUED) COLIN exits the kitchen. COLIN (CONT'D)(to Madolyn)Something for work.MADOLYN looks after him. She doesn't start eating again, she watches Colin. She is seen staring at him through the following scene.COSTELLO (V.O.)What the fuck is it with your phone?",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. THE CHELSEA YACHT CLUB. CONTINUOUSCOSTELLO, with his collar turned up, is walking along the floats. Wearing a headset.INTERCUT TERRACE OF COLIN'S APARTMENT/CHELSEA YACHT CLUB. CONTINUOUSCOLIN hunches, closing the glass door, and glancing in at Madolyn.COLIN Nothin’, nothin'. It doesn't have any power, that's all. It just happened once.COSTELLOWas that that shrink cunt answered the phone?COLINYes. Yes. As I said, she was gonna move in, so she moved in. COSTELLO You better get organized, quick. COLINLast time I checked, I tipped you off and you're not in jail.COSTELLOAre you listening to me?COLINYes. 83.CONTINUED: (3) (CONTINUED) COSTELLOAre listening to me, son? Do you like Little Miss Thing sucking your cock?COLIN looks in at MADOLYN.COLINYes. Yes I do.COLIN is frustrated.COSTELLO So earn it. (a beat)I'm gettin’ the feeling we got a cop in my crew. COLINI been gettin’ that same feeling.COSTELLOHe’s one of yours. Inside. Have you seen anything? COLIN Look, I have no access to undercover files in Queenan's department. It's locked up. Queenan and Dignam run the snitches. They don’t give anybody a peep. I'm doing the best...COSTELLO(interrupting)Your best? What do you think we're in, the fuckin' haberdashery business?COLIN takes a breath, tries to reason and mind his place.COLIN Please Frank, if you don’t relax I can’t relax. Let’s start with this...get me all the information on the people around you last night. Everyone that works for you. Get me real first names. Get me... 84.CONTINUED: (CONTINUED) COSTELLO (interrupting Colin)Get you? Give you? Who the fuck do you work for?COLINOkay, Frank...I'm sorry...could you please get me social security numbers, ah, I need drivers license numbers, full names, dates of birth, anything like that. Bank account numbers, everything that you don't get from a criminal record or, or a wrap sheet or a...COSTELLO(relenting a little)Collie, calm down or you’ll shoot in your pants. I'll get you the records and whatnot. You'll have 'em but listen to me son, don’t disappoint me on this, or some other guy will be putting their cock up Little Miss Freud’s ass.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DOCK/WATERFRONT - CONTINUOUSCostello hangs up and walks along and sees QUEENAN and DIGNAM step out.QUEENANHow are you, Francis?COSTELLOMy mother called me Francis.QUEENANI know she did. And your father called you the tumor. COSTELLO, not liking that:COSTELLOOh, what did your father call you, Charlie? Oh yeah, I forgot, he wasn't around.QUEENANWhere are the real microprocessors, Frank? 85.CONTINUED: (2) (CONTINUED) COSTELLO Microprocessors...oh yeah, I heard that story. You arrested some Chinese government guy at the border carrying some light sockets or somethin’.DIGNAMI can't wait to wipe that fuckin' smirk off your face.COSTELLO(to Dignam)Wouldn’t you rather wipe my ass for me?QUEENAN I will get you, Frank. COSTELLO If you could’ve you would’ve but I guess you like to go at your own pace. From off-stage we hear a young, angelic GIRLS CHOIR begin to sing.COSTELLO (CONT’D)Excuse me, I’ve got a date with some angels.As Costello walks away:QUEENANSooner than you think, Francis.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COLIN'S APARTMENT. CONTINUOUSCOLIN, looking worried, folding his phone away, comes into the apartment. MADOLYN is staring at him.COLINWhat?MADOLYN You have a boss that has a laryngectomy?COLINNo, no, no. That was a guy who works for me. 86.CONTINUED: (CONTINUED) MADOLYNYou're lying to me.COLINNot exactly.(the charming Colin:)There are certain things I will not be able to talk to you about. I cannot allow you to jeopardize an ongoing investigation. (Or your own life.)(more seriously, after a long beat)There really are things connected to my job that you can't ask about. That you don't want to know about.MADOLYN (after a beat)Okay, then say that.COLIN looks at her steadily: if she's serious, she's pure gold.COLINI will. Thank you.He kisses her. The DOORBELL RINGS.MADOLYNThat's the movers.COLIN You still wanna stay?MADOLYNI do.The doorbell safely ringing, Colin kisses Madolyn.COLIN(re: doorbell)All right. All right. I'm coming.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. QUEENAN'S OFFICE. CONTINUOUSDIGNAM is alone. We see Queenan's empty desk in a fall of light. We see Dignam's arm, wrist, phone, an expensive heavy watch. 87.CONTINUED: (CONTINUED) BILLY (O.S.)I’m gonna get on a plane unless you put Queenan on the phone.DIGNAMQueenan had a funeral to go to. This is my shift. Calm down.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. IM PEI TYPE FOOTBRIDGE WITH A PEDESTRIAN CONVEYOR. DAY (INTERCUT)BILLY is talking on the phone, in a fury.BILLYWhy shouldn't I get on a fucking plane? Meet up? Do you actually want me dead? There's a rat in your unit. That's a fact. You just don't know it. Where's Queenan?DIGNAMHe's not here.BILLYThey knew you had cameras in the building. You have a leak from the inside. It's real. Smoke him out.DIGNAM And how do we do that Mr... fucking genius who didn’t even graduate the academy?BILLYDisinform. Let it slip to SIU that you're getting a sealed wiretap warrant for Costello's apartment. Don't tell anyone in our department but tell SIU. Flush it and see if it comes out of the pipe on my end. That's first. Narrow it down. Where's Queenan.DIGNAMAre you deaf? He’s not here. Call me when you get something real.BILLY is in a full-on panic attack. He takes a pill, leans back against a wall, closes his eyes. The second phone rings. He stares at it: opens it. 88.CONTINUED: (CONTINUED) BILLYIt's me.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DESERTED CAFE - DAYMadolyn and Billy sit at a table. Talking like friends now, emphatically non-clinical. Billy is zoned out, preoccupied, nervous.MADOLYNI’m assuming you want to change things, you know, change the people you know, change the people you meet, change everything, anything. Too many choices can see like no choice at all...BILLYConfucius say that?MADOLYNSo you do...something radical.BILLY“Something radical,” huh?MADOLYN...yeah, you do... Sometimes it’s just a matter of picking a thing and doing it... BILLY So how long you been with this guy?MADOLYNOh, four months. About four months.BILLYYou love this guy?MADOLYN It’s pretty serious, yeah, it is.BILLYA head case or anything? I’m just curious...MADOLYNNo more than I am. 89.CONTINUED: (CONTINUED) BILLYThen you’re lucky. Considering the odds, right?He lifts his cup to drink.BILLY (CONT'D)Good, give him a shot.This may not be exactly what Madolyn wants to hear. But she nods.MADOLYNDoctors aren’t supposed to have illusions. BILLYYeah, that’s because of vastly superior intelligence. Godlike, really.Smiles, called on her shit.MADOLYNOK, I’m in a serious, newly serious, relationship...there are...ups and downs...everybody has doubts, problems -- I mean doubts.She realizes she may have glazed and gone a little too far on “problems”.BILLY What would you do if he was standing right there and saw us?MADOLYNI’d lie. To keep things on an even keel. You know all about it.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT./,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BANKROBBER'S APARTMENT. CHARLESTOWN. DAYThe BANKROBBER, a junkie, wakes up to a vision: JESUS, indicating the sacred heart.BILLY smashes the glass and the frame over the guy's head. CUT TO OUTSIDE:MISTER FRENCH has lit a cherry-bomb. He throws it. He hands out fireworks to KIDS. 90.CONTINUED: (CONTINUED) BACK INSIDE:BILLY shoves him down on the couch and crams the gun to his head.BILLY You take off an armored car at the Dedham Mall and what do you do. Do you pay guineas in Providence?BANKROBBERFucking now I do.BILLY What the fuck do you do.BANKROBBER What, I pay Costello and wait for him to trade me to the FBI? Cause that's what he does.BILLYFBI? What the fuck are you talking about.{Firecrackers off}BANKROBBER Oh my God, is that French out there?BILLY(grabbing him by the shirt)What the fuck did you just say about the FBI?BANKROBBER Forget what I said. I’m fucking high, I’m high.Firecrackers continue to go off outside. The BANKROBBER knows what this means.BILLY Whatever’s going through your very poor, very limited, brain...I’m not going to hurt you. Just tell me what you just fucking said. 91.CONTINUED: (CONTINUED) BANKROBBERForget it, I’m high, I must be high, I would never say what you thought I said.As the firecracker sounds increase outside (Maybe French's “Do what you have to do”), BILLY, no way out of what he has to do, glances at the window, shoots the guy through the kneecap. BLOOD sprays everywhere. The bankrobber screams.BILLYTell me what the fuck you said.BANKROBBER (covered with blood)Why do you think he's not arrested? Costello's a protected FBI informant. He'll trade you out. (a beat)I thought I was supposed to go into shock. I’m not in shock. It fucking hurts. It fucking hurts.BILLY gets out of the house.OUTSIDEMISTER FRENCH is benignly watching kids light cherry bombs. BILLYLet's go.ON SOUND: Sextet from LUCIA di LAMMAMOOR.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. A THEATER. NIGHTFrom behind COSTELLO'S HEAD, which almost fills the frame, we see a blur of beautiful color. ON STAGE, an opera is in progress——LUCIA DI LAMMAMOOR done with masks. CUT TO COSTELLO, revealing Costello's rapt face and PAN to reveal on his Left a beautiful WHITE PROSTITUTE. PAN back over COSTELLO'S face to reveal a beautiful BLACK PROSTITUTE. PERFORMERS with MASKS sing on stage. As the music soars, COSTELLO moves crinolines up the women's legs.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. A BEDROOM. NIGHT.COSTELLO fucks...and fucks weird. 92.CONTINUED: (2),COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. QUEENAN'S HOUSE IN WEST ROXBURY. NIGHTA street of three-deckers. QUEENAN gets out of his unmarked cruiser. As he does: BILLY steps out into the light. The two men stare at each other, each lit by their own streetlight.BILLYHey, it's me.QUEENANWhat do you want? What are you doing here?BILLYCome here.QUEENAN approaches him.BILLY (CONT'D)Costello is giving people up to the FBI.QUEENAN stares.QUEENANThe FBI?BILLY He gives information to the FBI. He's a protected informant. Aren't they trying to make it a Federal case? And it never gets made? QUEENAN(realizing he has to be very careful)Go around the back. Go around the back.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. QUEENAN'S HOUSE. MOMENTS LATERBILLY sits on a bench in a hallway, exhausted, staring. THE SACRED HEART and JFK are on the walls. QUEENAN comes along the hall.QUEENAN My wife's asleep. She left supper out. Come and have something to eat.BILLY shakes his head. 93. (CONTINUED) BILLYNo, I...QUEENANWe'll talk in the kitchen. Come and have something to eat.BILLY follows him towards the lighted kitchen door.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DRIVING RANGE. DAY (WINDY)COLIN is watching ELLERBY hit golf balls. Well.ELLERBYCongratulations. Haven't seen a guy like you since me. You'll be transferred to Internal Investigations but you will continue to work right where you are in the Special Investigation Unit.COLINI don't get it.ELLERBYWe are all convinced that Costello has at least one mole in the Special Investigation Unit.COLINRight.ELLERBYYou'll investigate. Everybody. Anybody.COLIN Well, that's just a dream job for a cop.ELLERBYWe have considered all possible candidates. You have an immaculate record. Some people never trust a guy with an immaculate record. I do.(a beat)I have an immaculate record.ELLERBY hits a drive. 94.CONTINUED: (CONTINUED) ELLERBY (CONT'D)Play golf?COLINNo.ELLERBYThat's a pity. Pretty much sucks as a game but you get to form relationships. (a beat)How's the wedding coming along?COLINEverything's great. On schedule. She's a doctor.ELLERBYOutstanding. That's good. Marriage is an important part of getting ahead. You don't want anyone thinking you're a homo. Married guy seems stable. People look at a wedding ring and think: someone can stand the son of a bitch. Ladies see the wedding ring and know immediately that you must have some cash and that your cock works.COLINOh, it's working. Overtime.ELLERBYI'm glad to hear that.Hits a drive. Ponk.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CONSTRUCTION AREA. DAYHEAVY EQUIPMENT stands on the thrashed earth. Hoardings. BILLY crosses the road under what remains of the Expressway, and after hiding in an angle of the building and cocking the gun in his pocket bangs on the door of a dead bar. The door is unlocked by: DELAHUNT.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. THE DEAD BAR. DAYIt's another of COSTELLO'S ""locations"". BILLY looks around. Every man from the previous night is there--but no COSTELLO. DELAHUNT closes the door behind him and bars it. Men are oddly enough filling out forms. These are not men used to pencil and paper. Billy is nodded at. 95.CONTINUED: (CONTINUED) MISTER FRENCHBoss wants your real name, your social, your license number, all your bank account numbers.BILLYI don't have a bank account.MISTER FRENCHI'm a cash business myself.BILLYWhat's he doing, setting up IRAs?MISTER FRENCHYou fill in the papers, real name, all your numbers, no fucking around, and then we all wait here.MISTER FRENCH (CONT'D)No, I ain't.MISTER FRENCH goes off into a separate room. BILLY takes a paper and, sitting at the bar beside FITZY, writes down his information. The other men are mostly finished and DELAHUNT is collecting the papers. DELAHUNT tosses the brown envelope on the bar. DELAHUNT Put the forms in there.FITZYI don't know if this is how you spell Citizens'.BILLY glances at what FITZY is crawling: CITTIZINS TRUST.BILLYNo, no, no. Jesus Christ.He takes the brown envelope, and writes on it CITIZENS.FITZYWhat are you, retarded? That ain't right.BILLY gives up. Both of their forms are stuffed in an envelope. BILLY gets up.DELAHUNTBilly, he said to stay here. 96.CONTINUED: (CONTINUED) BILLYI'm not sitting in this room without a tetanus shot. I'm not staying.MISTER FRENCHWhere you going?BILLY goes out. DELAHUNT puts his coat on. He picks up the brown envelope on which CITIZENS TRUST is written.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. THE WATERFRONT. DAYBILLY is holding his bottle of tranqs. He traces with his finger the doctor's name...MADOLYN MADDEN. His ""police"" phone vibrates and he takes it out.ONSCREENFollow the envelope.BILLY deletes the IM and dials Queenan directly.BILLYWhy can't Ellerby's guys? SIU.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. QUEENAN'S OFFICE. DAYQUEENAN closes his door.QUEENANThey can't. They are compromised.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. COSTELLO'S APARTMENT. NIGHTCostello emerges, in an overcoat. Carrying the envelope. He gets into his Oldsmobile. BILLY starts his car and follows.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CINEMA. NIGHT REVISED ON SET 5/31/05Dark theater, movie in progress. Wobbly porno music. A thin audience of raincoat artists. The door opens and COSTELLO enters. He moves slowly down the aisle and sees: COLIN sitting alone. He sits down in front of COLIN.Costello is wearing the dildo. He watches the movie, moaning.COSTELLOOh yeah, be dirty.Colin goes for his gun. Costello gets up, shows him the dildo. 97.CONTINUED: (2) (CONTINUED) COSTELLO (CONT'D)See anything you like?COLIN unnerved, recognizing COSTELLO now.COLINJesus Christ, Frank, I almost shot you.Frank sits, closer to Colin.COSTELLOYou're not indulging in self abuse are you? COLINFrank, we got problems.COSTELLOI hope you’re not turning into one of those sob sisters, who wants to get caught. You’re not crackin’ up are you?COLINI don’t crack up. COSTELLOPick a place where any cop could see you... COLINWhy did you show up then?COSTELLO I own the place.COLINWhy am I not fuckin' surprised. Look...COSTELLO You're gettin' reassigned.COLINHow the fuck did you know that?COSTELLOWhere’d they put you?COLINI have to find myself. 98.CONTINUED: (CONTINUED) COSTELLO chuckles, truly enjoying this.COSTELLOYou’re telling me, sonny boy.COLINI have to find the guy you have in the department. COSTELLOWith everybody looking up their own ass and you looking for yourself, I put my money on nobody finding nothing. We see in Colin's face hurt and hatred for Costello. His idol doesn't like him.COLINFrank, for me, you've got to lay low.COSTELLO Laying low is not what I do. COLIN Yeah, big fuckin' daddy Frank. Lookit, Frank, what good am I to you if you don't listen to me? Queenan's compartmentalizing. He's fuckin' smart, you know that. I will find this rat if you let me do it my way. If you let me do my job. COSTELLOOkay.(gives him the envelope)But Colin, I hope I won’t have to remind you, that if you don’t find that cheese eating rat bastard in your department so we can give him a halo, most likely it won’t be me who pays for it.COLIN nods, sweat on his lip.COLINWhy would you need to remind me of that? I didn't know that would I be any good at what I do? Trust me, I know how to do this. 99.CONTINUED: (2) (MORE)(CONTINUED) It involves lying, and I'm pretty fucking good at that, right?COSTELLO (looking at the screen)Maybe it's because it's always been so easy for me to get cunt that I never understood jerking off in a theatre. Costello gets up to go.COSTELLO (CONT'D)Who knows what's easy? Collie, take care of business.The door opens again at the back of the theater and we see: BILLY in a dark back seat. COSTELLO, after hesitating as Colin sweats, shoves the brown envelope to COLIN, and goes. BILLY receives a text message: ""Get visual ID suspect."" He slumps in his seat as Costello marches up the aisle and out of the theater. He has barely recovered from this when:The dark shape of COLIN is moving rapidly towards and through the emergency exit beside the screen.Billy follows.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CINEMA BACK STAIRCASE AND ALLEY. NIGHTIt's open, and gives on to what Boston keeps trying to call the Theater District and what keeps being The Combat Zone. COLIN vanishes around a corner. BILLY follows, looks left and right, then goes after",FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. A STREET OF CHINESE SHOPS. CONTINUOUSCOLIN, who is walking along, putting the envelope into his coat.BILLY is speeding up, moving through pedestrians, desperate to see Colin's face. COLIN will be caught up to within seconds. He turns down another street. BILLY starts into a half-run. He turns the corner. ANOTHER STREET painted with neon light (quiet). BILLY'S POV:COLIN is halfway down the street. 100.CONTINUED: (3)COLIN (CONT'D) (CONTINUED) BILLY follows.BILLY is nearly up to COLIN on this quieter street(And COLIN is aware of the tail)when...BILLY'S cellphone rings. His phone has fucked up, as they do. Instead of turning around, COLIN accelerates. The only thing on his agenda is to not have his face seen. BILLY spins into a door-opening and silences the ringer. TEXT MESSAGE DETAILMake arrest.COLIN takes a right at the end of the street, into an alley.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. AROUND THE NEXT CORNER. MOMENTS LATERCOLIN is waiting, in a doorway of his own. He has a knife open in his hand. He waits, listening to (faltering) footsteps: a MAN, face invisible in shadow, turns the corner. COLIN pulls him into the doorway and rips upwards with a knife.As the body falls we see: it isn't Billy. It's a CHINESE MAN. COLIN backs away in horror, and hurries off down the street.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ANOTHER STREET. MOMENTS LATERCOLIN, sweating, staggering, hurries along. No sign of Billy, no sign of a follower. But he does notice: CCTV cameras at the intersection. He spins and gets out of there, heading off through. CHINATOWN. Colin, holding his envelope, walks, sweating, fast, then faster, past repeated ideograms in neon (the ideograms say--flash--""Departed"").",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CHINATOWN. MOMENTS LATERBILLY has lost Colin. He hears a hubbub from the corner where a small crowd of Chinese speakers is gathering and pushes through the crowd to see: blood running on the pavement. BILLY backs away, gets out of there.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CCTV ROOM. NIGHTCOLIN is looking at CCTV tapes. We see COLIN, unrecognizable on cheap video. Then we see a blurred image of BILLY. Crossing the street in beats. No more use as ID than the Shroud of Turin. 101.CONTINUED:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MADOLYN'S CELLAR APARTMENT. NIGHT (RAINING)Through grated windows we can see Madolyn finishing up her packing. BILLY KNOCKS on the door, which leads only into Madolyn's basement apartment. A long beat and she opens the door. The chain on.BILLYYour name's on the pill label. I thought you weren't supposed to be in the book, in case of obsessive patients.MADOLYN How obsessive are you?BILLYMedium.MADOLYNAre you okay? Why are you here?BILLY I really liked our conversations. I've been...regretting that we didn't continue...our conversations.MADOLYNI'm glad you want to see me...it's nice to see you...I enjoyed talking...I enjoyed having coffee with you, very much...but I don't see people...I don't see people in my home.Billy gets soaked.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MADOLYN'S CELLAR APARTMENT. CONTINUOUS BILLY looks around and sees: boxes, transition. The furniture already gone. An air-mattress on the floor. There are still tea things on the counter. A basic life is still possible here. Madolyn has been making tea here, sleeping here, reading in bed. Billy, soaked, a drowned rat, is looking vulnerable and honest.BILLY Thanks. If this is inappropriate... I can leave.MADOLYN takes a moment to react. 102. (CONTINUED) MADOLYNNo, it's, it’s, it’s not inappropriate...you’re not a patient...BILLYYou moving in or out?MADOLYNI still have three weeks on the lease...BILLY is looking at THE PICTURE to which Colin objected. A young girl in front of a rust belt slum, tilted in a box of effects.MADOLYN (CONT'D)That's me.BILLYYeah, I know.He hangs the picture on a nail.MADOLYN(the kettle whistles OS)Would you like a cup of tea? BILLY nods.BILLY Yeah. Yeah I would. Thank you.Madolyn leaves him looking vaguely around the apartment. In the kitchen, it appears that Madolyn has forgotten how to make a cup of tea. She perseveres, comes out holding two cups. Billy is looking at the handful of books still in the apartment.MADOLYNDo you want some...BILLYSugar? No...She hands him the cup of tea. Strung out, he spills his tea, slightly, unobserved by Madolyn. Madolyn looks over at the bed, the book, the lamp, the incontrovertible evidence that she's probably really, in fact, not that into Colin..MADOLYN I've always needed my own place. 103.CONTINUED: (CONTINUED) BILLYHedging your bets?MADOLYNNo. I'm not ""hedging my best""...I told you when we had coffee...There's a choice. You choose...you have to make a...BILLY Decision.MADOLYN...decision...and stick by what...you choose...you have to...BILLYMove in with your boyfriend?MADOLYNYes. Stick by what you...otherwise it's... I have to say that your vulnerability is really freaking me out right now. Is it real?BILLYYeah, I think so.Tick...tick...tick.BILLY (CONT'D)You don’t have cats. MADOLYNNo.BILLYI like that. That's good.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. CCTV ROOM. NIGHTColin is still studying the blurry image of Billy.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MADOLYN'S BASEMENT APARTMENT. NIGHT In the tiny kitchen BILLY is kissing MADOLYN and unbuttoning her shirt. Her hands start to move to push him away. He continues. 104.CONTINUED: (2),ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CCTV ROOM. NIGHTStill studying the blurry image of Billy, COLIN tenses as someone comes into the office and switches off the tape. He glances at his coat. The envelope is visible folded into the breast pocket. He takes his coat and goes.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CHARLES STREET. NIGHTWet empty streets. The ""gaslights"" are on. About midnight.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CHARLES STREET BRASSERIE. NIGHTA Costello business. The restaurant is closed for the night. One bartender is sweeping up and the other is counting the takings. In a darker alcove of the bar COSTELLO sits alone at a broad table, drinking brandy. On sound, classical music. As a knocking is heard Costello looks up. A BARTENDER lets Billy in. COSTELLO watches Billy approach. We hear him sit down.COSTELLOYou got a girlfriend?BILLYNo. No. What does that matter?COSTELLO Depends. I'm sure you know by now there's an informer in my crew. Cop. Staties or Boston Police department, I'm not sure.He pours Billy some brandy. Then starts to draw a sketch.BILLYWhat about the FBI.COSTELLO It ain't. Trust me. The ex-wife, an old friend or stupid...that's what brings you down in this business.BILLYStupid...Well, that leaves me out.COSTELLO Past days, case like this...I killed everybody who works for me.BILLYBetter safe than sorry, I suppose. 105. (CONTINUED) COSTELLOOn the other hand, back then, it was only five...or six...and French.But COSTELLO, maybe, is sorry. BILLY I look around at your guys. They're all murderers right? I think ""could I do murder?"" And all I can answer myself is, ""what's the difference"". COSTELLO Give em up to the Almighty. Like that.BILLYYeah, that's my po",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int. You accuse me once, I put up with it. You accuse me twice, I quit. If you make me fear for my life, I put a fucking bullet in your head as if you were anybody else.COSTELLO looks up. This is new: but he's impassive. And impressed.COSTELLO(to Billy)You got something you want to say to me, William?BILLY You're seventy fucking years old. One of these guys is going to pop you. As for running drugs, what the fuck. You don't need the pain in the ass, and they're going to catch you. And you don't need the money.COSTELLO smiles, and continues with the sketch. Later he will light up the paper.COSTELLOI haven't needed ""the money"" since I took Archie's milk money in the third grade. Tell the truth, I don't need pussy any more,but I still like it. 106.CONTINUED: (MORE)(CONTINUED) Point I'm making...you see...I got this rat...gnawing, cheese eating fucking rat...questions come up...questions...see, Bill, you're the new guy...and the girlfriend. Why don't you stay in the bar when I get the numbers. Your numbers. Everybody's numbers.BILLYIs there something you want to ask me, Frank?COSTELLOStart with, you agree there is a rat?BILLYYou said there is one. I base most of what I do on the idea that you're pretty fucking good at what you do.COSTELLOSure, sure, all that aside...but you Bill, what would you do?COSTELLO sketching.BILLY How many of these guys been with you long enough to be disgruntled? Who needs more money than you pay them? You don't pay much, you know. It's almost a feudal fuckin' enterprise.(COSTELLO nods, accepting this)The question is, who thinks that they would do what you do better than you?COSTELLO Only one that can do what I do is me. You want to be me?BILLY stares over a precipice: he knows this as well.BILLY I probably could be you. I know that much. But I don’t want to be you. 107.CONTINUED: (2)COSTELLO (CONT'D) (CONTINUED) COSTELLOHeavy lies the crown...sort of thing.FRENCH comes in from the kitchen.MISTER FRENCHFrancis.BARTENDER We're out of here, Mister Costello. You'll have to set the alarm.COSTELLO(eyes on Billy)Thank you, Jimmy. See you tomorrow.ON SOUND the door closes and locks.COSTELLO (CONT’D)There's a boat coming in, up in Gloucester. French will give you all the details.COSTELLO leaves.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. COSTELLO'S KITCHEN. DAY/INTERCUT:,NOTHING +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COLIN'S OFFICECOSTELLO is on the phone. MISTER FRENCH is sitting on a stool, smoking. OPERA playing on sound.COSTELLOYou heard nothing?COLINNo.COSTELLONothing about drugs. Nothing about new guys, nothing about Gloucester? COLINNo, Frank, not a thing. And I promise you I would have heard about it.COSTELLO hangs up and turns to MISTER FRENCH.COSTELLOYou’re sure. No other departments, no codes, like that... 108.CONTINUED: (3) (CONTINUED) COLIN’S VOICEFrank. You can relax on this one.COSTELLOOkay, Collie. I will.Costello hangs up and turns to Mr. French.COSTELLO (CONT’D)(emotionally)It ain’t Bill. No way, he says. Thank God for Billy.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. POLICE HEADQUARTERS. DAYEverybody is busy in the office. It's COLIN's first day of Internal Investigations. COLIN'S moving through the bullpen. COPS stare at him with resentment. COLINMorning.He comes up to Queenan's door just as Dignam comes out. DIGNAM faces COLIN down.COLIN (CONT'D)A problem?DIGNAMYeah, I run rat fucks like you. I don't like them.COLINThe day you wouldn't take a promotion, you let me know. And I wouldn't even have a job if you did yours.DIGNAMFuck yourself.COLINI need to know the identity of your undercovers.DIGNAMBlow me. Not literally, there’s no promotion in it for ya.He walks away.COLIN goes into Queenan's office. 109.CONTINUED:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. QUEENAN'S OFFICE. MOMENTS LATERQUEENAN puts the cig into a cup of water, and throws it into the trash.COLINMorning, Captain. QUEENANLook who’s here. The Queen of the prom.COLINThey are not happy with me. Especially Staff Sergeant Dignam.QUEENAN What do you expect? Everybody knows you're assigned here to find Costello's rat. They want to find the leak as much as you do. What they do not want is to be accused of being the rat. COLIN sits uneasily.COLINFair enough. Well one of them has to be dirty, We know that, right?QUEENANTwo days ago, my undercover guy in Costello's organization——COLINWho is that?QUEENANLots of luck. (Not a chance.) You can go over my head, high as you like. You still won't get an answer.COLINFair enough.QUEENANAs I said, two days ago, my guy nearly found out who Costello's rat is. He lost him in the street. 110. (CONTINUED) COLINReally? Did he get a look at him?QUEENAN...No.COLINNothing that could help us?QUEENANNah.COLIN(swallows)(Too bad.) Any advice? Generally?QUEENAN Costello can't do (much) business without coordinating with his source...(gestures out window)Who is here. In SIU. Follow Costello and you'll find his rat. COLIN realizes: Just follow Queenan and you'll find his rat.QUEENAN (CONT'D)(turns away)You're going to be looking at my people. Going through their bank statements, phone bills, medical records. Don't expect them to get you a coffee or invite you to their houses. Let me get you a coffee.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COLIN'S OFFICE #2. DAYCOLIN is sitting in his office alone, remembering what Queenan has just told him: QUEENAN (V.O.)Follow Costello and you'll find his informer. In the fishbowl of his glass office, COLIN is being stared at by pissed-off cops. COLIN calms down. He opens the gray envelope. He takes out the forms that he was given by Costello, opens up POLICE PERSONNEL DATABASE and starts searching. He types in SS numbers. One, then another, then another. The result is always: ""Person not found"". He types in Costigan, William M, hits return. It comes up: ""Person not found"". COLIN keeps working. 111.CONTINUED:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COLIN'S OFFICE #2. LATERMUGSHOTS of all of Costello's guys. He looks at them desperately...no one squares up with the blurred, impossible, images he saw on the CCTV screen (which he has printed out).COLIN closes the curtains on his fishbowl office (not fast enough to avoid seeing Dignam give him the finger), locks his door. He picks up the phone.VOICE ON PHONE (V.O.)Internal Investigations.COLINThis is Sullivan. I need constant surveillance on Captain Queenan, starting right now.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COLIN AND MADOLYN’S NEW BEDROOM. SAME NIGHTCOLIN is lying in bed, his back to MADOLYN. COLINIf I wasn't with the Mass State Police. If I did it full time,law school, I'd be through in a year. I'm thinking that. If I wasn't a trooper.MADOLYNWhat's going on?COLINNothing. Nothing. There's nothing going on. Just thinking.MADOLYNOkay, all right.(thinking about it; blows a breath)And what about money?COLINI got some money. Another city...I'm thinking that.Another city doesn't seem unattractive to Madolyn, who's in her own cut-and-run crisis -- but maybe she can't believe that Colin is thinking about it. She blows a breath.MADOLYNAnother city? It'd be a clean slate. 112. (CONTINUED) COLIN is in hell. He looks at her intensely.COLIN I want you to know you don’t gotta stay. If we're not going to make it, it's got to be you that gets out. I'm not capable(a beat)I’m fuckin’ Irish, so I’ll deal with something being wrong for the rest of my life.Long pause.MADOLYNNot a bad idea, another city.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. THE CHARLES STREET BRASSERIE. DAYFITZY and DELAHUNT are smoking on the sidewalk outside the restaurant.DELAHUNTOf course I know how to spot a cop.FITZYOh yeah, how's that?DELAHUNTIf he's not paying attention to us, he's a cop.THEIR POV:A MAN across the street is looking into the window of an antique shop.DELAHUNT (CONT'D)See that guy over there, he's a cop. He's not paying attention to us. He's a cop.FITZYLot of fucking cops.A WOMAN walks by definitely ignoring both men, dragging a lapdog.FITZY (CONT'D)What kind of dog is that?No response. 113.CONTINUED: (CONTINUED) FITZY (CONT'D)She's a cop.DELAHUNT She's probably the fucking Police Commissioner.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CHARLES STREET BRASSERIE. CONTINUOUSToo early to be opened for business. COSTELLO and NEW GUYS, six hard customers, come in through the fire door. At the BAR, BILLY is drinking coffee. He notices the NEW GUYS. Off the boat Dublin toughs. COSTELLO and FRENCH come in from the kitchen. FRENCH tells the NEW GUYS to move to the back. COSTELLO HAS BLOOD ON HIS SLEEVES. He comes over to the bar and looks at BILLY. COSTELLOYou can get out of here. This is the crew for tonight.BILLYI thought I was on for that.COSTELLOI changed my mind. Take the night off.(to Bartender)Jimmy, get the mop.COSTELLO heads to the back of the restaurant. MISTER FRENCH, grabs the BAR KNIFE from behind the bar. BILLY looks up at him. MISTER FRENCHGo out the back. Some guys answer the questions right. Some don’t.MISTER FRENCH goes towards the back of the restaurant, holding the big knife. BILLY closes his paper.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. THE CHARLES STREET BRASSERIE. MOMENTS LATERBILLY steps out, ignoring DELAHUNT and FITZY.DELAHUNTYou're a cop.BILLYHuh? 114.CONTINUED: (CONTINUED) DELAHUNTYou're ignoring us. You're a cop. We're guessing who cops are. Most good looking women are cops.BILLYRight. I'm going home. He's playing with his new boys.DELAHUNTSee you later.BILLYLater.BILLY walks down the street and heads into an alley. Around the corner, he opens his phone.BILLY (CONT'D)He's moving something with all new guys. (A whole new crew.) I don't want to tell you what or where. It might be disinformation. It probably is. Just keep following him. I need to see you today. (a beat...reacting to Queenan, Billy continues)No. Today.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. POLICE STATION/COLIN'S OFFICE. DAYA DETECTIVE (DETECTIVE 1) is leading the team to trail after Queenan. On foot. A plug in his ear. Two other DETECTIVES sit in a sedan nearby. (These three detectives are new guys, never seen before, the I.I. surveillance team working for Colin).DETECTIVE 1Can I ask a question, Sergeant?COLIN Yes, go ahead.DETECTIVE 2Why the fuck are we following Captain Queenan? To find out about the good Catholic life? 115.CONTINUED: (CONTINUED) COLIN(angrily)I have to follow every lead, however unlikely, however fucking painful it might be to your delicate fucking sensibilities.DETECTIVE 1Who says I have delicate sensibilities?COLINI have reason to believe that Queenan is Costello's informer. Follow him, and don't get made.DETECTIVE 1Copy that, SargeThe detectives in the car get alert and start their car as QUEENAN comes out of the building.DETECTIVE 1 (CONT'D)We got him.DETECTIVE 2Sarge, we got the target.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. TREMONT STREET/FINANCIAL DISTRICT. DAYDETECTIVE 1 trails Captain Queenan through the crowds of people heading towards work.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARK ST. SUBWAY STATION. MORNINGQUEENAN begins to light a cigarette and then gives it up. A TRAIN comes in, and Queenan boards. DETECTIVE 1 boards the next car.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. DETECTIVE 1'S SUBWAY CAR. MOMENTS LATERLooking through smeared glass into the next car as the train begins to move DETECTIVE 1 sees QUEENAN answer a cell call.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. QUEENAN'S SUBWAY CAR. CONTINUOUSQUEENAN is on his cell.QUEENANWhere are you now? 116.CONTINUED: (CONTINUED) BILLYLook down the car.QUEENAN looks up mildly as the car rocks.BILLY (CONT’D)Got me?QUEENAN'S POV:BILLY is slumped in a seat at the far end, not looking towards QUEENAN.BILLY (CONT'D)Any reason you'd have a tail?QUEENANNo...Of course not.BILLY(on the verge of hyperventilating)I’m watching a guy...QUEENANI don’t have a tail, Billy.Through the glass we see DETECTIVE 1 watching Queenan. BILLYOkay. Get off at South Station. You wait there for ten minutes. After I leave I’ll text message you the address where we’ll meet. I’ll make sure you don’t have a tail.QUEENANSouth Station. Wait ten minutes.As the train stops BILLY vaults off of it. On the platform he walks along, texting.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SOUTH STATION SUBWAY EXIT. LATE MORNINGQUEENAN, mild in his specs, chewing gum with his dentures, comes out of the station, and looks at the TEXT MESSAGE on his phone. 117.CONTINUED:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. A STREET SOUTH OF FT. POINT CHANNEL. MOMENTS LATERA building under rehab, covered with scaffolding, but still functioning as a corporate building. QUEENAN goes along to the entrance, and in.DETECTIVE 1 comes along after him. We see the Internal Investigations car up the street. DETECTIVE 1 dials his cellphone.DETECTIVE 1He went into a building on the waterfront. Address is 344 Wash...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. THE LOBBY. MOMENTS LATERDETECTIVE 1 looks at the elevator-indicator, and the building directory. DETECTIVE 1He went to the top floor. It's empty. No tenants.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COLIN'S OFFICE #2. CONTINUOUSCOLIN, listening, playing with a COIN.",SENTI +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. COMMERCIAL BUILDING. MOMENTS LATERDETECTIVE 1 emerges from the building and joins other detectives in the car.DETECTIVE 1I don't know what we're doing here.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COLIN'S OFFICE #2/BRASSERIE. CONTINUOUSCOLIN, after fumbling between cell phones, dials the correct one.COLIN(to COSTELLO)I think I've got him. I think Queenan is meeting with him right now.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. CHARLES STREET BRASSERIE. MOMENTS LATERFITZY and DELAHUNT'S phones ring simultaneously.DELAHUNTGet the van. Get the boys. 118.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. COMMERCIAL BUILDING ROOFTOP. CONTINUOUSBILLY is waiting on the roof as QUEENAN finally arrives.QUEENANI assume these premises do not have an anti-smoking ordinance. So, what’s going on?BILLYI told you, he’s got dope coming in, I don’t know where. He’s getting spooky, Captain...QUEENANWhat do you mean?BILLYHe’s crazy. I just saw the man. He had blood all over him. I can’t get any more information for you. I can’t trust it. He’s not including his regular guys... I’m telling you, he’s gonna find out who I am. He's gonna fuckin' kill me, I know it.QUEENAN All right, all right. I hear you. I'm sorry for you trouble. Look, I’m not gonna jeopardize your safety any longer. I��ll get you out. I can’t do it overnight but I’ll do it. We can bust him for what we have. At least I think we can...I hope. You’re out of there ASAP. BILLY nods, and nods.BILLYYeah? What about the FBI?QUEENANThey’re compromised.BILLYWhat?QUEENANThey’re fucked, just like this lighter. 119. (CONTINUED) BILLY’S phone rings.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FITZY'S VAN. CONTINUOUSDELAHUNT is calling Billy from a van crowded with Costello's usual bad guys as it scorches through traffic.DELAHUNTBilly, where the fuck are you? We been trying to reach you. We found the rat. Top man says we're gonna take care of him. The address is 314 Washington Street. You got it?All right. See you there.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. COMMERCIAL BUILDING ROOFTOP. CONTINUOUSBILLY listens in horror, staring at the oblivious QUEENAN.QUEENANWhat?BILLYYou were fucking followed.QUEENANBy who? BILLYCostello’s people.QUEENANImpossible.BILLYNo. One of the cops he’s got inside tipped him.QUEENAN realizes that his enemy might be...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. COLIN'S OFFICE #2. CONTINUOUSCOLIN raises his eyes. Diabolical.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. COMMERCIAL BUILDING. MOMENTS LATERFITZY'S VAN stops outside the building. COSTELLO'S MEN get out of the van, and head into the lobby.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. INTERNAL INVESTIGATIONS CAR. CONTINUOUSThe DETECTIVES are watching. 120.CONTINUED: (CONTINUED) DETECTIVE 1What the fuck is going on?DETECTIVE 2Holy fucking shit. Looks like Queenan's meeting with all of them.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. COLIN'S OFFICE #2. CONTINUOUSCOLIN listens.COLINYes.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. STAIRCASE. DAYBilly and Queenan are running downstairs when they hear footsteps coming up from below. They immediately go back up to the elevator lobby. Pushing through plastic sheeting.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LOBBY ON THE TOP FLOOR. CONTINUOUSBilly is slamming elevator buttons. The indicator shows both elevators coming up.BILLYThey'll be on the elevators, too.QUEENANTake the back fire escape.BILLYWhat’ll you do?QUEENAN I’ll be fine. If you get made I can't protect you. Go down the fire escape. Now. That’s an order. I’ll be fine.BILLY goes. Queenan waits. Watching the elevator indicator. QUEENAN, in his specs, very mild, takes out his gun and breaks the cylinder, checking that it is loaded, and putting a shell into the empty sixth chamber.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FIRE ESCAPE. MOMENTS LATERBILLY climbs out onto the fire escape at the back of the building and starts dropping down, fast. 121.CONTINUED:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. THE TOP FLOOR LOBBY. DAYThe elevator door opens, revealing DELAHUNT and BOYS. QUEENAN looks right as the door to the staircase opens revealing FITZY and boys.QUEENANCan I help you gentlemen?FITZYI guess we've had enough of this shit. Where's your boy?QUEENAN doesn't answer, and never will. He draws his gun and is tackled.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BACK ALLEY, COMMERCIAL BUILDING. DAYBILLY drops off the fire escape and runs down the alley.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. COMMERCIAL BUILDING. MOMENTS LATERBILLY towards the front doors just as--QUEENAN'S BODY bounces off the scaffolding, smashes into the pavement and explodes. BLOOD splashes all over BILLY.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. INTERNAL INVESTIGATIONS CAR. CONTINUOUSDETECTIVE 1 screams into his headset.DETECTIVE 1Fuck! Something came off the roof.COLINWhat came off the roof? What do you mean something came off the roof? Go again with that information.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. THE COMMERCIAL BUILDING. CONTINUOUSFITZY, DELAHUNT and boys come out. The crew has seen the UNMARKED COP CAR. FITZY grabs BILLY.FITZYYou're fuckin' late. Where the fuck were you? Get in the fuckin' van. 122. (CONTINUED) BILLYWhat the fuck happened? I came to meet you.They start piling into a van.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. THE INTERNAL INVESTIGATIONS CAR. CONTINUOUSDETECTIVE 2 is yelling both at his partner and into the mic.DETECTIVE 1Stay in the fucking car. Stay in the fucking car. This is a surveillance unit.(into mic to Colin)Do I pursue.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. COLIN'S OFFICE #2. CONTINUOUSCOLIN is sitting very calmly.COLIN No. Stay where you are. I need some fucking information here. What came off the building?DETECTIVE 1I'm not sure.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. INTERNAL INVESTIGATIONS CAR/ THE STREET. CONTINUOUSDETECTIVE 1No pursuit. No pursuit.DETECTIVE 1 (CONT'D)Fuck that.DETECTIVE 1 gets out of the car and runs towards the fleeing men, gun drawn.FITZY turns on DETECTIVE 1 with a pistol drawn. DETECTIVE 1 fires and DELAHUNT is hit in the stomach. FITZY shoots the detective (he is wounded in the hand, not killed). The VAN takes off.DETECTIVE 4 Thirty-two X to CP. Thirty-two X to CP. We're being fired upon. I repeat. 123.CONTINUED:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COLIN'S OFFICE #2. CONTINUOUSON RADIO. ""Officer down"", etc. COLIN has never felt more guilty in his life. DETECTIVE 4 (V.O.)We have an officer down. An officer has been shot. Request immediate assistance.He switches off the light and sits in the dark as the afternoon gathers.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. THE DEAD BAR. NIGHTFITZY, BILLY, and the BOYS are drinking. Dirty, paranoid, guilty, frightened, smoking. DELAHUNT has been shot, is dying, on a dirty couch.FITZY sits down and looks at Billy.FITZY And where the fuck were you?BILLYBoss told me to go home.FITZYMaybe he did and maybe he didn't. At any rate you weren't fuckin' home.BILLYI was in a fucking grocery store with no signal. When I got a signal I got the call. What the fuck do you want. Was I there or was I not there? Huh?FITZY walks away.DELAHUNT (OS)Billy. Billy(Billy goes over to him)BILLY(re: his wounds)Jesus Christ. 124. (CONTINUED) DELAHUNT Two days...two days ago the Boss says to me, it's been ten years already, and you've never done me wrong. He asked me, if one of the other guys is a rat, would I take him out. I told him I would but I don't know if I would. Now I know I can't. I've done a lot of bad things but I've never been a murderer.BILLY realizes that DELAHUNT is dying.DELAHUNT (CONT'D)Hey Billy, I don't want no one to put me in a dumpster. Just don't put me in a dumpster.BILLYWhen you're dead it makes no difference where they put you.BILLY lights him a cigarette.DELAHUNT You know what I thought today? BILLYWhat's that?DELAHUNTWho didn't show up today is the rat. BILLYYeah, so?DELAHUNT You never been late in your life. And when I called you... I made a mistake. I gave you the wrong address. But you showed up at the right one.DELAHUNT grips his arm. BILLY is terrified. DELAHUNT (CONT'D)Tell me why I didn't say anything. Tell me why. 125.CONTINUED: (CONTINUED) He waits for DELAHUNT to continue. But DELAHUNT after an odd smile of complicity, finally dies. BILLY, the only one who knows that DELAHUNT is dead, stares down at him.FITZY(drinking)That cop was tough. We were excessive with the cop.BILLY walks past the table.BILLYHe's dead. I'm going home.BILLY leaves by the front door.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CONFERENCE ROOM. NIGHTAll hands present. Dignam is in a black silent rage.ELLERBYDo you know why Queenan went to that building?COLINNo.DIGNAMA better question is why your fuckers were following him.COLINI told Internal Investigations to follow him.DIGNAMWhy?COLINThat's internal Investigations business.DIGNAM grabs COLIN by the neck and runs him into a wall. COLIN gets a palm under Dignam's chin and comes close to breaking his neck. The men at length are separated. COLIN straightens his good clothes.COLIN (CONT'D)I have to investigate everybody and anybody. I don't have to justify anything. Nor does anyone have to like it. I now have information... 126.CONTINUED: (2) (MORE)(CONTINUED) from a very good source...that Queenan may have been killed by his own undercover.COLIN is trying this on.DIGNAMThat's a fucking lie.COLINCaptain Queenan and Staff Sergeant Dignam here have information on this undercover, and other informants, in a locked file. I need those files unlocked.DIGNAMI don't have the password. Why don't you come down to the garage...COLINThat's a lie.DIGNAM hits COLIN in the face. COLIN goes down hard, into the crook of a file cabinet and the wall. Blood from his mouth.DIGNAMNo one calls me a liar. Especially when I'm lying.ELLERBYEverybody shut up.(to BROWN)Work with the tech guys to unlock the files. Dignam. You take a leave of absence.DIGNAMLeave of what?ELLERBYQueenan's dead. That makes me your boss.DIGNAMI'll hand in my papers first.COLINWhat? 127.CONTINUED:COLIN (CONT'D) (CONTINUED) ELLERBYHey, world needs plenty of bartenders. Two weeks with pay.DIGNAMGood.COLINI need those codes.ELLERBYNo, you want those codes.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MADOLYN'S OFFICE BUILDING. NIGHTWhen she comes out: BILLY is waiting.BILLYI tried to call you a few times.MADOLYNI know. (I know.). I can't...He leans close to her. She strokes his head.MADOLYN (CONT'D)I can't be a friend to you. I can't. I'm sorry.BILLY It's okay, okay, I know.MADOLYN walks away.INTERCUT COLIN'S OFFICE #2/COSTELLO'S CONDOMINIUM. NIGHTCOLIN needs a shower and is gun-shy as people move past the glass windows. He is still rinsing blood out of his mouth.COSTELLO is listening to LUCIA di LAMMAMOOR. GWEN sits nearby in attractive lingerie, reading a book. COSTELLONow, when I hear Lucia, I can’t stop thinking about the cocaine curtsy you did on that nigger broad’s face.(the phone rings. Costello answers:)What? 128.CONTINUED: (2) (CONTINUED) COLIN(into phone)Your shouldn't have killed Queenan.COSTELLO One of us was going to have to die. With me it tends to be the other guy.COLIN(agitated)You’re crazy, Frank. You killed the guy who has all the information. And Dignam’s not in the office, he’s gone. He resigned.COSTELLOI don’t give a fuck about Dignam.COLINHe's fucking gone. They took his papers in. He's not talking. I don't know where he is.COSTELLODon’t get your balls in an uproar, Collie. That Irish piss-ant won’t be a problem. He’s so hot for me, we give him a whiff of my ass, he’ll crawl right in it. Let’s give him a whiff.COLINI will.COSTELLO Don’t worry. I’ll take care of it.COSTELLO turns to the GWEN.COSTELLO (CONT’D)Sweetheart, you’re giving me a hard-on.He starts to dial the phone.GWENAre you sure it's me or all that talk about whiffin’ and crawlin’ up asses? 129.CONTINUED: (CONTINUED) COSTELLOHey, watch your fucking mouth.GWENYou watch it. She rises and as she crosses:GWEN (CONT’D)Let me straighten you out.COLIN looks out into the bullpen. People working. On a table he sees PLASTIC BAGS which contains Queenan's bloodstained effects— broken glasses, smashed wristwatch, and CELLPHONE. He glances around, and picks up the CELLPHONE. Blood gets on his fingers. He moves into the office, and seen through the glass, he seizes the phone and with trembling fingers punches up the last incoming number.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BILLY'S MOTHER'S APARTMENT KITCHEN. NIGHTBILLY is looking at a chipped SANTA MUG from his childhood and is eating something--sheer maintenance, and drinking wine from the bottle. His phone rings. He looks at the ID and is stunned. Queenan's number! He picks up the call but remains silent. The caller is also doing the same.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COLIN'S OFFICE #2. CONTINUOUSCOLIN hears that the other side has hung up the phone. He sees: ELLERBY looking at him through the glass. But Ellerby hasn't seen the phone.INTERCUT BILLY'S MOTHER'S APARTMENT/COLIN'S OFFICE #2. CONTINUOUSBILLY is agitated. Exhausted. Frightened. He paces, and looks at the phone. He begins to pack, assembling clothes, money. Finally, like a man committing suicide--it's that intense-- he dials the number. INTERCUT.COLINYeah.BILLYYou called this number on a dead guy's phone. Who are you?COLINSo it is you. Thank God you’re all right. We were very worried. 130.CONTINUED: (2) (CONTINUED) BILLYWho are you?COLINYou're talking to Sergeant Sullivan. I'm taking over Queenan’s unit.BILLYLet me talk to Dignam to confirm it.COLINStaff Sgt. Dignam has... taken a leave of absence. He's very upset. We’re all very upset. The best thing would be for your to come in. We need you to come in.BILLY listens to Colin go on. Then shuts off the phone. His other phone rings.COLIN dumps out the box of Queenan's belongings. In the diary he sees an entry showing undercover suspects Costello is FBI informant.BILLY listens to Colin go on. Then shuts off the phone. His other phone rings.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. THE CHARLES STREET BRASSERIE. DAYCOSTELLO is sitting with his key guys, including FRENCH and FITZY. A TV station plays above the zinc bar. BILLY is drinking, hitting it heavily.NEWS ANCHORState Police have confirmed that the body of the man found dead in the Fenway marshes yesterday afternoon is that of Timothy Delahunt, an undercover policeman for the City of Boston.. This was the scene today.... If you have any information about this murder, you are urged to call the Boston Police.The TV shows DELAHUNT'S BODY being loaded into an ambulance. A crime scene. COSTELLO's eyes have widened slightly. But he is strangely undisturbed. 131.CONTINUED: (CONTINUED) FITZYFuck. I can't believe it. MISTER FRENCHDon't believe what?FITZYI'm embarrassed. How the fuck did they find him so fast? I spent all fuckin' night out there, dragged the poor bastard.... I must have been there seven hours. In three feet of mud. What the fuck is a marsh? And who walks their dog in a fuckin' marsh? In three feet of water? I don't believe it. I still don't believe he's a fuckin' cop.COSTELLOThe cops are saying he's a cop so I won't look for the cop. (to FITZY)Are you soft? The next time I tell you to dump a body in the marshes, put it in the fuckin' marshes, not where some guy from John Hancock goes every Thursday to get a blowjob! He makes a move for the door.COSTELLO (CONT'D)Proceed. They get up to leave, following him.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SOUTHEAST EXPRESSWAY. NIGHTTwo cars carrying Costello and his men are speeding down the highway. Behind them, two SIU CARS are trailing.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COLIN'S OFFICE #2/COSTELLO'S CAR. CONTINUOUSCOLIN closes his door and punches in a number.IN COSTELLO'S CAR, his cell phone rings.COSTELLOJesus Christ.He answers it. 132.CONTINUED: (CONTINUED) COSTELLO (CONT'D)What?COLINDon't go. You've got a tail. Two cars. Not very subtle. They won't be subtle from now on. That's what I've been trying to tell you.COSTELLOGet rid of them.COLINThere's no need to go yourself, Frank.COSTELLOGet rid of the fuckin' tail!CLOSE on COLIN as what he has to do crystallizes.COLINI will. All right.A cold look in his eye, Colin leaves his office and goes down the hall.IN THE CAR Costello remarks to French --COSTELLOTails. Fuckin' rats. This rat shit is wearing me thin.FRENCHFrancis, they're all rats. Women are rats... cunts...Yeah, we're becoming a nation of rats.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SURVEILLANCE OFFICE. MOMENTS LATERBROWN is there. BARRIGAN. ELLERBY. Others.COLIN Stop. Stop. Pull these guys off. Tell your team to stop following Costello. We don't need to surveil him.COLIN stands in the door like a gunfighter. Everyone looks at him. 133.CONTINUED: (CONTINUED) ELLERBYWhat the fuck are you talking about?COLINI have it from an undercover: Costello knows he's being followed. Let our UC take him in.ELLERBYWhat informant?COLINQueenan's guy. He called me when he found out Queenan was dead. I'm running him.Everyone is impressed.ELLERBYNo. You give him to me.COLIN No. But I can give you Costello's destination.ELLERBYYou know where he's going?COLINYes. And what he's about to do. Call off the tail, and get Special Ops. Get them on standby. We meet him where he's going. Suit up. We're gonna take this prick tonight.BROWN(to crew on the road)All units fall back.Everyone moves at once.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SOUTHEAST EXPRESSWAY. NIGHTCOSTELLO is checking the rearview mirror. He sees: The TWO SIU CARS exit the highway onto Atlantic Avenue. COSTELLO smiles.The cars exit the highway. The cars pass through a maze of industrial streets. 134.CONTINUED: (CONTINUED) BILLY, riding in the back seat, is trying desperately to see where they are. He sees a STREET SIGN and taps out a text message on his phone.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COMMAND VAN. NIGHT (MOVING)COLIN, in vest, observed by Brown, reads the message.COLIN It's the heavy equipment warehouse Costello owns on Sheffield. He must have a container or a truck in there. (his big moment of decision)Go.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PARKING GARAGE. NIGHTIt is an unfinished structure, the lower parts used, the upper parts accessible but still under construction. It is built on a pier, the harbor lights beyond it. The COMMAND VAN and POLICE CARS pull up with lights off. A TACTICAL VAN disgorges TACTICAL OFFICERS who spread out through the dark.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. COMMAND VAN. CONTINUOUS.COLIN(into mic)There's an exit on the other side. Cover it. We'll take him when he comes out.COLIN checks the load on his pistol.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. AN UPPER FLOOR OF THE PARKING GARAGE. CONTINUOUSCOSTELLO unlocks a CONTAINER with a construction company logo on it, opens the doors, and steps back. BILLY looks into the container. It's cocaine or heroin in kilo bricks. Men stand around with MP5s under their coats.COSTELLOLoad it. BILLY, trying to save Costello...BILLYHow do you know you don't have a tail?COSTELLO looks at him. 135.CONTINUED: (CONTINUED) COSTELLOWere you in the fuckin' car?BILLYWhat if they took one off and put another one on, Frank?COSTELLOLoad.The drugs having been loaded fast by the crew, including FNG's, the container is hosed out. BILLY turns from FITZY'S CAR as everyone gets it. BILLYFrank told me to check out the back. You guys go ahead.FNG DENNISWatch your ass.Instead of getting into COSTELLO'S CAR on the other side of the container, he steps back into shadows as both cars leave.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COSTELLO'S CAR. NIGHTFOUR CARS with no headlights bracket the vehicles as soon as they come out of the garage. COSTELLO realizes that something has gone wrong.COSTELLOCocksucker.LIGHTS come on, and Policemen are everywhere, guns in their hands. COLIN is not visible among them. POLICE open fire at Costello's car. THE CAR reverses back into the garage. MISTER FRENCH (the driver) is shot in the arm, and the car crashes into a wall. A gunfight opens up. FNG's exchange fire with brutally efficient tactical cops and are shot down expertly. COSTELLO, limping, gets out of the action, fast. He runs into the parking garage. French drives away (alternately is shot, or commits suicide).",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARKING GARAGE. NIGHTCOSTELLO, shot through the stomach, is moving through the dark. All that's stored in this garage is heavy equipment for the big dig. Plenty of places to hide. We hear gunfire in the distance. COSTELLO hides between two pieces of heavy equipment and dials his telephone. To his surprise the phone rings quite nearby. And keeps ringing. 136.CONTINUED: (CONTINUED) COSTELLO moves out into the open, and sees, at a near distance, COLIN, his shadow long on the concrete. He has a gun in his hand. Costello moves out to face him. COLINYou’re an FBI informant. COSTELLO comes out of the shadows. COSTELLOJesus Colin, grow up. Course I'm talking to the FBI.COLIN Do they know who I am?COSTELLO says nothing for a moment.COSTELLOI never gave up anybody who wasn’t goin’ down anyway.COLIN instantly raises the pistol to shoot him.COLINDid you give me up?COLIN'S PISTOL wavers.COSTELLO Nobody knows nothin’.COLIN shakes his head and cocks the gun.COLINFrank, Frank, do they know about me?COSTELLOI know you, Colin. You know I’d never give you up. You’re like...COLIN A son...to you? Is that what it is about, all that murderin’ and fuckin’ and no sons? What are you, shooting blanks?COSTELLO tries to raise his gun which is inside his sleeve. He’s sitting on his coat so that the shot goes off sideways as COLIN shoots him. 137.CONTINUED: (CONTINUED) COSTELLO topples backward into the bucket of the bucket loader.ANGLE ON COLIN. Then from the bucket loader, a post death tremor sets off one last shot from COSTELLO’S gun. Ricochet. COLIN fires into the dead body again and again. He backs away.COLIN (CONT'D)I got Costello! I got Costello here!",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. POLICE HQ/CONFERENCE ROOM - NIGHTColin is debriefed concerning the shooting of Costello. [Dialog separate document].,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BULLPEN AREA. DAYCOLIN enters, tired from a debriefing. Applause from everyone in the office--the full crew. COLIN is embarrassed by the attention. BROWN is leading the whole team to a standing ovation. COLIN looks past the heads of the crowd and sees: Dignam, staring at him evenly. COLIN(to crowd)It's not any reason for, ah...QUEENAN'S SECRETARY brings him some wine.COLIN (CONT'D)Thank you.QUEENAN'S SECRETARYNo, thank you.He takes a glass of wine. Then guiltily, almost in tears, he drinks. BROWN jerks a thumb towards Colin's office #2.BROWNHe's waited a long time for you. (COLIN looks up and sees BILLY)How'd you get him without the files?COLINCaller ID. On Queenan's phone. You know that guy? 138.CONTINUED: (2) (CONTINUED) BROWNYeah, we were classmates together.COLINI'm gonna go talk to him.COLIN goes off.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COLIN'S OFFICE #2. NIGHTIn Colin's office BILLY sits with his ankle on his knee. He looks very tired, dirty. Wearing a VISITOR badge.COLINGood to see you Trooper.BILLYYeah. ""Trooper"".COLIN Colin Sullivan. We spoke on the phone. How long have you been undercover?BILLYLong time. Long fuckin’ time.COLINI can’t begin to tell you what a debt we owe you. I want you to know I’ll be recommending you for the Medal of Merit.BILLMedal of Merit. Oh, yeah. That’s kinda like a gold star around here, right? COLINIt’s the highest honor we got.BILLYI just want my identity back. COLIN You want to be a cop again?BILLYNo, being a cop's not an identity. I want my identity back.COLIN takes it. 139.CONTINUED: (CONTINUED) BILLY (CONT'D)You’ll have to excuse me. My only contact has been with a police shrink.COLIN(throat clicks)A police shrink.(instead of asking the obvious)Was that... helpful for you?BILLY What are you gonna do about the rat in this building? COLINI’m gonna find him. Don’t you worry about that. You got anything? Did Frank, ah, say anything...BILLYI'm all done being a cop. I just want to get my money and go home.COLINFair enough. You’ve given a lot. I can get you your file. I just need your password.BILLYThe password’s my name, William Costigan, Jr. They gave it to me in case something happened to them and I had to explain myself to someone like you.He writes it. Colin takes the paper and hides his astonishment.COLINAll right, Bill. Just give me a minute. I’m gonna go in the other room. This computer’s gone blooey on me.Billy nods. He goes. 140.CONTINUED:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COMPUTER ROOM. NIGHTCOLIN accesses the personal database, enters the password. Billy's confidential file opens up. Every fact about the man. Photos.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COLIN'S OFFICE #2. CONTINUOUSBilly takes a drink from the bottle COLIN has put on the desk. As he puts the bottle down he sees, sticking out of a box, a BROWN ENVELOPE. On it is written ""CITIZENS."" BILLY picks up the envelope...and knows everything.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COMPUTER ROOM. CONTINUOUSCOLIN is reviewing it Billy's file. Outside the glass wall we see BILLY, staring at COLIN's back...and then moving on.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COLIN'S OFFICE #2. LATERCOLIN enters, holding a printout of Billy's personnel file. He looks around the empty room. He sees the BROWN ENVELOPE lying on the desk, and understands everything. He sits down at his own computer--which does in fact work, and opens the personnel file.COLIN clicks DELETE. ""Do You Really Want to Delete?"" COLIN clicks ""Yes"" and Billy's picture, file, life, disappear.",TWIST +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. POLICE BUILDING. NIGHTBILLY exits the police building and moves across the plaza.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HALLWAY OUTSIDE MADOLYN'S OFFICE - DAY BILLY waits outside Madolyn’s office.MADOLYN, carrying work, breakfast, rounds the corner and sees him standing and waiting for her. She’s a little spooked, opens her mouth to speak...BILLYI know. I’m not here to...I’m not here for that. I’ve got something to...to give to you...something I need you to keep. For me.MADOLYNWhat is it? 141. (CONTINUED) BILLY(stopping her from speaking)I need you to be my friend here and not ask any questions. That’s for you to hold.He gives her a manila envelope.BILLY (CONT'D)Only you. Open this if I’m dead or if I call you and tell you to open it. Please do exactly what it says. Exactly what it says, please.Madolyn is a friend. She’s not going to ask questions. She accepts the envelope.MADOLYNAll right.BILLYI’m sorry to show up here like this. There was no one else I could give it to. I’m sorry. There was no one else.He backs away, and then turns to go.MADOLYNI...we...(he turns)I’ve, it's, been so confused... I just want to say...He turns and looks at her. She doesn’t speak: can’t.BILLYWhatever you have to say, really think about it, and if you still want to tell me, tell me in two weeks, all right?She moves her head slightly, watches him go.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MADOLYN'S OFFICE. MOMENTS LATER.MADOLYN sits at her desk, devastated, looking at a fall of light. The envelope lies on her blotter. She sits on ... then straightens up, takes a marker and writes ""COSTIGAN"" on the envelope and puts it in her desk drawer. 142.CONTINUED: (CONTINUED) We DISSOLVE to a SONOGRAM.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COLIN'S APARTMENT. MORNINGA SONOGRAM picture of a fetus. It looks to him at first like a CCTV picture blown up. COLIN stares as if at something in a horror film.COLINI was dreaming...MADOLYNWhat?COLINI was dreaming I was dead.MADOLYNDeath is hard. Life is much easier.Referring to the envelopeCOLINWhat’s this?MADOLYNOpen itHe does.COLINReally?MADOLYNYeah.COLINReally?MADOLYNYeah.COLIN You’re joking...MADOLYNIt’s not a joke, it’s a human being.Colin belatedly thinks of what a human being might do in these circumstances and kisses her. 143.CONTINUED: (CONTINUED) INT COLIN'S APARTMENT - LATERCOLIN is in the shower. MADOLYN moves into the kitchen and puts the kettle on. She checks the mail, lying there on the counter. It's tied with a string. She undoes the string and sorts through the mail. Suddenly, she freezes looking at:AN OVERSIZED ENVELOPE addressed to COLIN: [COLIN SULLIVAN, 20 Pickering Street, Apt TK, Boston, MA, zip TK], with a return address of Wm. Costigan, 13 Conant St., Boston, etc., etc.] MADOLYN stares at the envelope, listening to the shower going. Billy has written to her fiance. She starts to put the envelope down, and then realizes...she has to hide it...she has to open it.Inside the envelope is a jewel case: EXILE ON MAIN STREET. And a note: PLAY ME NOW. MADOLYN puts the CD into the machine. She puts on the headset and listens...and listens.COLIN comes out of the bathroom, dressed in jeans and t-shirt, barefoot, his hair wet. He looks at Madolyn, realizing that something is wrong.COLINWhat?MADOLYN pulls the headphone jack out of the stereo and roughly the following booms out of the speakers. [NOTE: THIS RECORDING WAS DONE IN POST -- I THINK FROM THE PORN THEATRE DIALOGUE.]COLIN (CONT'D)Your guys shouldn't have done that. COSTELLOOne of us was going to have to die. It tends to be the other guy.COLIN stares at her and we ought to think murder is a possibility.COLINI'm now in charge of everything here. Including Queenan's informers. Theoretically. I can't unlock the files until after the brass squeezes Dignam. If the brass squeezes Dignam. 144.CONTINUED: (CONTINUED) COSTELLOSo Dignam's the only one with the keys to the kingdom.COLINHe's fucking resigning. He put his papers in. He's not talking.COSTELLOGive me his location. Tonight.COLIN and MADOLYN stare at each other. MADOLYNI thought I was the liar.COLINI can explain.She goes into the bedroom. COLIN'S PHONE RINGS. He answers it.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. COMMERCIAL BUILDING ROOFTOP. DAYBILLY is walking, on the phone, happy, and twisting the knife.BILLYCostello recorded everything. He put all the tapes in a little box and kept them with his lawyer. That was his insurance. His lawyer came to me. Costello trusted me the most. Imagine that you rat fuck. Sound quality good enough? I was a little worried.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MADOLYN AND COLIN'S APARMENT. CONTINUOUSCOLIN closes a door to speak privately.COLINWhat do you want? BILLYI want my identity, you two-faced rat prick.COLIN Where are you? 145.CONTINUED: (2) (CONTINUED) BILLYThree o'clock. Where Queenan died. You keep your cell on.COLIN goes to the bedroom door and tries it. Locked. He knocks. No answer. COLINDid we not talk about this? This is my job.It's over. He starts to punch the door, and then does not.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. COMMERCIAL BUILDING. DAYCOLIN comes along and walks into the lobby. He is not looking for a tail...,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. COMMERCIAL BUILDING ROOFTOP. DAYCOLIN looks out through the door, no gun drawn, but very much a cop clearing his corners. He steps out and--BILLY takes him from behind the door, his only blind side, and grabs the back of his collar and crams a pistol into the bottom of his skull. BILLYGet your hands up. Hands. Hands.COLINPut the fuckin' gun down.BILLY turns Colin around and puts the pistol to Colin's forehead, hard enough to break the skin. He takes out Colin’s belt gun and puts it in his pocket. (Billy screams ""hands!"" at Colin every time he makes a move).COLIN (CONT'D)I came here to talk some fucking sense to you. You get a hold of yourself and put down the fuckin' firearm and act professional and I can get you your money.BILLY(turning him around)What did you say?COLINI can get you your... 146.CONTINUED: (CONTINUED) BILLY cracks him across the jaw with the gun. COLIN goes down. COLIN is drooling blood, his bell rung, one eye open. Billy throws away Colin’s ankle gun.COLIN (CONT'D)(spitting teeth)Fuck, shit...BILLY (going for Colin's cuffs)You didn't come here to talk, you fuckin' maggot, you came here to get arrested.COLINArrested? Arrested for what.(as BILLY cuffs him)So you got tapes of what? Costello was my informant. I was his rat? Fuck you. Prove it. I say he was my informant.BILLY Get up and shut your fuckin' mouth.COLIN What is this, a citizen's arrest? Blow me, prick. Only one of us is a cop, here, Bill. Nobody knows who you are. Nobody knows who you are. BILLYWould you shut the fuck up.COLINI'm a sergeant in the Mass. State Police. Who the fuck are you? Nobody. I ERASED YOU.BILLY puts the gun to Colin's head.BILLYYou erased me?COLIN Go ahead. Shoot a cop, Einstein. See what happens.BILLYWhat would happen is the bullet would go right through your fuckin' head. 147.CONTINUED: (CONTINUED) COLINWatch what happens.BILLYWhat, you think you're gonna get the parade? The bagpipes and bullshit? Fuck you.(safeties the gun)I'm arresting you.COLINThat's the stupidest thing you could do.BILLYShut up, shut up, shut the fuck up. (hits him)I don't give a fuck if these charges don't stick.(whaling him in the beats)But I'm still fucking arresting you.COLIN is hammered to his knees. Head down, blood in his hair, drooling blood, thinking (impossibly) about his next move. He seems to realize he's fucked.BILLY (CONT'D)[You are what you do.] Get up.(COLIN doesn't move.)I said get the fuck up.BILLY grabs the back of Colin's collar and puts the gun to Colin's head. A crunch of gravel, off. BILLY and COLIN both hear it.BROWNPut down the weapon and step away from Sergeant Sullivan.BILLY drags COLIN to his feet and using Colin as a shield aims the pistol at: BROWN. Brown is aiming his weapon.BILLYI called you. You specifically. You know who I am. I'm not gonna shoot. I told you to meet me downstairs.COLINHelp me. 148.CONTINUED: (2) (CONTINUED) Billy realizes he's in a truly shitty situation: appearances are everything.BROWNPut the weapon on the deck and step away from Sergeant Sullivan.COLIN(a mess, bloody-mouthed)Shoot the fuckin' prick.BILLY(desperqte)Where's Dignam? I told you to bring Dignam!COLINShoot the motherfucker!BROWNPut the weapon on the ground and we'll discuss it.BILLYHe was Costello's rat. I got evidence. Tapes. Other documents.BROWNMaybe you do, but right now I need you to drop the weapon.BILLYI told you I've got the evidence cold linking this prick to Costello...(BROWN wavers)You fuckin' know who I am. I'm taking him downstairs now.BROWN, weapon ready, follows into the elevator lobby.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ELEVATOR LOBBY/ELEVATOR. DAYBILLY moves COLIN into the elevator and as the doors close looks back at BROWN, still in a Mexican stand-off. COLIN, nose broken, blood masking his face. COLINI can't wait for you to try to explain this to a Suffolk County grand jury. This is gonna be fun. 149.CONTINUED: (3) (CONTINUED) The indicator ticks. Down, down, down. Colin sobs.COLIN (CONT'D)Just fucking kill me.BILLYI am killing you.The doors open and for a frozen moment BILLY, holding the gun on COLIN, stares out of the car. A LOUD BANG. BILLY is shot through the head. BLOOD sprays the walls, and COLIN is hit by flying blood and matter. BILLY falls, crumpled, on his face, half in and half out of the elevator. The doors try to close...open...COLIN, covered with blood, looks up. BARRIGAN lowers his pistol.COLIN slumps, covered with blood. BARRIGAN uncuffs him. COLIN feels his wrists. BARRIGAN picks up BILLY'S gun. The other elevator doors open and BROWN emerges. He looks into the bloody elevator and down at the dead man. BROWN(holstering his gun)Shit...BARRIGAN raises BILLY'S GUN and shoots BROWN in the head. COLIN stares at him.BARRIGANDid you think you were the only one he had? Costello was going to sell us to the FBI. It's you and me now. We have to take care of each other. You understand?COLINAll right. Give me that.BARRIGAN casually hands COLIN BILLY'S GUN. COLIN presses the gun against BARRIGAN's forehead and fires.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. THE COMMERCIAL BUILDING. DAYPOLICE TAPE, plenty of cars. Three corpses being loaded onto ambulances. COLIN, hands free, is drinking coffee from a paper cup, being checked out by a doctor.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. POLICE HQ/CONFERENCE ROOM - NOT MUCH LATER 150.CONTINUED: (CONTINUED) COLIN has been cleaned up a little by paramedics. He's maybe had his lip stitched, but he's still wearing his bloody clothes.COLINAt that time, Trooper Barrigan, who I now understand to have been Francis Costello's informer in SIU, intercepted us in the lobby and shot Trooper William Costigan once in the head.(drinks water)At that time Barrigan retrieved Trooper Costigan's undercover weapon and shot Trooper Brown as he was approaching our location. I attempted to subdue Trooper Barrigan and in the ensuing struggle was struck several times with the Walther pistol. I was able to wrestle the weapon away, at which time Barrigan drew his own weapon and took aim at me. I was able to get off a single shot, striking Barrigan in the head. I then checked for vital signs of Troopers Brown and Costigan and discovered that they had expired.COLIN looks up, eyes clear, perfectly believable. As we transition to the FUNERAL...bagpipes coming up.COLIN (CONT'D)I'd like to go on record that I am recommending Trooper William Costigan for the Medal of Merit.ON SOUNDBAGPIPES (Something like""Cross of Fire"") as we DISSOLVE TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CEMETERY. DAYBILLY'S GRAVESITE. The same cemetery as his mother is buried in. UNIFORMED POLICEMEN (not only State, but MDC, the way they do it, for ""brother officers""), saluting. MADOLYN is at the gravesite, dry-eyed though in, distinctly apart from COLIN. He looks at her. She looks away from him, apparently forever. 151.CONTINUED: (CONTINUED) COLIN squares off: his job in the world is to get ahead. A salute is fired with rifles. But later...COLIN and MADOLYN are walking through the graves.COLINWhat about the baby?She moves away from him without answering. MADOLYN walks out through the cemetery gates. COLIN hesitates.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. THE STAIRWAY OF COLIN'S APARTMENT. EVENINGCOLIN has a bag of expensive groceries and wine. Living the Beacon Hill dream. He climbs the steps slowly. He nods to a neighbor, an old lady coming down with her dog (who incidentally will never accept him as a neighbor, and COLIN briefly seems aware of this). (Don't be afraid to get a bit French here). He gets to his door, and starts to cry, and nearly crumples. But he gets the door open. He looks up and sees a gun. Behind it, stepping fast out of the shadows, DIGNAM. Avenging a guy he didn't even like, because it's the right thing to do. COLIN looks down and sees that Dignam has plastic hospital boots on his feet.COLIN(accepting it, sort of, but only in a COLIN way)OK.DIGNAM fires. Flash groceries fall all over the floor. DIGNAM'S FEET step over COLIN's body, crushing one of a half dozen croissants, and DIGNAM goes down the expensive staircase, leaving the door to the apartment open. The strangest thing happens: a rat emerges and begins to eat the dead man's croissants. The rat hears something and runs so it's not in the shot when it FREEZES. 152.CONTINUED:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SUBURBAN - NIGHT ANDRE, 29, an African-American man walks down the sidewalk talking on his phone. ANDRE Hey. I’m trying to figure out what kind of sick individual would name a street Evergreen Way a half a mile from and “Evergreen Lane.” CRYSTAL (O.S.) Oh shit. You’re at Evergreen Lane? ANDRE Took me long enough to figure that shit out too. Now I’m walking through creepy confusing-ass suburbs. They laugh ANDRE (CONT’D) I’m serious though. I’m out here like a sore thumb and shit. CRYSTAL (O.S.) Stay put; we’ll come get you. ANDRE No, I’m like 10 minutes away now. I’m good. I need a drink, but I’m good. CRYSTAL Okay. Sorry baby. I’ll make it up to you. ANDRE I’m gonna hold you to that, too. See you in a minute. Andre hangs up. Andre stops. He looks down the street behind him. It’s dark and empty. Andre looks up the street in front of him; A vintage creme-colored Porsche with tinted windows and a roof passes him. A dog barks. The car does a u-turn behind him. It now CREEPS up on the street behind Andre. It’s following him.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. SPORTS CAR - CONTINUOUS Drivers’s POV watching Andre. His BREATH ECHOES deep and tinny as if were into a coffee can. Through the car’s system we hear the song “Run Rabbit Run.”,SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SUBURBAN STREET - CONTINUOUS Andre, feeling followed, stops and turns. The car stops. He waves at the unseen DRIVER obscured by reflection of the streetlight on the windshield. There is no response. The ENGINE PURRS. The song “Run Rabbit Run” is playing from inside. Andre peers through the windshield but can’t see through the reflection of the street lamp. Nothing. Sketchy. Andre resumes walking; the car follows suit... ANDRE (under his breath) This is some shit right here... After a beat of walking. ANDRE (CONT’D) Nope. Andre turns around and begins walking in the other direction. ANDRE (CONT’D) (to himself) Yo.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. SPORTS CAR - CONTINUOUS Driver’s POV. Andre walks.2.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SUBURBAN STREET - CONTINUOUS Andre hears the song “Run Rabbit Run” more clearly now. Andre turns back to the car it’s sitting in the street where he left it. He walks into the street and peers to get a better angle. The driver’s side car door is open. ANDRE What the fuck? Andre turns back to the curb and the DRIVER, in a black knight’s helmet, steps towards him and quickly wraps him up in a rear naked choke hold. Andre struggles but soon passes out. The phone drops to the floor. HE is dragged to the trunk of the car. The driver plops Andre in the padded trunk. He gets in his car and drives off. TITLE CARD: “Get Out”3.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. CITY- DAWN The sun rises over the city. Autumn. Beautiful.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. CITY APARTMENT - LIVING ROOM - MORNING We move slowly through the small but clean apartment. The walls are decorated with striking urban photography. A SHOWER RUNS.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CITY APARTMENT - BATHROOM - MORNING CHRIS WASHINGTON, 24, a handsome African-American man shuts the medicine cabinet. He’s shirtless and naturally athletic. He scrutinizes his reflection with a touch of vanity.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. CITY APARTMENT - BATHROOM - MORNING Chris spreads shaving cream onto his face and shaves. He postures a little then nicks himself on the neck. He smirks; deserved that.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CITY APARTMENT - LIVING ROOM - MORNING Chris, clothed, looks out his window through a professional camera. He flips through some striking urban images on the digital display much like the ones framed around his apartment. He is a very talented photographer. Sid, a small dog, watches him. The BUZZER RINGS.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. APARTMENT BUILDING - ELEVATOR Rose rides in the elevator. The doors open.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. APARTMENT BUILDING - HALLWAY - MORNING Rose walks down the hallway with her hands full. She has two coffees and two bags of pastries. Chris opens the door. Rose stands outside the apartment. Chris smirks. ROSE I know. I couldn’t decide... He takes the coffee tray and pulls her inside. They kiss and shut the door.4.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CITY APARTMENT - CHRIS’ BEDROOM - DAY Chris packs a small bag of luggage. Rose lays on the bed. Rose eats a chocolate croissant. SID lays by her on the bed. She strokes him. It’s a perfect morning. ROSE Toothbrush... Deodorant... CHRIS Check... Check.... Rose notices Chris is being cagey. Chris packs in silence for a moment. ROSE What? Where’d you go? CHRIS Nowhere. ROSE No, what? CHRIS Do the know I’m black? ROSE No. Why? Should they? CHRIS Seems like you might wanna mention it... ROSE Right. You mean like “Mom, Dad, my black boyfriend and I are coming up for the weekend”? He’s African American, but I hope you can overlook that. Chris, being teased, pulls Rose by the ankle and gets on top of her. CHRIS You said I’m the first black guy you’d ever dated.5. ROSE Yeah, so. CHRIS I’m just sayin’ this is uncharted territory for them. I don’t wanna get chased off the lawn with a gun. Rose embraces him and pulls him to the bed. ROSE Dude, seriously. My dad would’ve legit voted for Obama a third time if he could’ve. Yes, he will want to talk to you about it, and that will be embarrassing as fuck, but it’s just cause he’s lame. Chris laughs. ROSE (CONT’D) There are a lot of maddening things about them but they’re not racist. I promise. Chris nods amused, but isn’t totally convinced. ROSE (CONT’D) And my mom loves Idris Elba. CHRIS (sarcastic) Oh, why didn’t you say so? He holds her. He kisses her cheek. She raises her phone and takes a selfie of them. CHRIS (CONT’D) Oh, sneak attack! ROSE (laughing) Don’t! They roll around playfully.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CITY APARTMENT - LIVING ROOM - DAY Chris and Rose stand by the front door about to leave. Rose blows Sid a kiss.6. ROSE (to Sid) Bye, Sid. They almost leave, but at the last second goes to turn the TV on for Sid. He rubs Sid’s head briefly. CHRIS (to Sid) Rod’ll be by soon. Love you. They leave. Sid watches a commercial for the United Negro College Fund. COMMERCIAL (V.O.) The United Negro College Fund. A mind is a terrible thing to waste.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. RURAL ROAD - BIRD’S-EYE VIEW - DAY We soar over Rose’s Car as it drives through the beautiful countryside; a road flanked by woods.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROSE’S CAR - DAY Rose hums. Chris, in the passengers seat, looks through his camera at the passing trees. He snaps a test shot. Chris picks up a fast food wrapper from the floor of the car and tosses it in the backseat. CHRIS I can’t believe they even let you in a Hospital. ROSE I’m very sanitary at work. CHRIS How long has it been? ROSE Since I’ve been up here? I don’t know. A few years? My dad grew up here. We used to come up every summer to visit my grandparents. Since they died, my parents basically moved here. Chris takes out a cigarette sneakily. Rose grabs it promptly. Chris holds out his hand for it. He’s played this game before.7. CHRIS Okay. She poses sexy with it. ROSE Is this hot? Do I look hot? CHRIS I’m a grown man. If I say I want a cigarette, I should be able to-- She opens the window and throws it out and closes the window. CHRIS (CONT’D) Okay, so that’s like a dollar. You basically just threw a dollar out the window. Rose takes a crumpled dollar out of her purse. CHRIS (CONT’D) Hold on, I gotta call Rod. Chris takes out his phone.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. AIRPORT - DEPARTURES TERMINAL - DAY ROD WILLIAMS, 26, African American, a stocky TSA agent smokes a cigarette and hides it from arriving passengers. His cell phone rings. ROD ‘Sup? INTERCUT WITH: NT. ROSE’S CAR - DAY Chris sits in the passenger seat and talks on the cell phone. CHRIS Hey, You at work? ROD Yeah. Chris, tell me this. How I’m gonna get in trouble for pattin’ down an old lady. It’s standard procedure!I got fuckin’ Gary out here thinkin’ just because a bitch elderly, she can’t hijack an airplane.8. Chris laughs. ROD (CONT’D) Watch, the next 9/11 is gonna be on some geriatric shit too. CHRIS Look, man; Thanks for watching Sid this weekend. Remember, no human food; he’s got IBS. ROD You actually think I forgot that shit? Damn ‘C’, I’m hurt. Give your boy a little credit. I don’t forget shit, you do. CHRIS Yeah, yeah. Alright. ROD Apology accepted. How’s ‘Lil Miss Rosie? CHRIS She’s good. She’s drivin’-- Rose holds out her hand. Chris reluctantly turns on the speaker phone. ROSE Hi, Rod. ROD Whattup girl? Hey listen, you better bring my boy back in one piece. ROSE I don’t even know what that means but yes, I promise. ROD You know you picked the wrong guy though right? ROSE It’s not too late for us is it? Chris turns the speaker phone back off. CHRIS Okay, get your own girl.9. ROD Damn, I never seen you like this. CHRIS Like what? ROD Meeting the family? What does she lick your balls or something? CHRIS Goodbye, Rod. I’ll kick you some cash when I get back. ROD I don’t need your money, just get your girl to introduce me to one of her ball-lickin’ girlfriends, and we’re straight. CHRIS Bye. ROD You better not come back all bougie on me-- Chris hangs up. He gives Rose a look. ROSE What..? Settle down. You know I’m yours. Rose pokes Chris. He’s clearly very ticklish. CHRIS Hey! After a brief standoff they begin a tickle fight. ROSE Stop! I’m driving. Chris pulls away. After a moment... CHRIS You started it-- A shadow darts across the hood of the car. It’s hind legs SMACK the hood of the car with a loud THWAT-THWAT!10.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. RURAL ROAD. CONTINUOUS The deer is propelled into the woods like a pinwheel. The car screeches to a halt. The passenger’s side mirror swings dangling off it’s mount. Chris and Rose breathe hard for a few moments of shock. ROSE Fuck! CHRIS You okay? ROSE Yeah. You? CHRIS Yeah. That scared the shit out of me. Rose and Chris get out of the car and inspect the damage. The right headlight is busted and a scratch in the paint leads across the hood to the right rearview mirror which hangs ROSE Fuck!!! Chris looks back in the direction of the collision. CHRIS Stay here. ROSE What are you doing? CHRIS I don’t know... See if it’s okay? Chris walks a few more steps then stops. He rethinks. CHRIS (CONT’D) Maybe it’s gone-- A guttural, almost human, moan OF PAIN comes from in the trees behind them. They watch the woods in horror. Chris walks back towards the haunting wail. It stops. ROSE Chris...?11. Chris motions for Rose to stay. He keeps walking towards the thicket about 40 Ft behind the car. Something breathes deep in the bushes. ROSE (CONT’D) Be careful! Chris gathers his courage and steps off the road into the dark thicket. He peers through the bushes. The deer lays there gasping for air and watching him with a black wet eye. Chris is transfixed.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. RURAL ROAD - DAY A cop car is now pulled up behind Rose’s car. OFFICER FROSTY - Caucasian - 33 stands near the deer on the road behind. Another officer, OFFICER RYAN - 40 - Caucasian, speaks with Rose who stands by the open driver’s side door. Chris sits lightly on the hood facing forward lost in thought.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROSE’S CAR - CONTINUOUS Rose rummages through her messy purse. OFFICER RYAN So, in the future the number to call is Animal Control Services. ROSE Right. Thanks. Here it is! Rose finally pulls her driver’s license from her purse. The Officer looks at it and over at Chris. OFFICER RYAN You two coming up from the city? ROSE Yeah. My parents live in the Lake Pontaco area. We’re up here for the weekend. OFFICER RYAN Sir..? Can I see your license? CHRIS Oh... yeah. I have a state I.D. ROSE Wait, why?12. OFFICER RYAN Ma’am? ROSE He wasn’t driving? OFFICER RYAN I didn’t ask if he was driving, I asked to see his I.D. ROSE (to Officer Ryan) But why? It doesn’t make any sense. CHRIS Here. Chris offers Officer Ryan his I.D. ROSE No, fuck that. He shouldn’t have to show you his I.D. because he hasn’t done anything wrong. CHRIS Baby. It’s okay-- OFFICER RYAN Ma’am, any time there is an incident we have the right to-- ROSE That’s bullshit! OFFICER RYAN Ma’am... There is a tense silence. Officer Ryan gives up. Not worth the trouble. Officer Ryan’s walkie chimes in. OFFICER FROSTY Everything alright up there Crowsie? He presses his walkie button. OFFICER RYAN Yeah, I’m all good. (to Chris and Rose) You guys drive safe. Rose and Chris get into their car.13. OFFICER RYAN (CONT’D) Get that headlight fixed... And the mirror.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. RURAL ROAD - DAY Bird’s eye view. The car winds through a thickly wooded road.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. ROSE’S CAR - AFTERNOON Chris sits in the passenger’s seat deep in thought. He watches Rose with a new pride. Rose notices. ROSE What? CHRIS That was hot. ROSE I’m not gonna let anyone mess with my man. CHRIS I see that. ROSE We’re here.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ARMITAGE ESTATE - AFTERNOON The woods give way to an huge clearing. A lovely medium-sized home sits in the middle. Thick forest surrounds the estate. The property is charming and isolated; no other houses in sight. As they drive past the large front lawn passing WALTER, African American 35, who trims hedges. Walter is tall and wears a gardening hat. He works slowly and methodically. Rose waves as they pass. ROSE Hi, Walter! Walter waves back. ROSE (CONT’D) (to Chris) The grounds-keeper.14. CHRIS Oh, okay.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ARMITAGE ESTATE - MOMENTS LATER Having parked, Rose and Chris approach the front door with their luggage. Rose rummages through her bag. ROSE Where are my stupid keys...? I just had them in my hand. Chris RINGS the DOORBELL. Touché. ROSE (CONT’D) Get ready. FOOTSTEPS. The door swings open revealing... DEAN ARMITAGE, 59, a tall, barrel-chested WASP. Dean is a well educated man with a poor social filter and a bad case of Dad humor. He is the kind of guy who pronounces garbage, Gar- bahge. And... MISSY ARMITAGE, 56, is poised, warm and beautiful. She exudes patience and intelligence. Missy can read people like books. She’s a perfectly attentive host. Rose hugs her parents. ROSE (CONT’D) Hi! DEAN There she is!MISSY Hello sweetheart. Chris stands there awkwardly. ROSE Chris, this my Mom and my Dad. Mom, Dad; Chris. CHRIS Hey. Dean holds his hand out. DEAN You can call me Mr. Armitage. CHRIS Of course. I--15. DEAN Got him. Come here. Dean grabs Chris’ hand and pulls him in for a bear hug. DEAN (CONT’D) We hug around here, my Man. Call me Dean. Rose rolls her eyes with love. She’s already embarrassed. MISSY (to Rose) Your father’s very excited.CHRIS Nice to meet you. MISSY Hi, I’m Missy, welcome to our home. Missy shakes Chris’ hand warmly. MISSY (CONT’D) Come inside. DEAN Yes, Come in! Make yourselves comfortable? The four enter the house. Walter watches from afar. He slowly turns and goes back to work.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ARMITAGE HOME - FOYER - CONTINUOUS The interior is homey and eccentric; worldly and interesting. DEAN (to Rose and Chris) How was the ride in? ROSE We hit a deer. DEAN Oh no! Is it dead? CHRIS Yeah. MISSY That’s horrible. Are you guys alright? ROSE Yeah. It just fruck us out.16. MISSY “Fruck?” That’s a good one. CHRIS It came out of nowhere. We got it pretty good. DEAN You know what I say: One down... a few hundred thousand to go. MISSY (laughing) Dean. So awful.ROSE Dad. DEAN What?! They’re everywhere; like rats. The threat they pose to the ecology is pretty serious stuff. MISSY I’m sure that was traumatic for you. You two must be exhausted. CHRIS Yeah, a little. DEAN So how long have you guys been a thing? CHRIS 4 months. ROSE 5 months. CHRIS She’s right, I’m wrong. DEAN ‘Atta boy, Chris. Get used to saying that. Dean stands. DEAN (CONT’D) Anyway, let me give you the grand tour. ROSE Slow down. We just got here.17. MISSY Let them unload their bags first. DEAN Yeah, yeah. Alright. Well, hurry.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. ARMITAGE UPSTAIRS HALLWAY - DAY Rose and Chris take their bags upstairs.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ARMITAGE HOUSE - ROSE’S BEDROOM - DAY Rose’s old room is a cross between a young-minded teenage girl... (a stuffed lion, ballerina music box etc) and a moodier more rebellious teen. A window overlooks the front lawn. Rose and Chris place their bags down. She starts unpacking. ROSE I was never this clean. CHRIS Oh, right. Chris looks at some pictures posted on her dresser. ROSE So... CHRIS What? Oh, they’re great. ROSE I told you. He sees a picture of Rose in high school on stage in a production of ‘The Crucible.' CHRIS Wait, wait, wait, wait. Is this you? ROSE Where did you find that. I hate that picture. Rose takes it from him and puts it in the closet. CHRIS I didn’t know you were a drama kid.18. ROSE There’s a lot you don’t know about me. CHRIS Oh really? Rose grabs Chris by the belt and pulls him to the bed on top of her. They kiss. She goes for his fly. CHRIS (CONT’D) Wait, what about the tour? Rose looks at him like “You’ve got to be kidding me.” Chris laughs. CHRIS (CONT’D) What? I want to be respectful.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ARMITAGE DOWNSTAIRS HALLWAY - DAY Dean and Chris walk and look at pictures on the wall. Rose in the living room. Dean opens the door to the office. He and Chris stand outside the door as Dean reaches in to turn on the lights. In front of the desk, two comfortable-looking chairs face each other. Books line the walls. Dean and Chris don’t enter. DEAN Missy’s office. She takes appointments in there. CHRIS Nice. She’s a therapist, right? DEAN Psychiatrist, yeah. Turns out people up here are just as messed up in the head as they were in the city. Chris zones in on a photograph taken in the 90’s in front of the Armitage house. Dean and Missy are younger, and Rose and her brother Jeremy are kids. Roman and Josie Armitage, the grandparents stand in the middle. DEAN (CONT’D) That’s my Son Jeremy. CHRIS I’ve heard stories.19. DEAN He went through a couple dark spots but came out the other side just fine. He’s in Med school like his pops. You’ll meet him later. CHRIS Oh, cool. They pass Rose who’s on her phone in the living room. She gives him an “Told you this would be boring” look. DEAN (chuckles) We pop around quite a bit; always seem to bring some new little treasure back from wherever. They move down the hallway to a black and white framed picture of a 25 year old man posing in the starting position for a race. DEAN (CONT’D) Oh you’ll like this. My dad’s claim to fame. He was beat out by Jessie Owens in the qualifying round for the Berlin Olympics in ‘36. That’s the one where-- CHRIS --Owens won in front of Hitler. DEAN Talk about a perfect moment in history. There’s Hitler on his high horse with his perfect Aryan race, and here comes this black fella to prove him wrong in front of the world. What a moment. CHRIS Tough break for your Dad though. DEAN He almost got over it. Dean winks.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ARMITAGE HOUSE - HALLWAY - DAY Dean and Chris continue their walk-through. The kitchen is homey and pristine. It has a distinctly grandmotherly vibe. 20. GEORGINA (30), African American, stands in the middle of the kitchen cleaning the center island and smiling like she’s been waiting for them. DEAN My mother loved her kitchen, so we kept a piece of her in here. CHRIS (to Georgina) Hi DEAN Oh, Georgina, this is Chris; Rose’s boyfriend. GEORGINA Hello.- DEAN “Garbahge” goes under the sink. But now for the piece de resistance... Dean opens the glass back door.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BACKYARD - LATE AFTERNOON The yard is huge and the woods beyond it ominous. The wind RUSHES through the trees. Dean leads Chris out through the yard towards a gazebo. DEAN Smell that...? Space! I love it. I’m tellin’ you, the nearest house is practically on the other side of the lake. It’s total privacy out here. Chris is distracted by Walter who prepares the lawn mower in the distance. DEAN (CONT’D) I know what you’re thinking. Chris looks at him. DEAN (CONT’D) White family; black servants. Total cliche. CHRIS I wasn’t gonna go there.21. DEAN You didn’t have to. Trust me, I know. We hired them a few years ago to help care for my parents; they’re like part of the family now. Couldn’t bear to let them go. I hate the way it looks though... CHRIS Yeah, I know what you mean. DEAN And by the way, I would’ve voted for Obama a third term if I could’ve. Best president in my lifetime. Hands down. Chris smirks. CHRIS I agree.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. OUTDOOR PATIO - DAY Dean, Missy, Chris and Rose sit with iced teas. Missy stirs sugar into hers. Walter mows in the distance. Dean views pictures on Chris’ camera. DEAN Wow. Look at that. Isn’t that something? He shows Missy a particularly cool photo. MISSY Gorgeous. Just gorgeous. DEAN I love this one. ROSE Which one? Dean turns the camera around and it’s a beautiful picture of Rose. CHRIS That was taken the day we met. ROSE I was volunteering at the blood drive.22. MISSY How long ago was that? DEAN So...? Are you guys in love or what? ROSE Really, Dad..? CHRIS We’ve been trying to take it slow but... Chris blushes. He looks at Rose. Rose can’t help but smile. MISSY Wouldn’t that be wonderful. DEAN (to Chris) And what do your parents do? CHRIS My Dad was never really in the picture. My mom passed away when I was 11... Hit and run. MISSY How did she die? CHRIS Hit and Run. MISSY Oh, that’s awful.DEAN Sorry to hear that. DEAN (CONT’D) So young too. CHRIS --Actually I don’t remember a whole lot from that time. MISSY It’s okay. We don’t need to talk about that. Missy stirs her glass. The spoon hits the side of the glass creating a small... TING TING TING TING23. Chris and Missy share a comforting look. They have an unspoken connection. Chris scratches the table nervously. Missy notices. DEAN You smoke Chris? CHRIS I’m quitting. ROSE This is why I stopped bringing guys around. MISSY It’s okay, I’m not judging. DEAN Ugly habit though. You should have Missy take care of that for you. CHRIS How? DEAN Hypnosis. She’s developed her own system. It works like a charm. CHRIS Oh. Wow. Um... ROSE Believe it or not, some people don’t want strangers all up in their heads. DEAN I thought the whole thing was bull shit too. I smoked for 15 years. She puts me under once, now the sight one makes me wanna vomit. MISSY Fall back, Dean. CHRIS I’m good, actually. Thank you though.24. MISSY Of course. I’m available for the next two days if you change your mind... Georgina brings the pitcher of iced tea around and refills everyone’s glass. She smiles and avoids eye contact. DEAN Smoker or not, we’re just glad you could join us for the big get- together. ROSE Oh shit. That’s this weekend? CHRIS What’s the get-together? MISSY Rose’s grandfather’s party. DEAN My Dad threw a shindig for his friends once a year. Bocce ball, horseshoes, badminton. ROSE It’s basically a bunch of rich old people playing lawn games. Why didn’t you tell me? MISSY It’s the same day every year sweetheart. (To Chris) We kept it going after they died. Makes us feel like they’re here with us. Georgina’s expression glazes over. Her head cocks a little, and subtle flashes of fear cross her face. No one notices. ROSE I just wanted to bring him up on a chill weekend. CHRIS Sounds like fun, actually. Georgina has been pouring Chris’ drink too long and his glass has overflown.25. MISSY (concerned) Georgina. Georgina snaps out of her daze and starts to clean. GEORGINA I’m sorry. Look what I’ve done. What a nincompoop. MISSY It’s fine, George. Just leave it. GEORGINA Oh, I can’t leave that there. MISSY --Yes you can. Why don’t you go lie down. GEORGINA I think I will. Georgina nods, smiles and walks away. Chris and Rose look at Dean. That was odd. Dean shrugs. JEREMY (O.S.) What’s up, FAM?!? MISSY Jeremy’s home. JEREMY, 29, rounds the house with open arms. He’s “Rich kid intense”; handsome with an unpredictable wildness behind his eyes. JEREMY Who answers the door around here?!",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ARMITAGE DINING ROOM - LATER/NIGHT Everyone but Rose laughs. She holds her face in embarrassment. Dean pours the remainder of a bottle of wine into Chris’ glass. Their meal is done and they are tipsy. ROSE Okay, enough. JEREMY “Enough?” We’re just getting started. Let’s see. What else? (MORE)26. What else? Did she tell you about her toenail collection? ROSE Oh my God!!! CHRIS What? JEREMY She’d bite em off with her teeth and suck on them and save them in her jewelry box. ROSE No I didn’t. JEREMY Yes you did, liar. Rose throws her napkin at Jeremy as he pops the cork on a new bottle. Dean and Missy try not to laugh. CHRIS That’s really disgusting. ROSE (to Jeremy) I hate you so much. JEREMY (to Rose) Love you too. (to Chris) Oh, okay. Here’s a good one. Let me set the scene. It was our junior year and Rose has a crush on this guy Conner Garfield. ROSE --No. Mom. MISSY Jeremy... CHRIS No, no... These are good. I wanna hear this. DEAN Manners, Rose. Give the guest what he wants. He winks at Rose warmly.JEREMY (CONT'D)27. JEREMY SO, Conner’s from my lacrosse team. Huge kid, like 6’3”, and pretty dumb, right? We threw a party-- ROSE You threw a party. JEREMY --I think my parents were in Greece or something. We raided their liquor cabinet and we’re all shit- faced. Like 15 of us. MISSY Ha! No you weren’t. Were you? JEREMY We put water in the bottles so you wouldn’t know. Let me finish. So I’m upstairs in my parents’ bathroom hooking up with Jean Deely, hottest girl in our class. MISSY Ugh. ROSE You realize you’re coming off like a douche right now, right? JEREMY Thanks. All of a sudden Connor starts banging on the bathroom door, right? I open it, and he’s got blood gushing out of his mouth and he’s screaming “Your thith-ter bit my fuckin’ thongue off!!!!” CHRIS Whoa, what? JEREMY Sure enough, there is a centimeter of tongue meat missing right here. Jeremy demonstrates and Chris winces. CHRIS (to Rose) Ahhhh! You bit him?28. ROSE He cornered me and shoved his tongue in my mouth, so yeah. CHRIS That’s badass. DEAN I never heard about that. JEREMY I made him clean up the blood. Jeremy locks into Chris, intensely. MISSY Well, I’m going to see how dessert is coming along. (To Dean) Maybe we can change the conversation to something a little lighter. Missy walks out of the dining room into the kitchen. The door swings open and Chris gets a glimpse of Georgina who stands in a daze looking at the ceiling. The door swings shut. DEAN Chris, what’s your sport? Football...? Baseball? CHRIS Ah, Basketball, I guess. I don’t know; not really into sports though. JEREMY You an MMA fan? ROSE Dude. JEREMY What? DEAN She’s right. Let someone else talk for a bit.29. JEREMY He’s dating my sister! You’ve had your chance; I can’t bond with the guy? Dean exhales. CHRIS You mean like UFC? Yeah, nah. Too brutal for me. JEREMY You ever get into street fights as a kid? CHRIS Not really. I did take Judo for after-school in 1st grade. ROSE Awww. JEREMY Cause, with your frame, your genetic make-up? If you pushed your body, I mean really trained, you’d be a fucking beast. The kitchen door swings open again, and Missy walks back in with a perfect carrot cake. Georgina is gone. MISSY What’d I miss? ROSE A lot of nothing. JEREMY We’re talking about sports. (to Chris) See the thing about jiu-jitsu, is that strength doesn’t matter. All that matters is this. Jeremy points to his head and stares Chris down. JEREMY (CONT’D) It’s a strategic game like chess. It’s all about being two, three, even four moves ahead. CHRIS Cool.30. JEREMY Stand up. Let me show you something. MISSY No karate at the dinner table. JEREMY It’s not karate. He stumbles a little towards Chris and tries to put him in a headlock. Chris stands. CHRIS I’ve got a rule. I don’t play-fight with drunk dudes. JEREMY I’m just-- DEAN --Alright enough, Jeremy. Dean is loud and stern for the first time. Jeremy’s eyes flutter, DRUNK and embarrassed. JEREMY I wasn’t going to hurt him. He grabs a wine bottle and goes upstairs... DEAN Well... one more bottle?",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. THE ESTATE. NIGHT Full moon. CRICKETS.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROSE’S BEDROOM - NIGHT Chris lays in Rose’s bed looking at Rose’s computer. Rose brushes her teeth in the bathroom. She says something unintelligible. ROSE I mean, he was going to put you in a headlock? What the fuck! He’s never talked to any of my boyfriends like that. CHRIS Mmm hmm.31. Chris smiles. ROSE And my Dad! He must’ve called you “My man” eight times today. Eight. CHRIS Yep. ROSE Even my Mom is like borderline rude to Georgina, right? Chris, what the fuck?!? Chris bites his tongue. ROSE (CONT’D) Well? CHRIS I told you so. Rose pouts. CHRIS (CONT’D) I wasn’t going to say it. ROSE Chris. CHRIS Come here. Rose comes to him. ROSE How are you so calm? CHRIS Honestly. It could be so much worse. At least they’re trying. ROSE They are. They love you. CHRIS I can tell. At the end of the day, that’s more than can be said for a lot of people. He pulls her on top of him.32. CHRIS (CONT’D) I like you on your racial flow tho. They kiss. ROSE I’m worried about tomorrow. The party? What if it gets worse? CHRIS I’m good. How bad could it be? Chris pulls her on top of him and she kisses him. CHRIS (CONT’D) You’re minty. They kiss again. CHRIS (CONT’D) You know, with my genetic makeup... They wrestle and she pulls off her shirt.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. ARMITAGE ESTATE - NIGHT All the lights are off in the house. Crickets chirp.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROSE’S BEDROOM - LATER Rose sleeps, but Chris is wide awake. There’s a buzz in his ear. He smacks his own head and sits up. A stuffed lion seems to watch Chris from atop her dresser. He turns it away. A soft HOWL of WIND rushes through the room. The CLOSET DOOR CREEKS open. Chris’ eyes drift to the pack of cigarettes sticking out of his camera bag pocket draped on the desk chair.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. ARMITAGE HOME - NIGHT Chris leaves Rose’s room and walks down the dark hallway. A floorboard creaks under his feet. He turns down the stairs.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. ARMITAGE DOWNSTAIRS HALLWAY - CONTINUOUS Chris gets to the bottom of the stairs. Chris continues to walk down the hallway past the pictures towards the kitchen.33.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. ARMITAGE KITCHEN - CONTINUOUS Chris walks through the kitchen and continues out back door of the house.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BACKYARD - CONTINUOUS Chris steps out the back door and takes a cigarette out. Chris looks into the vast night around him. The CRICKETS are deafening. Suddenly, Chris hears a RUNNING NOISE in the distance. Chris peers out into the darkness. A moment of terror comes over Chris. He makes out a shape. It’s now running towards him. Chris backs up in fear. It gets closer and closer. When it’s just 10 feet away, the moonlight reveals a now very close Walter, the grounds keeper who continues running by. Chris gathers his breath. Chris turns back towards the kitchen window lights up from inside. He finds himself face to face with Georgina who, with teeth exposed in a frightening grimace, glares through the window dead in Chris’ eyes. He drops his cigarette. Caught.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ARMITAGE LAUNDRY ROOM - NIGHT Georgina sucks her teeth. She doesn’t actually see Chris at all. She examines her teeth in the reflection in the window which, front lit, reflects her and the room around her. Outside is invisible.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. BACKYARD - NIGHT Chris realizes he’s not caught. Close call. Inside Georgina begins to do laundry. Chris quietly sneaks around the house.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ARMITAGE HALLWAY - NIGHT Chris sneaks in through the door in the dark dining room. Chris moves down the hallway past Missy’s office. The desk lamp turns on. Missy sits inside drinking a cup of tea. MISSY Do you know how dangerous smoking is, Chris? Chris is startled; caught; for real this time.34. CHRIS Yeah. Yeah I do. MISSY You alright? CHRIS Yeah, why? MISSY You seem a little jumpy, nervous. CHRIS I’m not nervous. That dude Walter running out there scared me. And Georg-- Georgina comes by with a teapot. GEORGINA Can I get you a cup. CHRIS Nah, I’m good. It’ll keep me up. MISSY Come in. Chris comes in.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MISSY’S OFFICE - NIGHT Georgina Missy and Chris sit across from each other. Georgina pouring tea pot. MISSY I’ve got it Georgina. GEORGINA Of course. Georgina leaves. Missy starts stirring sugar into her tea. MISSY They’re both obsessive compulsive... They get up too early. CHRIS What about you?35. MISSY I just can’t sleep. CHRIS Me neither. MISSY Is it the bed? CHRIS Nah, the bed’s fine. MISSY Comfortable enough? CHRIS It’s perfect, thanks. MISSY Enough sheets? CHRIS Yep. Chris’ scratches the chair. Missy notices. MISSY Wanna know how it works? Missy puts two sugar cubes in her cup. She begins to stir slowly, CLINKING the SPOON softly and rhythmically against the sides of the cup. TinG TINg. TinG tinG. CHRIS What, do you swing a pocket watch in front of people’s faces? MISSY You watch a lot of Television. Now, you are feeling very sleeepy... TinG tinG. TinG tinG. They share a smile. MISSY (CONT’D) We do use focal points sometimes, but just about any object or simple motion can guide someone to a state of heightened suggestibility.36. CHRIS Heightened suggestibility. MISSY That’s right. Why do you wanna try? CHRIS Nope. Definitely not for me. MISSY I understand. Now do you smoke in front of Rose? CHRIS Huh. TING TING. TING TING. MISSY Yeah, she’s my kid... CHRIS Yeah, I’m gonna quit. MISSY What was your relationship with your mother like? CHRIS Um I don’t. Wait, are you? MISSY Tell me, it’s alright. What was you relationship with your mother like? CHRIS Yeah... She worked all the time. She was funny. She loved me. MISSY Where were you when she died? TING TING TING TING CHRIS I don’t wanna think about that. MISSY The mind goes where it wants to. CHRIS Home; watching TV.37. MISSY And what do you hear? CHRIS Rain. MISSY It’s been raining a while. CHRIS Yes. MISSY Hear that. Hear the rain. What does it sound like? Hear it, Hear it... Find it... Tell me when you find it. The sound of RAIN AGAINST a WINDOW slowly fades up along with the MUFFLED sound of a SITCOM ON TELEVISION. CHRIS Okay... Yeah, I found it. TING TING. TING TING. MISSY How old were you? CHRIS Eleven. MISSY Good. You’re eleven. Now touch. Feel your surroundings. Feel every part of your body and what you touched. Feel it. Find it... Tell me when you find it... FLASHBACK -",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. SMALL APARTMENT - NIGHT Close on 11 year old Chris’ hands scratches the bed post nervously. MISSY (V.O.) Tell me when you find it. CHRIS (V.O.) I found it. His toes brush the carpet as his dangling legs swing off the 57 side of his bed.38. TING TING. TING TING. PRESENT DAY -,SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MISSY’S OFFICE. - NIGHT Chris’ feet try to swing but are too long. He scratches the arm of the chair in Missy’s office. MISSY Are you alone? CHRIS Yes. MISSY Where’s your mom? CHRIS She’s late. MISSY Well, where is she? CHRIS Something’s wrong. She’s still not home. MISSY What did you do? CHRIS Nothing. MISSY Nothing? CHRIS I just sat there. MISSY You didn’t call anyone? CHRIS No. MISSY Your Aunt? CHRIS No. MISSY Why not?39. CHRIS I don’t know. I thought if I did, it would make it real. TING TING. TING TING. MISSY Good. Do you see it? Do you see the phone? Chris doesn’t answer. MISSY (CONT’D) You need to see it. See it. See it. Find it. Chris’ continues to scratch the armchair. TING TING. TING TING FLASHBACK -",FLASHBACK +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SMALL APARTMENT - NIGHT 11-year-old Chris scratches through the wood on his bed, splintering a piece of the wood off. He watches TV from his bed next to some action figures. Chris looks at a telephone. MISSY (V.O.) Tell me when-- 11-year-old Chris nods. TING TING. TING TING. PRESENT DAY -",FLASHBACK +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MISSY’S OFFICE. NIGHT Chris nods and cries. CHRIS --I see it. MISSY You’re scared. Chris nods. MISSY (CONT’D) (realizing) You think it was your fault. Chris nods. Chris’ hand scratching the chair intensifies.40. CHRIS I can’t move. MISSY You can’t move. He nods. MISSY (CONT’D) That’s good. Now sink into the floor. CHRIS Wait I-- MISSY Sink. TING TING... Chris’ hand has compulsively scratched open the arm of the chair. His hand stops. His mouth drops and eyes open, frozen. FLASHBACK -",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SMALL APARTMENT - NIGHT ...TING TING. Suddenly, 11-year-old Chris falls through the bed and floor. END FLASHBACK",FLASHBACK +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DARKNESS Terror. Chris, 26 again, breathes fast but falls in slow motion though darkness as if through water He flails towards a pitch black abyss. He’s illuminated by the fading blue flicker of a large downward facing TV-like screen. On it Missy sits speaking to him and clinking her teacup. Missy’s voice is everywhere. PRESENT DAY -",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MISSY’S OFFICE. NIGHT Chris’ body sits in his chair motionless. He can’t move. His eyes are wide open, staring straight at Missy.41.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DARKNESS Chris continues to slowly fall backwards away from the screen. All of a sudden his body stops is the space. He turns upright. He’s frozen in stasis. CHRIS No! NO!!! I’m done! Bring me back! Please!!!! He looks up. He can still see the screen above but it is far away, like the mouth of a deep and expansive well. CHRIS (CONT’D) (whispering) Bring me back. Bring me back. Bring me back. Bring me back. Bring me back. Bring me back. Bring me back.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MISSY’S OFFICE. CONTINUOUS Missy stands. She walks towards Chris’ motionless body and looks down at him through his own eyes.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. DARKNESS - CONTINUOUS Chris looks up in the darkness. Missy comes towards him until her face is close to the screen. CHRIS Mrs. Armitage!!! MISSY Now you are in the Sunken Place. Missy reaches towards the screen and shuts his eyelids. The abyss goes almost completely dark. Now he’s alone in the dark. He cries in terror.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROSE’S BEDROOM - DAWN Chris wakes up with a start in Rose’s bed, sweaty and heaving. He’s alone and confused. Bad dream? Headache. The shower runs inside Rose’s bathroom. SHE hums. DING DING, DING DING He’s gotten a message. It’s a picture of Rod pretending to pour beer in Sid’s mouth. Chris smiles. The batteries are low. He plugs his phone in and puts it on the dresser.42.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. WOODS - DAWN It’s Golden hour. Beautiful. Chris walks through the yard to the edge of the forest with his camera. Chris keeps walking. He looks through a long-zoom lens into the wilderness. He sees a bird and snaps a picture.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BACKYARD - MORNING He walks from the woods towards to the house. Georgina can be seen through an upstairs window knitting. Chris raises his camera. She stands and begins admiring herself in a mirror. She’s beautiful. She begins to remove her wig. Then as if aware she’s being watched, she turns towards him. Chris turns away, taking a picture in another direction. He glances back at the window. Georgina is gone. Chris sees Walter working about 50 feet away in the yard. He walks towards Walter. CHRIS What’s up? No response. CHRIS (CONT’D) They working you good out here, huh? WALTER Nothing I don’t want to be doing. Walter is different than we’d expect. He has a bold and assaulting energy. Like he’s concealing a deep loathing with over the top enthusiasm. Chilling. Chris is instantly taken aback. CHRIS Yeah... I never really got to meet you actually, up close. I’m Chris. WALTER I know who you are. You’re Rose’s friend. CHRIS Yeah. Her boyfriend actually.So, where you from originally? WALTER She is lovely isn’t she?43. CHRIS Rose? Yeah, she is... WALTER One of a kind; top of the line. A real doggone keeper. CHRIS Right. WALTER And did it work? CHRIS Did what work? WALTER You were in Mrs. Armitage’s office for quite some time. CHRIS I don’t... Chris remembers. CHRIS (CONT’D) Oh, yeah. Actually, I guess I had too much wine last night. I don’t really remember much. WALTER Well, I should get back to work, and mind my own business. Chris turns and walks away. He takes out a cigarette and puts it in his mouth. He spits it out. Nasty.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROSE’S BEDROOM - DAY Chris enters as Rose finishes blow drying her hair. He’s worked up. ROSE Hi. Where have you been? CHRIS Out. Taking pictures. Hey, I think your mom hypnotized me last night. ROSE Wait, what?44. CHRIS (hazy) Yeah, I must’ve gone out for some air and run into her. I can barely remember any of it, but now the thought of a cigarette makes me wanna throw up. Rose tries to hide slight amusement. ROSE I’m sorry. I just can’t believe she did that. CHRIS I had some fucked up dreams. ROSE Of what? CHRIS I was in a hole or something. I couldn’t move. ROSE That happened to me too. When I was a kid. She hypnotized me once for stage fright, and I had the craziest nightmares. It did work though... CHRIS Yeah. Yeah, it worked. Hey, what’s Walter’s deal? ROSE What do mean? WALTER I just talked to him. Dude’s whole vibe was hostile. ROSE What do you mean? CHRIS I don’t know. Maybe he likes you. Maybe he’s jealous or something? ROSE I’ve never gotten that... But, if you think I have a chance.. Chris looks at her.45. ROSE (CONT’D) I’ll talk to my Dad about it. CHRIS No, no, no. Don’t talk to your Dad. It’s fine. It’s fine. ROSE I like that you’re threatened by him. CHRIS I’m not threatened. Rose hears and looks. Out the window, A PROCESSION OF CARS DRIVES onto the front yard. Chris looks as well. ROSE Okay. Here we go; It begins...",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BACKYARD - NOON The party is in full swing. The 30 or so guests mingle excitedly. They are all white except for one Japanese man. A few play horse shoes. Georgina places Hors d’oeuvres. Rose and Chris walk through the party. Chris glances through the kitchen window where Missy entertains some guests. She makes eye contact with Chris and then looks away. Chris and Rose are stopped by GORDON GREENE, 68, and his wife EMILY GREENE, 67. Gordon is a cute man with a cane and impish excitement. Emily is pretty and birdlike. They watch Chris intently and smile from ear to ear. Gordon shakes Chris’ hand thoroughly. GORDON Nice to meet you, Chris. Nice to meet you indeed. (to Emily) Good grip. CHRIS Thanks. You too. GORDON You ever play golf? CHRIS Once, actually; a few years ago. I wasn’t very good.46. EMILY Gordon was a professional golfer for years. CHRIS Oh? No kidding. GORDON Can’t quite swing the hips like I used to though. You know: I know Tiger. Rose and Chris share a subtle smirk. ROSE Wow, that’s great.CHRIS Cool. EMILY Gordon loves Tiger. GORDON Best I’ve ever seen. Ever, hands down. Let’s see your form. Chris humors him. GORDON (CONT’D) If I knew what I know now at your age? Now then I could really play. CHRIS It’d be kind of a waste of time travel though. They laugh.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BACKYARD - LATER Chris and Rose speak to NELSON DEETS, 82, who’s smiles in a wheelchair with an oxygen mask, and LISA DEETS, 54, a loose- lipped trophy wife smiles at Chris in a predatory manner. She has a Dutch accent. LISA (to Rose) How handsome is he? ROSE Extremely. Lisa squeezes Chris’ bicep. A bit too familiar.47. LISA Not bad huh, Nelson? Nelson just stares. LISA (CONT’D) (to Rose) So, is it true? The love making. Is it better? Rose cackles at the bluntness of the question. Chris almost chokes on his drink. Lisa continues to size Chris up. CHRIS Wow. Um... LISA (to Rose) I’m being too forward? ROSE We’ll talk later. CHRIS Oh, will you now?",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BACKYARD - LATER Chris and Rose talk to PARKER DRAY, 60, and APRIL DRAY, 57. They are a rose-cheeked tipsy wasp couple. Chris and Rose try to mask boredom and annoyance. APRIL Who even cares about skin color? My God. CHRIS A lot of people do.-- PARKER I told you, April. The world cares, It’s human nature to care. It’s not like one’s better than the other. When you look at the big picture, you’ll see its always shifting. The question of “What skin color is more “culturally advantageous” that is. ROSE I’m sorry... What are you saying?48. PARKER Well take this country. Fairer skin has been in favor the first couple of hundreds of years, but the pendulum has swung back again hasn't it..? Black is “in fashion!” CHRIS Pardon me. I’m going to take some pictures. Chris walks away. PARKER I didn’t mean to offend him. ROSE Really? ‘Cause you have yet to say anything that’s not a convoluted blanket statement about race. PARKER Now Rose... Chris steps into the party to take pictures. He snaps a couple pictures of mingling guests. HE hears a group cackle. He sees Dean schmoozing animatedly with three couples and the Japanese man. Dean quickly scans the party, finds Chris and points him out. The three couples wave and smile giddily. They had all just been talking about him. Chris pretends to not see this. Suddenly, Chris sees another black guy in a particularly square ascot and golfing hat. The man stands at the bar and faces away from Chris. Relief.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BACKYARD - MOMENTS LATER The man stands by the bar and makes himself a Martini. Chris approaches him. CHRIS It’s good to see another brother around here. The man turns to face Chris neatly. It is Andre, the jogger from the first scene, but he’s very different than before. He seems glazed-over with the same frozen smile as Walter and Georgina. Andre’s voice is completely different from the first scene. There is no longer any trace of an urban dialect. He speaks slowly and softly, enunciating his words precisely.49. ANDRE Yes, of course it is. Chris expects Andre to engage more. He doesn’t. He just stares at him smiling. CHRIS Who do you know? Chris expects Andre to engage more. He doesn’t. He just stares at him smiling. CHRIS (CONT’D) Who do you know? ANDRE Why, the Armitage’s of course. We’re friends of the family. PHILOMENA(60), Caucasian, a stern and guarded wealthy woman, cuts between them. PHILOMENA (to Andre) There you are. Here, put this somewhere. Philomena hands her napkin to Andre who pockets it obediently. Philomena places her hand on Andre’s back possessively. PHILOMENA (CONT’D) (to Chris) Oh, hello. I’m Philomena... and you are...? CHRIS Chris. Rose’s boyfriend. PHILOMENA Fantastic. You really make a lovely couple. ANDRE I’m sorry, where are my manners. Logan, Logan King. (to Philomena) Chris was just telling me that he felt more comfortable with my being here. Chris is let down. Andre isn’t what he had hoped.50. PHILOMENA That’s nice. Logan, I hate to tear you away, dear, but the Wincott’s were asking about you. ANDRE/LOGAN Ah, well it was nice meeting you Chris. CHRIS Yeah. Chris holds out his fist for Andre/Logan to bump. Andre/Logan grabs Chris’ fist. ANDRE/LOGAN Tootles. Andre/Logan and Philomena laugh and walk away. They join a small group of people who applaud Andre’s arrival. Andre does a little spin showing off his clothes.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BACKYARD - MOMENTS LATER Chris comes looking for Rose. He is more creeped out and agitated. Dean projects over the crowd. DEAN Hello! Everyone applauds and gives Dean their attention. DEAN (CONT’D) Ahem! If I can have your attention for a moment. Words cannot express how much it would mean to my father that after all these years we can all still get together like this. Dean sees Chris. DEAN (CONT’D) Oh, actually first, everyone this is my daughter’s boyfriend Chris. Everyone turns to Chris. Too much attention. DEAN (CONT’D) Chris is a fantastic photographer and an all around good kid. If you haven’t met him yet, make sure you introduce yourself to him at some time during the party.51. Chris sees a man sits alone by the gazebo. His Chauffeur walks away. Chris walks over to the man as Dean speaks to the crowd. DEAN (CONT’D) You know, if Dad were alive, I know he would remind us of how the knights of old would gather in honor of a new crusade. He’d ask us to remember that though they’d massed great fortunes, the Templar lived lives of humility. So as we gather here today in celebration, let us not forget that our mission is far from over. In fact it’s just beginning. And in the years to come let us not forget the sacrifices that have been made so long ago so that we might enjoy this wine, and these games. So for now let us drink to the dawn of a new era. One that has been given to us by the generations before us. Thank you. Cheers.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. GAZEBO. DAY. During Dean’s speech, Chris wanders away from the group. JIM Ignorance... Chris hadn’t seen Jim Hudson, the blind man, who sits in front of the gazebo with his seeing eye dog. He is close to Chris, but far enough away from the group that no one else hears them. CHRIS Who? JIM All of them. They mean well but they have no idea what real people go through. CHRIS I guess people only see what’s in front of them. Chris notices his faux pas.52. CHRIS (CONT’D) I mean... JIM You’re right. And usually not even that much. That’s people. Jim Hudson. CHRIS Chris- JIM I know who you are. I’m an admirer of your work; you have a great eye... CHRIS Wait. Jim Hudson... of Hudson Galleries? Jim smiles. JIM Believe me. The irony of being a blind art dealer isn’t lost on me. CHRIS How do you do it? JIM My assistant describes work to me in great detail. You’ve got something... The images you capture... so brutal; I mean... so melancholic. Powerful stuff. I think. CHRIS Thank you. JIM I used to dabble myself. Wilderness mostly. I submitted to Nat Geo 14 times before realizing I didn’t have “the eye” for it. No one took me seriously in the art world until I began dealing and then, of course, my vision went to shit. The party guests APPLAUD the end of Dean’s speech. CHRIS Damn.53. JIM I know. Life can be a sick joke. One day you're developing prints in a dark room, and the next day - BAM. You wake up in the dark. Genetic disease. CHRIS Shit ain’t fair, man. JIM You got that right. Shit ain’t fair. Jeremy comes over with his preppy friend, Derrick, 29. JEREMY Chris, we were hoping we could borrow you. I need to kick someone’s ass in Badminton. Chris rolls his eyes. CHRIS (to Jim) Nice to meet you. Chris, Jeremy and Derrick begin to leave. JIM Stop by the gallery. Bout time you had a solo show. CHRIS Really? Wow, okay. Thank you. That would be a game changer. JEREMY We’ll get together some time.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BACKYARD - LATER Chris and Rose play badminton against Jeremy and Derrick. Chris is actually having fun. He swings big but misses the shuttlecock. JEREMY HA! Come on, come on, come on. You can do better than that, Bruh! CHRIS Not my game.54. JEREMY Thought you didn’t have a game. ROSE Shut up Jeremy. JEREMY I’m just saying, if your boy isn’t gonna bring even a little heat, we might as well bring one of Grandpas old friends up here. CHRIS Whoa, whoa, okay. Now we talkin’ smack huh? JEREMY Your serve. Chris serves the shuttlecock hard. The following rally is long. As they play the more and more guests come over to watch. They aren’t following the shuttlecock as much as watching Chris. Chris ends it with an impressive diving swat. Derrick misses the return and the crowd goes wild. Chris throws his arms up in celebration. CHRIS Boom! ROSE Yay, baby! JEREMY That’s what I’m talking about!!! Okay, I see you dog! I see you! Again! Chris is about to serve. He scans the crowd of beaming faces. Everyone is rooting for Chris. They love him. Chris scans the crowd. It’s too much. CHRIS Hold up. Here. ROSE Where are you-- CHRIS I’m gonna go to the bathroom. Chris gives his racket to Gordon Greene.55.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. ARMITAGE HOUSE - KITCHEN - DAY Chris walks through the kitchen.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ARMITAGE LIVING ROOM - DAY Chris slips past several small groups of guests mingling. He goes up the stairs to the second floor. As soon as he is out of sight and earshot, the mingling guests stop in mid-conversation. Everyone in the room waits and listens to Chris’ footsteps above. It is now clear that their conversations have been fake. They are all hanging on Chris’ actions.",TWIST +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. ARMITAGE UPSTAIRS HALLWAY - DAY Chris walks to Rose’ room.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. ROSE’S BEDROOM - CONTINUOUS Chris enters Rose’s room. The bed is made. He picks his phone up from the dresser. It’s unplugged and out of batteries. That’s odd. He plugs it in again as he hears a CREAK down the hall.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ARMITAGE UPSTAIRS HALLWAY - DAY Chris leaves Rose’s room. Across the hallway is a crack open. Chris slowly walks down the hall, and peers inside. He sees a couple hip hop posters, lacrosse trophies and jujitsu. Jeremy’s room. Movement inside. It’s Georgina making the bed.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. ARMITAGE LIVING ROOM - DAY Rose enters looking for Chris. Everyone is mingling again. She goes upstairs.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ARMITAGE UPSTAIRS HALLWAY - DAY Chris looks in Jeremy’s room. The door creaks alerting Georgina of his presence, she turns slowly. Before she sees him he walks quickly back to Rose’s room just as she comes upstairs. ROSE Hey.56. Chris waves for her to join him back in her room.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROSE’S BEDROOM - DAY ROSE Hey, what the fuck? You left me out there. Chris speaks quietly and frantically to Rose. CHRIS She unplugged my phone. ROSE Who? CHRIS Georgina. I’m trying to check in with Rod, and I got no juice. ROSE So... Why would she do that? CHRIS Maybe she doesn’t like the fact that I’m with you. ROSE (Not buying it) Really? CHRIS What? It’s a thing. ROSE I mean, she shouldn’t be unplugging peoples phones, but I don’t think she would do that on purpose. CHRIS Forget it. Nevermind. ROSE No. Don’t do that. Don’t shut me out like that... Don’t do that to me. We’re a Badminton team. CHRIS Okay, yeah. I’m sorry. It’s all good. I’ll just plug it back in and I’ll be down in a minute, okay?57. ROSE Okay... Say hi to Rod and Sid for me.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CHRIS’ APARTMENT - DAY Rod lies on the couch with Sid watching TV. ROD Oh, they got you on display? INTERCUT WITH:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROSE’S ROOM - SAME TIME Chris is alone in Rose’s room. He peers out the window. CHRIS It’s so weird, man. It’s like some of these people never met a black dude that doesn’t work for them. ROD Yup. You in it now. CHRIS Also, shit, I don’t even wanna tell you. ROD What? CHRIS I got hypnotized last night... ROD Nigga, what the fuck? CHRIS Yeah, to quit smoking. Rose’s mom is a psychiatrist-- ROD I don’t give a fuck if a bitch is Dr. Phil. You ain’t getting in my head. CHRIS I know. She caught me off guard. But it’s cool. I mean, it worked.58. ROD Nope. That’s some scary shit. Who knows what they gonna make you do. White people into some crazy sex slave shit. You know that right? Chris laughs. CHRIS Yeah, I’m pretty sure they’re not a kinky sex family-- ROD Why not? Jeffery Dahmer ate niggas’ heads, but that was after he fucked the heads. You think they saw that shit coming? Hell no. One second they think they just gonna suck some dick, next second they sucking dick but their head isn’t on their body, Chris CHRIS And thanks for that image, right there. ROD I saw that on A&E, so that’s real life. CHRIS It’s the black people out here too though. It’s like their living in a different era. ROD Maybe they got hypnotized-- CHRIS (dry) Ha ha-- ROD I’m just connecting the dots you presenting me with. The mom puttin’ trances on niggas and fuckin’ them. It’s clear as day and that’s fucked up. She hot? CHRIS What’s fucked up is: You’re the first line of defense against terrorism.59. ROD Don’t say I didn’t warn you ‘cause my ass sure as Hell ain’t coming up to the country to save you from no fuckin’ witch coven... Unless the mom’s really hot. On a scale of one to ten-- CHRIS Thanks Rod, bye. Chris hangs up and turns. Georgina stands in the doorway, eerie smile and all. Chris is startled. GEORGINA Hello. CHRIS Hi. Georgina’s voice is shaky and careful. Pleasant on top, but angry underneath. GEORGINA I owe you an apology. How rude of me to have touched your belongings without asking. CHRIS Oh, no. It’s cool. I was just confused. GEORGINA Just so you know, there was no funny business, allow me to explain. I had lifted your cellular phone this morning in order to wipe down the dresser and it accidentally came undone. CHRIS Yeah, I-- GEORGINA Rather than meddle with it further, I left it that way. How foolish of me. CHRIS No. It’s fine. I wasn’t tryin’ to snitch... GEORGINA Snitch?60. CHRIS Rat you out? GEORGINA “tattletale.” CHRIS Yeah. GEORGINA Don’t worry about that. I assure you, I don’t answer to anyone. CHRIS Right... Well, all I know is sometimes, being around too many white people makes me nervous. He’s half joking. Georgina doesn’t laugh. Instead eyes get lost for a moment. A tear falls down her face as if there is a pain behind her otherwise vacant smile. GEORGINA Oh no, no, no, no, no, no... Aren’t you something? That’s not my experience. Not at all. The Armitages are so good to us; They treat us like family.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BACKYARD - AFTERNOON Chris walks back into the back yard where Dean entertains seven people Chris hasn’t met. They turn as Chris approaches smiling eagerly. They all seem to share a private joke. DEAN Chris! There you are, my brother. I wanted to introduce you to some old friends. We’ll do it quickly. Down the line: David and Marcia Wincott, Ronald and Celia Jeffries, Hiroki Tanaka, and Fredrich and Jessika Walden. Each couple - DAVID and MARCIA, RONALD and CELIA, HIROKI, FREDRICH and JESSIKA - waves as they are name. CHRIS Too many names to remember but, hi... The couples all laugh nervously.61. HIROKI (to Dean in Japanese) Can we ask him questions? DEAN (in Japanese) Of course. HIROKI Do you find that being African American has more advantages or disadvantages in the modern world? Chris pans the crowd who all give him their undivided attention. The silence is long. He looks for Rose. She is off talking to someone. CHRIS Yeah, I don’t know, man. They all smile like hungry vampires. Chris is very uncomfortable with this unprovoked group interrogation. Andre/Logan and Philomena approach. CHRIS (CONT’D) That’s actually a great question. Logan! They were asking me about the African American experience. Maybe you could take this one. Andre/Logan is a little caught off guard but dives in. ANDRE/LOGAN My life as an African American has been, for the most part, very good. It’s hard to be too specific as I haven’t much desired to leave the house in a while. The crowd chuckles. Chris takes out his phone. PHILOMENA We’ve become homebodies... ANDRE/LOGAN (to Philomena) But recently, even when you go to the city, I’ve just had no interest. (to the group) The chores are my sanctu--62. With the attention on Andre/Logan, Chris raises his phone toward Andre/Logan and the group and snaps a picture. The flash pops. CHRIS Shit. Everyone turns to Chris. Andre/Logan steps forward and looks at Chris oddly; His head cocks a little and his peaceful expression drifts slowly to maddened horror. Some of the party guests gasp. PHILOMENA Logan? Andre/Logan drops his glass and stumbles towards Chris. Chris backs up, but Andre is already up in his space. ANDRE Get out. Andre/Logan’s voice is higher and scratchy, like it was in the first scene. CHRIS Hey, man, I’m sorry, I-- Andre/Logan grabs Chris by the shoulders and screams shrilly. Blood trickles out of his nose. ANDRE GET THE FUCK OUT OF HERE!!!! Philomena and Jeremy grab Andre. They have to pry Andre/Logan’s grip off of Chris. When they do Andre/Logan screams bloodcurdlingly. It takes all their strength to bring him into the house. Missy follows.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LIVING ROOM - AFTERNOON Rose sits on the couch arms crossed. Chris comforts her but is clearly traumatized. A few other concerned guests mill around. Dean enters and CLEARS HIS THROAT. Everyone gives him their attention. ROSE What the fuck was that? DEAN It was a seizure.63. ROSE A seizure? CHRIS Why did he come at me like that? DEAN Seizures can have a wide range of effects. ROSE Yeah, but randomly attacking people? DEAN The flash on your phone must have triggered it. Andre/Logan enters with Missy and Philomena to a smattering of concerned applause. Jeremy follows. Andre/Logan enters with Missy and Philomena to a smattering of concerned applause. Jeremy follows. Andre/Logan addresses a group in his “Logan” voice. Chris now looks at him like he recognizes him. ANDRE/LOGAN Well, I do believe I owe you all an apology. The group grumbles. MISSY We’re just glad you’re feeling yourself again. ANDRE/LOGAN Well yes I am. Thank God you were here to calm me down. I know I scared you all quite a bit.. Especially you, Chris. CHRIS No, I’m sorry; the flash... I didn’t know. ANDRE/LOGAN Of course not. How could you have?64. PHILOMENA (to Andre/Logan) You shouldn’t have been drinking either. ANDRE/LOGAN Right. Now you’ll all have to proceed without the aid of my marvelous wit; the whole ordeal has left me a quite a bit exhausted. The group chuckles. DEAN Of course. ANDRE/LOGAN It was nice meeting you. CHRIS Yeah. Chris is skeptical. MISSY (to Dean) Something to brighten the mood? Missy shows Philomena and Logan out. Andre and Philomena leave. DEAN Yes! I think it’s time for my dad’s favorite... sparklers and BINGO. JEREMY Yes, Bingo! The group applauds. Dean gives Rose and Chris sparklers. ROSE We’re going on a walk. Rose grabs Chris’ hand and leads him out the front door. He pulls away from her as they leave.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. THE WOODS - AFTERNOON Rose and Chris walk by the lake. Their sparklers fizzle. CHRIS My cousin is epileptic. That wasn’t a seizure.65. ROSE I mean... my dad is a neurosurgeon. CHRIS How long have you known that guy? ROSE Not at all. I’ve known Philomena since I was little, her husband died last year. Logan is new... Why? CHRIS I don’t know. This is gonna sound weird, but when he got up in my face like that, I got this feeling like I knew him. ROSE You know Logan? CHRIS No, I don’t know Logan. I know that guy who grabbed me. ROSE Chris... That doesn’t make any sense.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BACK YARD. SAME TIME With Chris and Rose are away, the party guests have all gathered in the back yard facing Dean who stands in front of the gazebo by a large picture of Chris on an easel. Everyone is silent. Dean raises his hand and makes numbers with his fingers: “Three and three.” Several party guests raise their hands. Dean points to the Waldens. This is an auction.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. THE WOODS - SAME TIME Rose and Chris are in little nook in the trees. ROSE No. No, no, no. Don’t do this..66. CHRIS I don’t know what to say. I think your mom got in my head. I think she got into my head. ROSE I thought she helped you. CHRIS No she didn’t. She got in my head. She fucked some shit up there and since then... Chris shuts down. ROSE Chris... I’m here. Talk to me.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BACKYARD - SAME TIME Dean raises his hand again making more numbers with his fingers: “4, 5.” Gordon Greene raises his hand. Dean points to him accepting his bid.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. WOODS - SAME TIME CHRIS It’s not about what’s happening, it’s about what’s actually happening. ROSE What’s happening? Explain it to me. I’m sorry, I don’t understand. Yes everybody is crazy out here but don’t take it out on me. CHRIS I’m not. I’m not. I just need to go. ROSE You want me to stay here? CHRIS Whatever you want. I need to go Rose sinks. She tries to hide a tear. After a long silence.67. ROSE ...I’m late. CHRIS Late? ROSE I should’ve got my period like last week. CHRIS Oh. ROSE I mean, I did change my birth control, so it could just be that, but... Chris thinks silently. ROSE (CONT’D) So...? CHRIS I don’t know what to say. ROSE Say anything.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BACKYARD - SAME TIME The auction is flying now. Dean’s hand signals are going fast. It’s down to three couples. Dean signals “5, 6.” Mr. Greene raises his hand. Dean points. Dean signals “5, 8.” Mrs. Deets raises her hand. Dean points. Dean signals “6.” Jim Hudson raises both his hands and signals “10.” His chauffeur stands beside him whispering in his ear. Dean points at him. Dean scans the crowd signaling “10, 2?” “10, 2?” The crowd looks around. No one is challenging. Dean smiles. Finally Dean bangs his fist onto his open palm and points to Jim Hudson. Jim’s chauffeur whispers in his ear. The guests clap in a mixture of delight and disappointment.68.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. WOODS - DUSK Chris and Rose sit watching the sunset over the lake. Chris kisses her hand. He hears the faint APPLAUSE in the distance. He looks in the direction of the house. ROSE I didn’t tell you that to make you stay, I just thought you should know. CHRIS I told you about the night my mom died; how I didn’t call 911; didn’t go out looking for her. ROSE Baby-- CHRIS One hour went by, then two, three... I just sat there... I just watched TV. ROSE It wasn’t your fault. CHRIS I found out later she had survived the initial by the side of the road all night, cold and alone. And that’s how she died in the early morning... Cold and alone. And I was watching TV. There was time. If someone was looking for her, there was time. But no one was looking. Chris cries. Rose cries for him. ROSE You were just a kid. CHRIS Yeah... yeah. ROSE There’s nothing you could have done... CHRIS I could have tried... I could have tried. Rose almost responds, but doesn’t. She gets it.69. CHRIS (CONT’D) You’re all I got now. I’m not gonna leave here without you. I‘m not going to abandon you. Okay? She wipes her tears and nods. ROSE Let’s go back home. CHRIS Yeah? ROSE Yeah. I mean, you’re right. This sucks. I’ll make something up. We’ll go back. CHRIS I love you. ROSE I love you too. The two get up and walk back toward the house.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FRONT LAWN - DUSK Chris and Rose approach the house as the last of the guests get into their cars and drive off. CHRIS That was fast. ROSE Yeah. The guests wave to Walter and Georgina, who stand at the front door, and then to Chris and Rose. Jeremy hangs out on the porch. He seems less menacing than before. Parker and April Dray are leaving. Parker is tipsy. PARKER Bye Chris! It was a pleasure meeting you. I hope you-- Chris and Rose wave. APRIL Come on, Parker. Before you say something stupid.70. Chris laughs. Walter shuts the car door behind Lisa. Walter stands pleasantly watching the cars leave. He turns to Chris with the same ol’ smile. Chris and Rose enter the house.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. ARMITAGE BATHROOM - NIGHT Sink running. Chris washes his hands and looks in the mirror. He finds the picture he took of Logan/Andre on his phone and sends it. Chris plugs the phone in and goes to pack. The phone vibrates. Chris picks it up. CHRIS Hey. INTERCUT WITH:,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CHRIS’ APARTMENT - NIGHT Rod is on the phone. Sid is there too. ROD That’s Dre. CHRIS Dre? ROD Andre Hayworth! He used to kick it with Veronica, remember? That’s him. CHRIS Veronica from... ROD ...Teresa’s sister! Worked at the movie theatre on 8th. Why’s he dressed like that? CHRIS (realizing) Yeah. That is him. But... Wait, wait, wait, This is so fuckin’ crazy. He’s different.71. ROD No shit. Why is he dressed like that? CHRIS No, it’s not just that though, it’s everything. He came to the party with a white woman like thirty years older than him. ROD What? CHRIS I don’t know if she was his boss or if they’re fuckin’ or both. ROD Slave! Chris, you in a fucked up Eyes Wide Shut situation. You need to--. The phone goes dead. No batteries.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROSE’S BEDROOM - NIGHT Chris goes to finish packing with a purpose. Rose enters. ROSE Hey, should we eat and then leave? CHRIS No. Rose, we gotta go. ROSE Is everything okay? CHRIS I’ll tell you in the car. She does. ROSE Okay, I’m gonna get my bag. Rose leaves. Just then Rose’s closet creaks open. Chris sees a framed picture of Rose inside. Not quite knowing what he’s looking for, he goes to the closet. The picture is a frightening one. Rose is one of the witches in a high school production of Macbeth. It’s on top of a red shoebox that has the drama/comedy masks drawn on top of it. 72. He takes it off of the shelf. Inside is a pile of pictures. On top is one of Rose dressed as Juliet in a high school play. The next one is of Rose at 13 playing Ms. Hannigan in Annie. Chris flips through a few more pictures of Rose at different ages in different class plays. Finally Chris comes upon a photo printed from a computer. It’s a selfie of her and some other black guy. The picture is almost identical to the one she took with Chris before the ride up. Under the image are written the words. “X-mas 2014” Stunned, Chris flips to the next picture. It’s another romantic selfie, this time with a different black guy. Underneath, the caption “Memorial Day 2013” He continues flipping through the stack of pictures of Rose with 8 different black guys. The last one is a picture of Rose with Walter. In it she kisses Walter’s cheek intimately. “Thanksgiving 2009” Walter looks different in the picture. He isn’t smiling vaguely; he’s got swagger. ROSE (CONT’D) Hey? Are you ready? Rose stands there in the doorway behind him. Chris subtly drops the pictures back in the shoebox. ROSE (CONT’D) What? CHRIS Yeah, Um... Looking for my camera. ROSE Here. Rose hands him the camera. CHRIS Where are the keys..? I’m gonna put our bags in the trunk real quick. Rose picks up her bag and ruffles through it. ROSE Okay. They’re in here somewhere. Are you okay? CHRIS Yeah, yeah. Can we do that on the move.73. Chris walks out the door, leaving Rose.",TWIST +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FOYER/LIVING ROOM - NIGHT Rose follows Chris down the stairs. ROSE (Hushed) Chris... What’s wrong? CHRIS Nothing. Jeremy stands near the front door twirling his lacrosse stick. JEREMY Where are you going? The party’s just getting started. CHRIS I’m going to the car; see if we left the keys in there. Missy enters the hallway behind Chris. MISSY Would you like some tea, Chris? CHRIS I’m good. The family is silent. Missy’s glare pierces Chris. He avoids eye contact. MISSY You’re leaving us. Is something wrong? CHRIS No. Well, yeah... Um. ROSE (still blank) His dog is sick. He needs to go to the vet first thing in the morning-- Dean, in Missy’s office in front of the roaring fireplace, presses play on a remote control and a darkly classical track comes on. DEAN What is your purpose, Chris?74. CHRIS What? DEAN In life? What is your purpose..? CHRIS Right now, it’s finding the keys. Dean stares into the fire. DEAN Mesmerizing isn’t it? The fire is a reflection of our own mortality. It’s born, it breathes and then it dies. CHRIS Rose... Rose lamely rummages through her messy bag. ROSE I’m looking. Dean now looks at the painting above the fireplace. DEAN Even the Sun will die some day, Chris. It is us who are the divine ones. We are the Gods who are trapped in cocoons.-- CHRIS --Rose.-- DEAN --You’d take the baptism wouldn’t you? You’d shed your skin to awake renewed and perfect. Of course you would. CHRIS I was raised Episcopalian. Chris starts toward the door, but his path is blocked by Jeremy swinging at air. JEREMY Whoa! Be careful, bro. MISSY Jeremy...75. JEREMY I’m not doing anything. MISSY What is this shit?!! DEAN It’s our purpose! It is our destiny! The requirement for spiritual transmutation is the will of a new vessel must sacrifice!!! CHRIS Rose! The keys! Rose backs away. ROSE You know I can’t give you the keys. Chris makes a run for the door. Missy clinks the cup with her spoon. TinG tinG. TinG tinG. The world instantly blurs around Chris. He begins to fall. He sees a flash.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DARKNESS Chris falls through the dark abyss of his mind again just like when he was hypnotized. The blue screen above him displays what his real eyes see. It’s his own perspective in the real world in which his body falls backwards to the floor. CRASH! The screen now shows the living room ceiling. Jeremy leans over him. JEREMY Oh shit! MISSY (O.S.) Is he hurt? CHRIS No! JEREMY Did you see him drop?DEAN (O.S.) He hit his head pretty good. MISSY (O.S.) Take him downstairs. Jeremy, get the legs. Dean, help him.76. JEREMY I can take him alone. MISSY (O.S.) No. Be careful. We’ve already damaged him enough. Dean, please. Chris continues to fall slowly further from the screen above which continues to show his body’s perspective as it is being lifted by Dean and Jeremy and carried out of the room. CHRIS Rose!? No, no, no, no. Shit, shit... DEAN You’re going to drop him. JEREMY No, I’m not. MISSY (O.S.) Be careful what you say, everyone. He can hear every word. JEREMY Why? He’s gonna find out sooner or later.. MISSY Not like this. DEAN Listen to your mother. CHRIS Rose!!!! Rose approaches Chris’ face. ROSE (whisper) You were one of my favorites. Chris stops sinking. He turns right side up. CHRIS No!! Help!!! Help!!!!! Help!!!!!! A door creaks open. Chris’ body is taken downstairs into the darkness. The screen in the abyss goes dark. Chris shivers. He’s cold and alone. He takes out his lighter and lights it.77. Something large and dark moves underneath Chris. Chris looks around frantically. His light goes out. CHRIS (CONT’D) Shit. Chris tries to light his lighter again. In takes a couple tries. Each flash illuminates a large face beside his. He doesn’t see it. The amorphous antlered thing emerges from the shadow. Its eyes glow and flicker faint blue in its sockets. He finally lights the flame and feels the beast’s presence he turns, but the creature is gone. He turns back and there it is. Very close. It’s head is the skull of a deer and it has dim blue glowing eyes. It MOANS A WRONG SOUNDING MOAN OF HATEFUL ANGUISH.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. AIRPORT - DEPARTURES TERMINAL - DAY Rod smokes a cigarette and dials Chris. CHRIS’ VOICEMAIL MESSAGE (V.O.) It’s Chris. I’m away from my phone or I just don’t want to talk to you. ROD (anxious) Sup? Dude, you scaring me, man? I thought you were coming back yesterday. Hopefully you home already and just sleeping or some shit. Aiight. Let me know.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. CHRIS’ LIVING ROOM - NIGHT Rod opens the door. Sid wags his tail hungrily.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CHRIS’ KITCHEN - LATER Rod opens dog food while he calls Chris. CHRIS’ VOICEMAIL MESSAGE (V.O.) Hey, it’s Chris. I’m away from my phone or I just don’t want to talk to--78. Rod hangs up. He places Sid’s bowl down. Sid doesn’t eat. Instead Sid looks back up at Rod and WHINES. ROD Yeah... me too.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. CHRIS’ LIVING ROOM - LATER Rod zones out at Chris’ desk in front of his laptop. Sid sits on Rod’s lap. Rod types “Andre Hayworth” into the search engine. Images of Andre come up. Rod finds an article entitled: “What Happened to Andre Hayworth?” Under in bold “Brooklyn Native Goes Missing In Evergreen Hallow.” Rod’s eyes go wide. ROD Oh shit.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GAMES ROOM - LATER Chris wakes up. In front of him, a deer’s head is mounted above an old-school floor-standing television. Behind him, a goat’s head is mounted under a taxidermy owl, wings spread. There are several objects precisely placed around the room. His arms and legs are fastened to a leather upholstered chair in the middle of a small dark room. Chris pulls at the straps that bind his arms and legs. Chris tries to gnaw at the harnesses, but they are too thick. CHRIS Oh shit. Oh shit. Oh fuck. Oh shit. The fuck?!? The television in front of Chris flickers on and the image of a tea cup comes into focus on the screen. A spoon stirs and clinks the side of the cup. “TING TING, TING TING” Before he can react, Chris falls asleep.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. CHRIS’ LIVING ROOM - DAWN Sid wakes Rod up with a lick to the face. He’s on the sofa.79.,FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. POLICE STATION - DAY Rod sits at a desk with Sid on his lap.. DETECTIVE LATOYA (40), African American enters. She’s been doing this too long. She speaks to someone outside her office. DETECTIVE LATOYA ...Then he should’ve gone back up there and made sure everything was accounted for. ‘Cause hey, look; how about this? If you record the evidence, you’re responsible for it. Latoya shuts the door and sits at her desk. She begins opening and eating a bag of sunflower seeds. DETECTIVE LATOYA (CONT’D) Hello, Mr... ROD Williams... Rod Williams... DETECTIVE LATOYA From the TSA? ROD Yes Ma’am. DETECTIVE LATOYA You know that TSA issues should be brought to your authorizing officer, right? ROD It’s not TSA business, ma’am. DETECTIVE LATOYA Please don’t call me “ma’am,” or we’re not gonna get along. How can I help you, Rod Williams from the TSA? ROD Here it is: My boy Chris has been missing for two days. DETECTIVE LATOYA Your son is missing? ROD No, sorry, not my son, my boy. He’s my friend. He’s 26. His name is Chris... Washington...80. He gives her time to write the name which she doesn’t do. She just stares at him. ROD (CONT’D) He left town on Friday with his girlfriend Rose... Armitage... She’s white. DETECTIVE LATOYA That’s four days ago. ROD Yeah, I mean he’s only been MISSING for two days. He was supposed-- DETECTIVE LATOYA --I’m gonna stop you right there. Now you know the minimum amount of time without contact before you can file a missing persons report is-- ROD --Three days I know, but I have reason to believe he’s been abducted. DETECTIVE LATOYA Go on. ROD Chris was set to come back home on Sunday. I was watching his dog Sid. Latoya points to Sid. DETECTIVE LATOYA That’s Sid. ROD Yup. Cute right? Now look... Rod takes out his phone and scrolls to a photo of Andre. ROD (CONT’D) Chris sent me this which he took at the girlfriend's parents house. That’s Andre Hayworth, a guy we knew from back in the day. Come to find out he went missing 6 months ago in an affluent suburb upstate. DETECTIVE LATOYA Doesn’t look missing to me.81. ROD Well that’s the thing. We found him and now, according to Chris, he’s got a different personality. DETECTIVE LATOYA Different how? ROD This dude is from Brooklyn. He didn’t used to dress like that. DETECTIVE LATOYA I didn’t used to dress like this. ROD Plus, now he’s married to a white woman twice his age. DETECTIVE LATOYA Well, that explains the clothes. Look Rod Williams from the TSA- ROD I know, I know. I’m working up to it. Look, I know what I’m about to say is gonna sound crazy. DETECTIVE LATOYA Try me. ROD You ready for this...? I think this family is abducting black people and brainwashing them to work for them as sex slaves and shit... Sorry. DETECTIVE LATOYA ...Brainwashing? ROD Yeah. DETECTIVE LATOYA Hold on one second. (over her intercom) Garcia, Drake, get in here a second. (to Rod) I want you to tell these officers exactly what you just told me.82.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. POLICE STATION - MOMENTS LATER Two detectives, Garcia, 37, and Drake, 43, stand behind Latoya. ROD ...See, I don’t know if the hypnosis makes you a slave or what, but they already got two brothers that we know of, and who knows how many more there could be. The officers are all riveted... Then... All three detectives laugh. Rod is not being taken the slightest bit seriously. DETECTIVE LATOYA (to her colleagues) So, I don’t want none of you sayin’ I don’t do nothin’ for you... White girls’ll get you every time! They all laugh harder.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. GAMES ROOM - LATER Chris wakes up suddenly. He takes in his surroundings again. He’s in the same room. He’s scratched the arm of the chair to the point where the leather on the arm of the chair has begun to rip open. CHRIS Okay. Okay! What do you want? You tryin’ to break me? Done. I’m broke. What do you want me to do? What do you want me to do???? Chris is exhausted. He laughs at the absurdity of the situation. The television flickers on and again the image of a tea cup comes into focus on the screen. A spoon stirs and clinks the side of the cup. Terror flashes across his face. CHRIS (CONT’D) No-- Again Chris becomes paralyzed.83.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CHRIS’ APARTMENT - DUSK Rod sits by the window with Sid. He looks out over rooftops and thinks. He picks up his phone and calls Chris again. He knows Chris won’t answer. Then-- ROSE Hello? Rod is taken off guard. He almost drops his phone. ROSE (CONT’D) Chris? ROD Yo. Um, Rose? It’s Rod. ROSE Hi. ROD Where’s Chris? INTERCUT WITH:",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ARMITAGE HOUSE. DINING ROOM - DUSK Rose stands by the dining table on Chris’ phone. Rose starts to cry. ROSE He left like two days ago. ROD He left? ROSE He got paranoid. We got in a fight. And flipped out. Then he took a cab home and left his phone. Wait... You haven’t seen him? ROD No. He never made it back here. ROSE Oh my God. ROD I’ve been calling. I went to the police and--84. ROSE --What did you say? ROD I told them he was missing. ROSE Okay, wait... um... Did you call his aunt? ROD Yes. Lemme ask you something, Rose. What cab company did he use? ROSE I don’t know. A local one I’m guessing. Maybe Uber? Wait, I’m so confused... ROD Hold on a second. Rod hits mute. ROD (CONT’D) (under his breath) This bitch knows she got something to do with this. He opens up ‘Garage Band’ on Chris’ computer and puts the phone on speaker, recording her. He un-mutes the phone. ROD (CONT’D) So, last time Chris and I talked, he told me your mom hypnotized him? Rose is silent. Then... ROSE Rod, just stop. ROD Huh? ROSE I know why you’re calling. ROD Why is that? We now see Rose’s family standing in the living room behind her. They watch her operate.85. ROSE Come on. I mean, it’s kind of obvious. ROD What? ROSE That there’s something between us. ROD No. I’m calling about Chris. ROSE We’d all go out drinking... I remember you looking at me. ROD That’s my best friend. If you did something-- ROSE I know you think about fucking me, Rod. ROD --No. You crazy... What? No! Rod hangs up in a panic. He looks at Sid helplessly. Rose’s expression goes blank. She places the phone on the dining room table and looks back at her family. They watch in approval.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GAMES ROOM - DAY Chris, still strapped to the chair, wakes up again. He is drained. The arm of the chair is more torn than before. The television in front of Chris flickers on again... CHRIS Wait-- The image that comes on isn’t the teacup this time. Instead it’s...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ARMITAGE ESTATE - SUNSET A beautiful landscape of the Armitage grounds. In it, the sun rises through a clearing in the trees accompanied by SOOTHING CLASSICAL GUITAR MUSIC. 86. There is a distinctly dated mid 90’s feel to the look of the video. Chris is confused. The image pans to reveal ROMAN ARMITAGE 80 Caucasian, watching the sunset. ROMAN Ah, is there anything more beautiful than a sun rise? Roman turns to the camera. We recognize him as Dean’s father from the pictures in the hallway. Underneath the pleasant tone of the video, Roman suppresses a spiteful glee. ROMAN (CONT’D) Hi, I’m Roman Armitage, and if you’re watching this, your probably wondering what’s going on. Well don’t you worry, answers are coming soon. Let’s take a walk...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ARMITAGE ESTATE - CONTINUOUS Roman walks by a hedge which he occasionally prunes as he addresses the camera. ROMAN What if I told you, you would never have to work again. No more responsibility, or difficult life decisions. Isn’t that what you’d want? Let’s take a walk.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. ARMITAGE’S BACK LAWN - MOMENTS LATER Roman walks towards the back of the house. ROMAN You were chosen because of the physical advantages you’ve enjoyed your entire life. I’m certain that with your natural gifts and our determination we‘ll soon both be a part of something greater. Something perfect.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ARMITAGE BACK LAWN - MOMENTS LATER Roman walks in the distance. ROMAN (V.O.) The Coagula procedure is a man-made miracle. (MORE)87. Our order had been developing it for many many years, but was perfected only recently by my own flesh and blood.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ARMITAGE BACK LAWN - MOMENTS LATER ROMAN (V.O.) My family and I are honored to offer it as a service to members of our group. As Roman approaches the house, JOSIE ARMITAGE, 78 Caucasian, waves to Roman through the kitchen window. ROMAN Save your strength. Don’t try to fight it. You can’t stop the inevitable.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ARMITAGE’S FRONT LAWN - MOMENTS LATER The Armitage family stands around Roman. They are all 20 years younger. Dean, Missy, as well as 6 year old Rose and Jeremy. ROMAN And who knows, you might just enjoy being part of our family. The family waves at the camera as it pulls out. The words “Behold the Coagula” come up. The Screen goes blank. A few seconds later. The screen pops back on to...",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GAME ROOM - TELEVISION - DAY Jim Hudson, with shaven head, sits on a hospital bed. And faces Chris through the television. JIM Hey Chris. How’s it going...? You can answer. There’s an intercom in the room. CHRIS I need water. JIM I know, this probably feels like some kind of sick joke or...ROMAN (V.O.) (CONT'D)88. CHRIS Where’s Rose? JIM You dirty dog. You’re one of the lucky one’s, trust me. Jeremy’s wrangling method sounds way less pleasant. I’m supposed to answer any outstanding questions you may have so far. I guess our common understanding of the process has a positive impact on the success rate of the procedure. Chris is silent. JIM (CONT’D) Okay, then let me just tell you what it is. Phase one was the hypnotism. That’s how they sedate you. Phase two is this. Mental preparation. It’s basically a psychological pre-op. CHRIS Pre-op?",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GAME ROOM - TELEVISION - DAY The television turns off. Chris clenches his body trying to pry free from his restraints, before his shoulders collapse with exhaustion. He lifts his head. The leather arm of the chair is completely torn revealing tufts its cotton stuffing. Chris gets an idea.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GAMES ROOM - DAY We hear nothing except a HEART BEAT. Chris’ head hangs, asleep. His lips are dry. Chris wakes up. The Television turns on. On the screen, a woman’s hand holds a tea cup. With a spoon, she clinks it. We don’t hear it though. We still hear nothing but the HEART BEAT. CHRIS No, No-- Before Chris can finish SCREAMING, his eyes widen. He goes limp -- unconscious again.89.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. OPERATING ROOM. Jim Hudson lies unconscious on one of two operating beds in the center of the room connected to an IV and heart monitors. A bright medical light shines on Jim’s shaved head which also has a dotted line around it. The other bed is empty and has a light shining on it as well. This bed is for Chris. Dean stands in ceremonial operating scrubs in the middle, his palms upwards in silent prayer near some ceremonial candles. Jeremy, also in scrubs, watches his father. Dean finishes his prayer. DEAN Saw... Jeremy hands Dean a circular surgical saw. DEAN (CONT’D) Get the vessel. Jeremy leaves as Dean begins to saw into Jim’s cranium.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DARK HALLWAY Jeremy wheels a wheelchair and IV down the hallway. JIM For Phase three: Brain transplantation. Partial actually, the piece of your brain connected to the nervous system needs to stay put, keeping those intricate connections intact, so you won’t be gone; not completely. A sliver of you will still be in there somewhere; limited consciousness; You’ll be able to see and hear what your body is doing, but your existence will be as a passenger... an audience. You’ll live in-- CHRIS (defeated) --In The Sunken Place. JIM That’s it. That’s what she calls it. I’ll control the motor functions so I’ll be--90. CHRIS --Me... You’ll be me. JIM Good. You got it quick. Good on ya. CHRIS Why black people..? JIM Who knows. People want a change. Some people wanna be stronger, faster, cooler. Blah blah blah, but don’t lump me in with that ignorant shit. I could give two shits about race. I don’t care if you’re black, brown, green, purple... whatever. People are people. What I want is deeper: Your eye, man. I want those things you see through. CHRIS That’s crazy. JIM Is there a greater complement?",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. GAMES ROOM Jeremy enters with the wheelchair. He unstraps Chris’ arms then legs. Then turns to prepare his IV. Chris raises behind Jeremy with a bocce ball in his hand. He’s not really hypnotized! He hits Jeremy in the back of the head with the bocce ball. Jeremy crumples in pain. Chris hits him again. Jeremy falls limp and blood rushes from his head.,FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. OPERATING ROOM Dean is busy sawing Jim’s cranium off.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. GAMES ROOM Chris takes the earplugs out of his ears and can hear again.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. OPERATING ROOM Dean finishes sawing the top of Jim’s skull off. He removes the cranium preciously exposing Jim’s brain.91. DEAN Jeremy...? Dean walks to the doorway and scans the dark hallway. It’s quiet. Chris emerges charging from the darkness with Deer’s head in his arms. He punctures Dean through the neck and body with the antlers. Dean and stumbles back into the operating room, bleeding from neck and torso. DEAN (CONT’D) Ahhh-- His scream gargles. Dean falls knocking a candle over which lights the unused bed on fire. The fire grows fast. Chris slams the door shut and continues through the dark hallway lined with ceremonial photos. He finds the pitch black stairwell and ascends to...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. KITCHEN - NIGHT Georgina sits nearby knitting . The window, like before, reflects the room around them. She sniffs the air. She is suddenly afraid. She turns off the light illuminating the back yard. She turns the light back on again. Chris’ bloodied reflection emerges from the basement door behind hers. He looks savage. Georgina runs out the back door. Chris heads to the door, but sees his phone on the dining room table. He goes for it.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MISSY’S OFFICE - CONTINUOUS Chris picks up his phone and presses the power button. The loading screen comes up. Chris walks to the front door.They see each other. The teacup is on the table by the chair in the middle of the room. They both go for it, Chris gets there first. He knocks the teacup off the desk shattering it. They stare each other down for a moment. Missy walks towards her desk and Chris follows. Missy grabs a letter opener from the desk and stabs him through the hand. Chris grabs her wrists. He is unhinged. He pushes his forehead against hers in a show of primal dominance. In this moment he becomes a being motivated by revenge. MISSY No. No. No!92. Chris screams in rage. He pushes Missy further into her office. We hear the struggle and screams of a excruciating fight. We see a quick flash of a stab. We hear a CRASH as a lamp light turns off. The FIGHT SOUNDS slow down. MISSY GARGLES. Chris comes out of the room bloodier than before holding the letter opener.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FOYER - CONTINUOUS Chris turns towards the front door. Jeremy comes out of nowhere with blood all over his face, and puts Chris in a rear naked choke hold. Chris attempts to stab Jeremy behind him twice but can't reach him. Chris grabs the door knob and opens the door; Jeremy SLAMS it shut. The struggle continues, and Jeremy’s choke sinks in deeper. Chris goes for the door again; Jeremy kicks the door shut propelling them both back into the wall. Chris looks down. He gets an idea but is losing consciousness fast. With his last bit of awareness, Chris makes a final push towards the door. Reaches for the door knob again; a seemingly futile pursuit. Chris opens the door again, Jeremy KICKS the door again; Chris STABS Jeremy in the leg. Jeremy falls to his knees. Chris kicks him to the ground. Chris stomps on Jeremy’s head 3 times. CHRIS Jujitsu this Motherfucker! Chris takes the keys from Jeremy’s pocket. Moments later...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. ROSE’S ROOM -NIGHT Rose sits on her bed listening to music and researching college basketball. All her pictures are up again.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SPORTS CAR - NIGHT The sports car takes off. Chris is in the driver’s seat. The tubular metal helmet sits next to him in the passengers seat. His phone finally turns on. There is a very small amount of batteries. He turns the ignition. The English to French tutorial comes on.93. TUTORIAL I seem to have misplaced my passport. Je crois avoi egare mon passeport. Chris peels off, driving fast through the field into the night.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SPORTS CAR ON RURAL ROAD Chris dials 911. 911 OPERATOR 911 emergency CHRIS I’m at the Armitage-- Chris looks in the rearview mirror. All of a sudden, BAM! The car slams into and over Georgina, who, in the night, seems to have come out of nowhere.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. ROSE’S ROOM - NIGHT Rose takes off her head phones. She heard something.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. ARMITAGE FRONT LAWN -NIGHT He drives on a few more seconds on a flat tire but then stops the car. Chris breathes heavy. CHRIS (to himself) No... no... Don’t do it... Just get the fuck gotta here... Just go! Just... He looks back and sees Georgina’s body laying motionless. Chris flashes back.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. YOUNG CHRIS’ APARTMENT - NIGHT Young Chris watches TV in his apartment.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. SPORTS CAR - NIGHT Chris looks back at Georgina.94. CHRIS Fuck!,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. ARMITAGE FRONT LAWN - NIGHT Chris gets out of the car to get Georgina. The house is beginning to burn from deep inside. He lifts her up and,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SPORTS CAR - NIGHT Moments later... TUTORIAL Where is the nearest train station? Ou est la gare la plus proche? He puts Georgina into the passenger’s seat of the car. He shuts the door and gets in the driver’s seat. He floors it. As Rose comes out of the house with a rifle. ROSE Grandma!!! After a moment of driving, Georgina’s eyes open and she rises. She is Grandma. The wig slides off her head revealing an old surgical scar around the top of her head. Chris hasn’t noticed her yet. He reaches for his phone. TUTORIAL Can you please call the police? Pouvez-vous s’il vous plait appelez la police? Annoyed, Chris turns off the sound system just before Georgina grabs his face. They both scream. Chris, veers the car into a tree. Georgina‘s head hits the windshield hard and bursts open. She’s dead. So is the car. A bullet hits the rear view mirror. Rose stands with the hunting rifle 100 Ft behind the car. Chris crawls out of the car and runs. Rose shoots a tree and starts reloading. ROSE Grampa! Walter, the grounds keeper, runs from behind Rose at top speed. Walter is grandpa aka Roman Armitage and he’s so fast.95. As Walter/Roman sprints across the front lawn strait at him. Walter’s hat flies off revealing the surgical scar around his head like the others. Walter/Roman closes the gap quickly. As Chris reaches the road, Walter/Grandpa pounces like a jaguar and rolls him over on his back. He grabs Chris’ face. WALTER/ROMAN Damn you to Hell!!! Rose arrives behind them. WALTER/ROMAN (CONT’D) You ruined everything!!! Chris, blinded, raises his phone to Walter/Roman’s face. He takes a picture, flashing strait into Walter/Roman’s eyes. Walter/Roman doesn’t shoot. Instead he looks up. Rose is confused as to why Walter/Roman has stopped. ROSE What...? Grandpa--? Walter/Roman raises and gathers his bearing. His eye is cocked and blood trickles out of his nose. He holds his hand out for the gun. She gives it to him. Walter/Roman shoots Rose in the stomach. She falls. Walter turns to Chris. His face changes from Walter’s anger to Roman’s rage. He points the gun at Chris. WALTER/ROMAN I never beat Jessie’s time. CHRIS What? Walter/Roman raises the gun under his own chin and shoots himself through the head. He falls. Approaching sirens blare in the distance. Chris lays in shock. It’s over until... Rose is still alive! Blood pours from her mouth. ROSE Ahhhhhh! She goes for the gun, and grabs it, but Chris pulls her away and ends up on top. ROSE (CONT’D) Wait. Wait. Chris!.... Chri-96. Chris chokes her. Tears stream down his face. Chris is lost in violence. CHRIS Shhhh. Rose convulses. She scratches his hand and cheeks. He’s too strong. She stares at Chris’ eyes as her consciousness fades. Then, through the agony, her face curls into a twisted smile. Psycho. Chris pulls his hands off her neck. She’s not going to make him a monster. Rose is confused, sure he would do it. CHRIS (CONT’D) Cold and alone... Rose grimaces in agony. Her wound is bleeding a lot now. Siren lights flash on the side of their heads. The scene doesn’t look good. Chris turns towards them raising his hands. Rose smiles again and pleads with the approaching officers. ROSE Help. Help! He’s trying to kill me. The driver of the car opens the door. It’s Rod. The siren’s are coming from a TSA security vehicle! ROD Oh shit! Chris! (to Rose) You fucked now, huh? Chris hobbles to the car. He gets in the passengers side. The gravity of what he’s been through sets in. Rod looks at Chris. Rod tries to gauge Chris’ mental state by see He tries to breaking the tension. Chris is silent and emotionless. Not a smirk. Rod realizes he may be too late to save Chris’ sanity. Rod looks at Rose through the windshield. ROD (CONT’D) What about her? CHRIS I think we need some time apart.97. Chris looks at Rod and gives a little smirk. Rod exhales in relief. Rod does a three point turn. Rod and Chris drive away leaving Rose to die. ROD I told you to get the fuck out that house, man. Rose watches the car leave.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. ROD’S CAR. NIGHT Chris in the passenger’s seat watches Rose get smaller in the rear view mirror. He takes a breath and shuts his eyes.98.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. OSAGE LODGE MADE OF BARK CIRCA 1900 1 P1 1 P1 We see eyes through cracks and openings of the bark. We see slices of faces peering in. We hear: NON-HON-ZHIN-GA (overlap) Tomorrow we will bury this one. This Pipe Person.NON-HON-ZHIN-GA Kah-see(n) ta(n) theh-ksheh ah(n)-kee-xeh ta(n)-kah- txah(n). Nah(n)-nee-oh(n)-pah theh-ksheh nee-kah-shee-kah eh-koh(n). CUT TO THE PIPE in his hand. Old Osage men sit in a circle around a small fire in the center of the lodge. Osage women sit in an outer circle next to the walls of the lodge. The Non-hon-zhin-ga leads the meeting. He is holding the Pipe. NON-HON-ZHIN-GA(CONT'D) This one gave us courage. This one has been our messenger to Wah-kon-tah. It is time for us to bury this Pipe with dignity and to put away its teachings. Those children who are outside listening they will learn another language. They will be taught by white people. They will learn new ways and will not know our ways.NON-HON-ZHIN-GA(CONT'D) Nah(n)-nee-oh(n)-pah thek- sheh wah-zhee(n)-dah(n)-kah wah-kshee-theh nahn-peh. Theh- ksheh wah-kohn-dah wah-pah- zheen theh nahn-peh. Nah(n)-nee-oh(n)-pah ksheh wah-xeh ah-xoh-peh eh-txah(n) koh-eh ee-eh ee-tah ee-heh- ah(n)-theh tah ah-kxai. Zhee(n)-kah-zhee(n) ah-shee- dah nah(n)-zhee(n) pah ee-eh eh-zhee(n) pee-oh(n) tah ah- pah. Ee(n)-shdah-xee(n) nee- kah-shee-kah ah-pah wah- koh(n)-zeh tah ah-pai. Ohk’- ah(n) tseh-kah pee-oh(n) tah ah-pah kah-koh(n) tah(n) ohk’- ah(n) ah(n)-koh-dah-pee ee- pah-hoh(n) zhee tah ah-pah. He stops - he wraps the Pipe. The WIFE OF THE PIPE KEEPER receives the Pipe bundle. TIME CUT: The WIFE OF THE KEEPER OF THE PIPE holds the Pipe which is P2 P2 wrapped in a woven cover. She cradles it in her arms and close to her breasts and in her grief she rocks The Pipe as she would rock an infant. The woman and ANOTHER PIPE MOURNER wail a prayer song for one who has died. KOTFM - Final Shooting Script - August 10, 2022 1. KOTFM - Final Shooting Script - August 10, 2022 2.NON-HON-ZHIN-GA (V.O.) Tomorrow when Grandfather Sun is overhead we will bury this Sacred Pipe.NON-HON-ZHIN-GA (V.O.) Ga-see(n) tah(n) wee-tsee-koh mee(n) mah-shee tah hee thah- hah nah(n)-nee-oh(n)-pah wah- koh(n)-dah-kee ksheh ah(n)- kee-xeh tah(n)-kah-txah(n).",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. OSAGE LODGE MADE OF BARK CIRCA 1900 P3 P3 The Osage men and women exit the lodge followed by the children - they come toward us. NON-HON-ZHIN-GA (V.O.) We have agreed to do this...NON-HON-ZHIN-GA (V.O.) Eeh-ahn-kee-ohn ahn-nahn- shtahn ahn-kah-txahn... POV TRACKING SHOT OF THE LAND P4 P4 NON-HON-ZHIN-GA (V.O.) And it is hard to put aside things this sacred. Still, tomorrow we will bury this Pipe.NON-HON-ZHIN-GA (V.O.) Gah-thohn tah-tahn wah-xoh- peh ee-heh-theh wah-tseh-xee ah-kxai. Gah-seen tahn nahn- nee-ohn-pah ksheh ee-heh-ahn- theh shohn tahn-kah-txahn. CUT TO THE PIPE BEING BURIED P5 P5 Wailing sound cuts to silence. SILENT “NEWSREEL” IN 1:33 ASPECT RATIO (TINTED? B/W?) P6 P6 INTERTITLE The chosen people of chance. (The anointed of oil and gas.) The richest people per capita on earth... The Osage Nation! CUT TO AN IMAGE.[DELEGATION WITH OFFICIALS] P7 P7 INTERTITLE Osage spending sprees delight the nation.KOTFM - Final Shooting Script - August 10, 2022 2. KOTFM - Final Shooting Script - August 10, 2022 3.CUT TO BEAUTIFULLY DRESSED OSAGE MEN AND WOMEN. P8 P8 INTERTITLE Expensive jewelry. CUT TO EXAMPLES OF JEWELRY. P9 P9 INTERTITLE More Pierce Arrows than any county in the U.S.A. CUT TO AN OSAGE COUPLE POSED BY A PIERCE ARROW P10 P10 INTERTITLE(CONT'D) And chauffeurs to do their bidding - CUT TO CHAUFFEUR opening the car door for a handsome Osage P11 P11 couple. CUT TO Car driving on a dirt road. P12 P12 INTERTITLE(CONT'D) Scores of prime beef cattle slaughtered for their barbeques. CUT TO A BAR-B-QUE. P13 P13 INTERTITLE(CONT'D) It’s not all play and games as many mixed-blood children attend the best private schools and colleges. CUT TO OSAGE COLLEGE STUDENTS. [Art Class?] P14 P14 INTERTITLE(CONT'D) Yet rodeos and parades brighten up the year. CUT TO IMAGES OF RODEOS and PARADES. P15 P15 INTERTITLE(CONT'D) Archery, anyone? CUT TO ARCHERY CONTEST. P16 P16 INTERTITLE(CONT'D) How about golf? CUT TO Osage playing golf. P17 P17KOTFM - Final Shooting Script - August 10, 2022 3. KOTFM - Final Shooting Script - August 10, 2022 4.INTERTITLE(CONT'D) These fortunate daughters of chance. These mixed-blood Osage girls have known only luxury and ease. CUT TO OSAGE PRINCESS CONTEST P18 P18 INTERTITLE(CONT'D) My people will be happy in this land. White man cannot put iron thing in ground here. White man will not come to this land... Chief Wah-Ti-An-Kah CUT TO tinted romantic image of an actor playing CHIEF WAH TI P19 P19 AN KAH standing in a noble position. INTERTITLE(CONT'D) Chief Wah-Ti-An-Kah declared this way back in 1870... but in 1896... CUT TO OIL BUBBLING OUT OF THE GROUND P20 P20 INTERTITLE(CONT'D) OIL! A rumble from the ground is heard... INTERTITLE(CONT'D) Throughout the years, the problem with the Indian has been poverty. With these Osage, the problem is now wealth. CUT TO: AN OIL WELL EXPLODING (IN FULL COLOR AND 2:35 WIDESCREEN) P21 P21 A geyser of oil shoots up. Osage - shirtless - are covered in oil as it rains down on them - baptized in the black gold. CAMERA SWEEPS OVER FIELD OF OIL DERRICKS P22 P22KOTFM - Final Shooting Script - August 10, 2022 4. KOTFM - Final Shooting Script - August 10, 2022 5.",SENTI +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TRAIN CAR – MOVING – SPRING, 1919 1 1 The train is crowded with travelers, WWI Soldiers (Osage and white), oil executives/engineers, Osage families, vagabonds and hustlers. We come upon ERNEST BURKHART (white, 30s) his uniform half off, half drunk, heading back home. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. TRAIN DEPOT/FAIRFAX – DAY 2 2 The train pulls into the station and the variety of passengers get off – into a mass of activity – hustlers, families reuniting, businessmen, shoppers - Ernest steps onto the platform and takes it all in. A well dressed little person hands Ernest a flier – he reads it: “Make it Rich”. As Ernest walks past the TAXI STAND he sees very well dressed well-to-do Osage greeting their families and getting into beautiful cars. We see four or five poor sketchy characters who are loitering around the station looking hungrily at the well-to-do Osage. Ernest reacts. Then a fight breaks out. Ernest skirts around it and through the fight a large man comes from behind him: HENRY ROAN (Osage, 30s) Very handsome, striking, well-dressed, hair in braids. HENRY ROAN Ernest? Ernest Burkhart? ERNEST ...Yeah?... HENRY ROAN I’m Henry - Henry Roan. ERNEST Henry... HENRY ROAN I’m to take you to your Uncle Hale.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FANCY CAR – DRIVING 3 3 Ernest and Henry Roan driving, seeing rows of derricks in wide open space... ERNEST Who’s land is this here? Henry?KOTFM - Final Shooting Script - August 10, 2022 5. KOTFM - Final Shooting Script - August 10, 2022 6.HENRY ROAN My land.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HALE’S RANCH – DAY 4 4 They drive under a sign that says, “HALE RANCH” and there are no derricks here. This is a cattle ranch. UNCLE WILLIAM HALE, KING OF THE OSAGE (60s) comes out to meet Ernest with a warm greeting, accompanied by his wife MYRTLE “MYRTIE” HALE and daughter WILLIE. Hale mutters something to Henry Roan in broken Osage… Hale just holds on tightly to Ernest, happy he’s back alive.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HALE’S RANCH – LIVING ROOM 5 5 Hale and Ernest, sitting together by the fire… HALE Times like this people put castles in the air, held aloft by hysteria, rush blind with greed, based on fear, unfounded fear. Fear running all over the place and screaming like animals. This is a cattle ranch. There’s no oil here. So I’m settled with no fear. These Osage have had enough trouble, they’re down to not too many of them left. There’s a way that nature moves and changes direction and that’s happened upon them. Time will run out, this wealth will run dry drier than the seven years of famine that plagued the Pharaohs of old. They’re sick people. Big hearted but sickly. You saw bloodshed? ERNEST Well, some... I was a cook in Infantry.KOTFM - Final Shooting Script - August 10, 2022 6. KOTFM - Final Shooting Script - August 10, 2022 7.HALE Did you see Kelsie Morrison, he was over there. ERNEST I did. Otis Griggs and others. If you remember... HALE Soldiers have to eat. You fed the soldiers that won the war. ERNEST Saw more die from the flu. Hale looks at him. HALE What happened to your stomach? ERNEST My gut burst. HALE You’re lucky to be alive. ERNEST They gave me a belt. Told me not to do heavy lifting. HALE You made a good choice coming back here. Texas got nothing. So much changed last years of what’s happened. Hard to recognize the place I can tell you that... Money is spent freely here now. ERNEST Yes, sir. The oil, sir. HALE There’s very much money. ERNEST I love money, sir. HALE You call me Uncle or King... remember? ERNEST King.KOTFM - Final Shooting Script - August 10, 2022 7. KOTFM - Final Shooting Script - August 10, 2022 8.HALE Did you pick up any disease? ERNEST No. HALE Keep that thing wrapped up over there? ERNEST Yes, sir. HALE You like women. ERNEST Yes, King, course I do, it’s a weakness. HALE What kinds they have out there? ERNEST Just white that I saw. HALE You like red? ERNEST Red and white, I don’t mind. I like all of ‘em, I’m greedy. I like heavy ones, pretty ones, soft ones, ones that smell good. Hale pours some Whiskey. In the b.g., through the front door enters: BYRON BURKHART, Ernest’s brother, comes over to join them. HALE Taste that. ERNEST Good. HALE Don’t get played out in the open with liquor or you’ll cause trouble. That right, Byron? BYRON That’s right, King. Ernest looks from his brother Byron back to his Uncle.KOTFM - Final Shooting Script - August 10, 2022 8. (MORE)KOTFM - Final Shooting Script - August 10, 2022 9.HALE There’s only one deputy Sheriff I don’t hold a commission under... I am officially a reserve deputy sheriff in Fairfax... but I don’t want to bring unwanted eyes... ERNEST I will not find that trouble, I won’t do stupid things. HALE Is your head on straight after being over there? ERNEST Yes of course. I’m not thick, sir, I’m strong - HALE I have a place to put you, driving. I’ll put you there, that’s for you. Cause you can’t do much else ‘cause of your gut. Most fellows out here are crooked, some do things well, most do bad, don’t be simple. ERNEST No, sir, I won’t. HALE Don’t make small trouble about things... If you make trouble, make it big - get a big payoff from this, you see? You don’t read do you? ERNEST I can read. HALE You smarten yourself up. ERNEST I read – Hale reaches over and gets a book (shows Ernest who leafs through the pages) - HALE Osage are sharp. They don’t talk much so that might make you run your mouth to fill the space. ‘Specially if you’ve been drinkin’. (MORE)KOTFM - Final Shooting Script - August 10, 2022 9. HALE (CONT'D)KOTFM - Final Shooting Script - August 10, 2022 10.But it’s better to be quiet if you don’t have something smart to say. Don’t get caught on that - it’s just what they call “blackbird talk” (imitating) “cheep cheep”. Just because they’re not talking doesn’t mean they don’t know things about everything. Osage are the finest and most beautiful people on God’s earth. INT - BUNKHOUSE TYPE OF PLACE 6 6 Looking down on an OSAGE MAN writhing in agony - crying out. His body suffers severe convulsions. Tighter on his BOOTS with a JUG lying on its side.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PITTS BEATY’S BUSINESS – DAY 7 7 CU. MOLLIE. She has come to her monthly check in with her guardian, PITTS BEATY (50s, white, grand wizard KKK). An embroidery framed behind him spelling “KIGY”. Pure formality: PITTS BEATY State your name. MOLLIE I am Mollie Kyle, incompetent. PITTS BEATY What is your allotment number? MOLLIE Two hundred and eighty five. PITTS BEATY You’ve asked for additional monies of $752.00 to pay the claim of the Shoun Brothers? A medical billfor an abcess. MOLLIE Yes, sir. PITTS BEATY Was the operation successful?HALE (CONT'D)KOTFM - Final Shooting Script - August 10, 2022 10. KOTFM - Final Shooting Script - August 10, 2022 11.MOLLIE Yes, sir. PITTS BEATY And the diabetes? MOLLIE I’ve a prescription now at Fairfax drugs, etc. PITTS BEATY You got to look out for that, you know. MOLLIE ... PITTS BEATY Now Mollie... it’s your mother - You know she’s restricted, too, so we have to account for every penny. It says here she spent $319.05 on meat at the grocery! Don’t you think that’s an awful lot of meat for what she needs? MOLLIE Yes, Mr. Beaty... PITTS BEATY Well you look after that, won’t you? MOLLIE ... Yes. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FAIRFAX STREETS – DAY 8 8 Traditional and “modern” dressed Osage gathered outside the bank (or same office building as Mollie) to deposit their quarterly annuity checks. A carnival atmosphere as a clerk directs Osage assembling. CLERK Line up for Allotment (annuity) payments! Unrestricted Only – this line... Restricted – take your guardian – he’ll sign your check for you! Busy day - Stay in line.KOTFM - Final Shooting Script - August 10, 2022 11. KOTFM - Final Shooting Script - August 10, 2022 12.Traditional Osage couple come forward. Clerk leads them inside. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CAR SHOWROOM - LOOKING DOWN AT A MAN, SALESMAN, ON HIS 9 9 KNEES. HE’S LOOKING UP AT SOMEONE, BEGGING. SALESMAN ...You do this it’ll make all the difference cause my wife’s been feeling poorly. Doctor says it’s her constitution but the boy has asthma and that just... you just got your check - you’re unrestricted. Please! We see THREE OSAGE with THE SALESMAN. The OSAGE look at him. OSAGE MAN (pointing to his blanket) This color. The SALESMAN SLAMS his hand against a black Pierce Arrow car. Overjoyed. ERNEST WAITING ON THE STREET, AT HIS CAB. NEARBY HUSTLER 10 10 PHOTOGRAPHERS LOOK TO TAKE ADVANTAGE OF THE OSAGE WITH FRESH FUNDS. HENRY ROAN IS THERE WITH A YOUNG WOMAN - ENJOYING THE PATTER. HENRY AND ERNEST SEE EACH OTHER. PHOTOGRAPHER 1 [NEED LINES] ...$30 - get a photo taken for posterity – PHOTOGRAPHER 2 C’mon! – Don’t go by him, he doesn’t know nothing - he’s an amateur - Don’t you want a nice picture to be remembered in a proper way for your family? Only $40...KOTFM - Final Shooting Script - August 10, 2022 12. KOTFM - Final Shooting Script - August 10, 2022 13.INSERT: THREE POSED STUDIO PHOTOS OF OSAGE (USING ANTIQUE 11 11 CAMERA): Two men posing on a crescent moonprop, Osage relatives in a formal portrait (mix of traditional and “modern” clothing) and the four sisters - Mollie, Reta, Anna, Minnie. PUNCH IN TO a C.U. of Mollie MOLLIE EMERGES FROM BEATY’S OFFICE. ERNEST GOES TO HER: 12 12 ERNEST Mollie... this way - lot of characters around here today - be careful. He opens the door for her as an IMPROMPTU CAR RACE speeds by with 10-15 people including kids chasing and cheering after. Ernest rushes Mollie into the car. Two of the people rushing after are KELSIE MORRISON (white, 30s) local hustler, flamboyant dress and CATHERINE COLE, (OSAGE) his wife. KELSIE Hey Ernest!(to Catherine) We were at the front together in France. ERNEST Kelsie Morrison! KELSIE Great to see you. My wife Catherine Cole. (to Ernest sotto voce) Full blood. ERNEST Sky people - ? Ernest looks over to Mollie to see if this is impressing her. Suddenly A HORSE is spooked by the cars. KELSIE Lots of money on this! Kelsie races after the cars. Pitts Beaty looks down at Mollie.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CATHOLIC CHURCH/FAIRFAX STREET – DAY 13 13 Quiet exterior of the church. Ernest is waiting in his car. Then Mollie exits the church, says goodbye to the PRIEST. KOTFM - Final Shooting Script - August 10, 2022 13. KOTFM - Final Shooting Script - August 10, 2022 14.The HOMINY FOOTBALL TEAM passes her as Ernest jumps out of the car and opens the door for her -- See Mollie and we hear: HALE (V.O.) You know who I mean when I say Mollie Kyle? ERNEST (V.O.) Yea HALE (V.O.) You know the one I mean, of the sisters.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BILL HALE’S RANCH - LUNCHTIME 14 14 Sitting around a dining table HALE, ERNEST and BYRON: ERNEST I know which one, Mollie HALE Mollie is the one, she lives with the mother Lizzie... ERNEST mm I know, Uncle, which one, I know her. I’ve been drivin’ her - HALE Drivin’ her... well Matt Williams used to go with her for a time and she’s not, they’re not together in a way now – so that means you could have a proposition at that if that struck you – ERNEST you want me to see after Mollie? Why she’s a regular customer of mine. (sotto voce) And I think she likes me... HALE that Mollie’s easy to like and a full blood Estate at that, that’s something a man could work with… Ernest gets it, thinks, turns and looks at his brother Byron…who nods at him…as if Byron has already heard this idea and is encouraging Ernest…KOTFM - Final Shooting Script - August 10, 2022 14. KOTFM - Final Shooting Script - August 10, 2022 15.HALE(CONT'D) You got a good face - you can be the marrying kind? ERNEST how do you mean? Ernest looks again to Byron…Byron looks back. HALE -- we mix these families together and that estate money flows the right direction, will come to us - That’s a full blood estate, and she gets that money of her Mother Lizzie. That’s good business that and legal. Not against a law, that’s smart investment.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ERNEST’S TAXI 15 15 Ernest and Mollie in the car. ERNEST I heard you went with Matt Williams for a time – MOLLIE …you talk too much. ERNEST no, not talk too much, I’m just asking about who I gotta beat in this horse race..he he MOLLIE So you race horses, do you? ERNEST I’ve been known to. MOLLIE ... (scoffs) Huh! He scoffs back. CUT TO:KOTFM - Final Shooting Script - August 10, 2022 15. KOTFM - Final Shooting Script - August 10, 2022 16.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LIZZIE/MOLLIE’S GRAY HORSE HOME 16 16 Ernest drops Mollie off at her home. Teasing smiles as he watches her head inside. And over her we begin to hear Ernest reading - ERNEST (V.O.) “When they first moved to Oklahoma territory, people put up signs…” FLASH ON CAMERA: A SIGN THAT READS, “NO DOGS, NO INDIANS” 17 17",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BUNKHOUSE/HALE RANCH – DUSK 18 18 CU. Ernest, reading from a book at a 6th grade level about Osage culture and history. CU. flipping pages of the book. Continues reading - ERNEST Osage weren’t ever part of the “five - Byron Burkhart comes in and gathers up Ernest, who throws the book down: BLACKIE THOMPSON (white, 30s) BYRON You remember Blackie Thompson? They all jump into a car and head off into the night... ERNEST (V.O.) Osage weren’t ever part of the “five civilized tribes,” the Cherokee, Chickasaw, Choctow, Creek and Seminole...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DENOYA HOUSE – FAIRFAX - NIGHT 19 19 A well-dressed Osage couple: MR. AND MRS. FRED DENOYA get out of the car by their garage when THREE MASKED MEN (Ernest, Blackie, Byron) come up on them and take their Diamond Rings and Stickpin. DENOYA Just take my car, don’t take my ring, my father gave me that –KOTFM - Final Shooting Script - August 10, 2022 16. KOTFM - Final Shooting Script - August 10, 2022 17.BLACKIE Don’t want the car, just them jewels. Give me that (he pulls at his ring) You didn’t do nothing to earn this. They run off into the night.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BASEMENT/FAIRFAX – NIGHT 20 20 Ernest betting stolen jewels on a table. He, Blackie and Byron in a poker game with OTHER GUYS. ERNEST I love money. I love money, turn those cards over – Cards turned over. They lose.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. POOL HALL/FAIRFAX – DAWN 21 21 Ernest and the rest leaving the pool hall at dawn, dejected, head in different directions. Ernest gets in his cab. ERNEST (READING, V.O.) “Dawn was always a sacred time for prayers…”",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LIZZIE/MOLLIE’S GRAY HORSE HOME – DAWN 22 22 LIZZIE Q., Traditional Osage, Mollie’s mother, prays at dawn by a creek near the house. ERNEST (V.O.) “They call the sun ‘grandfather.’ The moon ‘mother.’ Fire, ‘Father.’” SEE: A SUN THROUGH THE CLOUDS. A CRESCENT MOON. A WILDFIRE BURNING THE PRAIRIE. ERNEST (V.O.) They call it the “flower moon” – when tiny flowers spread over the blackjack hills and prairies. There are so many, it’s as if a spring festival of the gods left confetti there. (Matthews p.61)KOTFM - Final Shooting Script - August 10, 2022 17. KOTFM - Final Shooting Script - August 10, 2022 18.We see tiny Spring flowers spread over the prairie.",SENTI +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BRUSH ARBOR/OSAGE VILLAGE – SUNRISE 23 23 The baby naming ceremony. Ernest stands by the car, watching Mollie and the ceremony from a distance. Mollie’s extended family is here. ERNEST (V.O.) ... given your Osage name - it’s how you will be called to the next world - your Osage name can never be taken away from you.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LIZZIE/MOLLIE’S GRAY HORSE HOME – ANOTHER DAY/AFTERNOON 24 24 Ernest pulls up to Mollie’s Homestead. Servants. A few male ranch hands take care of the property. Ernest, carrying shopping bags, helps Mollie to her door. Mollie hands Ernest a box. He opens it. It’s a hat. MOLLIE Here put this on. Ernest tries on the hat... MOLLIE(CONT'D) Do you want dinner? ERNEST Yes.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LIZZIE/MOLLIE’S GRAY HORSE HOME – THAT MOMENT 25 25 As Ernest steps inside, he sees: LIZZIE Q, Mollie’s mother. She stares at him, he nods to her. She is very old and in traditional Osage style rests on the floor... he tries a smile at her, she doesn’t. ERNEST (V.O.) Wah-Kon-Tah, means God. The special ones who went ahead in the fog to new places are called, “Travelers in the Mist.” KOTFM - Final Shooting Script - August 10, 2022 18. KOTFM - Final Shooting Script - August 10, 2022 19.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LIZZIE/MOLLIE’S GRAY HORSE HOME - DINING ROOM 26 26 Mollie and Ernest finishing their dinner... She offers him a CIGARELLO. Lizzie is asleep in the next room. They speak quietly: ERNEST Don’t you want a bite of this? MOLLIE I got too much sugar. ERNEST You can never be too sweet now can you? MOLLIE It makes me sickly. ERNEST [He eats. Then] You live in this house just with your Mother? MOLLIE I take care for her. You live with your Uncle. ERNEST Yes. Do you know him? MOLLIE Since I can remember. ERNEST He’s a nice man. MOLLIE Why did you come here? ERNEST ...for what? MOLLIE To live here? ERNEST Yes. I live here. MOLLIE Why? ERNEST For my Uncle. I work with him.KOTFM - Final Shooting Script - August 10, 2022 19. KOTFM - Final Shooting Script - August 10, 2022 20.MOLLIE Your brother is Bryan. ERNEST Byron. That’s right. MOLLIE There’s more... ERNEST More brothers? Horace and Duke. Yes. MOLLIE Are you scared of him? ERNEST My brother... Who? MOLLIE ...Your Uncle. ERNEST Well, no. He’s the King of the Osage Hills. He’s the nicest man in the world but I know if you cross him what he can do. I’m my own man, I do my own work. I’m a businessman. silence, then: ERNEST(CONT'D) My uncle doesn’t scare me... you have all those sisters? MOLLIE ...What is your religion? ERNEST ... I’m Catholic... MOLLIE You don’t come to church. ERNEST I’ve, yes, I’ve been away. How come you don’t have a husband? MOLLIE ...KOTFM - Final Shooting Script - August 10, 2022 20. KOTFM - Final Shooting Script - August 10, 2022 21.ERNEST I’m a man and I want to know why a woman like you doesn’t have a husband? MOLLIE ... ERNEST You have nice color skin... Mollie looks. ERNEST(CONT'D) What color would you say that is? MOLLIE ... My color. ERNEST Well, I think it’s pretty. You got nice color skin. You got a nice house. And I think you just pretend to be so severe. I bet you have a soft belly on the inside... MOLLIE psh, Trickster...MOLLIE Eh-sheh, sho-mee-kah-see... ERNEST Did you say Coyote?... Well, if I’m a coyote and you’re a raven... we can help each other out. MOLLIE ...Coyote wants money. ERNEST Well that money’s real nice, especially if you’re lazy like me... I want to sleep all day and make a party when it’s dark… RAIN starts to fall. We can hear it through an OPEN WINDOW. MOLLIE Do you like whiskey?MOLLIE Do you like peh-tseh nee? ERNEST I don’t like whiskey, I love whiskey.KOTFM - Final Shooting Script - August 10, 2022 21. KOTFM - Final Shooting Script - August 10, 2022 22.MOLLIE I have good whiskey, not bad whiskey. ERNEST I think we should try some and find out... Mollie gets up to get a bottle. We hear THUNDER. Wind is blowing the rain in. Ernest gets up to close the window. MOLLIE No. Don’t close it. ERNEST What? MOLLIE We need to be quiet for awhile. Sit down. They go back and sit. He looks at her. She looks at him. He looks over at Lizzie. MOLLIE(CONT'D) A storm is... well it’s powerful. So we need to be quiet now. An awkward moment. ERNEST Well... it’s good for the cattle. That’s for sure... MOLLIE Just be still. There’s a solemnity that comes over the two of them. A bond. CUT TO:",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LIZZIE/MOLLIE'S GRAY HORSE HOME. 27 27 Rain battering the exterior of the house. CUT TO:KOTFM - Final Shooting Script - August 10, 2022 22. KOTFM - Final Shooting Script - August 10, 2022 23.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CATHOLIC CHURCH – DAYS LATER 28 28 Ernest has joined Mollie for Sunday services. Mollie’s sisters are here: ANNA (the wild one) RETA (sensible one) MINNIE (the weak one). And MINNIE’S HUSBAND, BILL SMITH (white, 30s). PRIEST Let us pray. (Ora pro nobis) Ernest stands. Then - embarrassed - sees that everyone is kneeling. Bill Smith is doing it right. Gives Ernest a look. (Sizing each other up.)",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CATHOLIC CHURCH – SAME DAY 29 29 A gathering, picnic after Church. Osage style with people eating on the ground. A SHINNY game being played nearby - Ernest watches with PAUL RED EAGLE. Hale standing with a group of Osage men including Henry Roan watching an OSAGE ARTIST PAINTING THE SCENE. They’re laughing together. He notices Bill Smith with Minnie who’s sitting with her sisters eating. An OLDER OSAGE WOMAN leans over to give Minnie something and reveals a knife under her clothing. Hale looks over to Ernest - then to Mollie. Ernest looks over to Mollie and her sisters. ANGLE, MOLLIE AND HER SISTERS. 30 30 They’re talking about Ernest…in OSAGE: MOLLIE He’s not that smart but he’s handsome.MOLLIE Sheh-theh kee-oh-pxah-zhee ahkxah, ah-zheen thah-leen ah- kxai. RETA He looks like a Snake.RETA Wets’ ah ween ee-kohn-skah ah- kxah-ee. MOLLIE No, he looks like Coyote. Those Blue Eyes.MOLLIE Hahn-kah-zhee, shohn-meen-kah- see ween ee-kohn-skah doh-hoh theh.KOTFM - Final Shooting Script - August 10, 2022 23. KOTFM - Final Shooting Script - August 10, 2022 24.ANNA His brother is handsome, too. I like the brother more.ANNA Ee-son-kah ah-kxah thah-leen shkee ah-kxah-een. Eh ahn-oh- xtah xtsee. MINNIE That red haired rat?MINNIE Een-tsoh-dahn pah-xeen zhoo- tseh theh? ANNA Better than your possum, playing dead and lazing around the house.ANNA Eeh thah-leen, seen-shdah thee-dah ah-kxah, ts’eh thee- hee-tseh oh-thoots’ ah-keh shkee oh-tsee-leh eh-tsee ah- kxah-ee. MINNIE He’a possum around you, he’s like a rabbit to me...MINNIE Thee-eh ah-kee-xeh seen-shdah ween ah-kxah-ee, ahn-zhee wee- eh mahn-shtseen-kah ween eh- kohn ah-kxah-ee. RETA Be quiet. Coyote’s watching.RETA Oh-nee theen-kah. Shohn-meen- kah-see dohn-peh ah-kxah-ee. (They all look at him.) MINNIE He wants our money.MINNIE Mahn-zeh-skah ahn-koh-dah- pee kohn-thah ah-kxah-een MOLLIE Of course he wants money, but he wants to be settled. He’s not restless...MOLLIE Mahn-zeh skah kohn-thah skah, ah-zheen meen-lahn-keh kohn- thah ah-kxah skah. Eh dah-eh- thah-leen ah-kxah-een. MINNIE With him you won’t need Pitts Beaty to tell you what to do with your money.MINNIE Zo-thah-leh, Pitts Beaty dah- dah(n) thee-dah oh-thoh-wah- theh shkoh(n)-shdah ee(n)-kee dah(n). RETA His Uncle has money... it’s not money he wants... he loves you.RETA Een tseh-kee ah-kxah mahn-zeh- skah ah-theen ah-kxah-een… Mahn-zeh-skah een-kee ah-kxah- een… Thee-oh-xdah-peh CU. MOLLIE looks at Ernest.KOTFM - Final Shooting Script - August 10, 2022 24. KOTFM - Final Shooting Script - August 10, 2022 25.CU. ERNEST looks at Mollie.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAR – DUSK 31 31 Ernest and Mollie parked out away from Mollie’s house, like teenagers making out in the back of the car. She puts his hand on her stomach, looks down at it. MOLLIE Your hand looks on my skin... ERNEST You’re going to marry me Mollie. I want you to be my wife. Will you do that? They kiss. HALE (V.O.) ...Can you stand her? ERNEST (V.O.) She’s easy to like. SOMEWHERE 32 32 HALE Will she be intimate with you when you need that? Whenever you desire that? ERNEST Yes. She’s... she’s not a nag... she’s... I love this girl, Mollie, Uncle, I really do think she’s a lady... HALE You found a wife.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LIZZIE/MOLLIE’S GRAY HORSE HOME – DAY – SUMMER 1919 33 33 A GROUP OF YOUNG OSAGE RUN in a FOOTRACE toward a DECORATED CAR carrying Mollie dressed in full WEDDING REGALIA. A RUNNER reaches Mollie first and they all celebrate. CU MOLLIE. CUT TO:KOTFM - Final Shooting Script - August 10, 2022 25. KOTFM - Final Shooting Script - August 10, 2022 26.UNDER AN ARBOR, THE TRADITIONAL OSAGE LEADER BLESSES in OSAGE the newly married Mollie and Ernest. Witnessed by all of Gray Horse and Fairfax. An Osage style reception. Extended family and Kelsie Morrison and Catherine Cole. The BIGHEARTS: GRACE and JOHN (wearing his traditional roach) and BERTHA and JOE. A JUSTICE OF THE PEACE holding a BIBLE stands with Bill Hale. TRADITIONAL OSAGE LEADER crossfades with Bill Hale’s voice: his own blessing: HALE I’ve known Mollie and her sisters since they were little girls running around making trouble... I just want to say on behalf of my wife Myrtle and my daughter Willie, I’m just so glad a member of my family is mixin’ with the great Pah- soo-oh-leen. Mollie’s dear departed father, Nah-kah-e-se-y, was my beloved friend of the heart. He used to tell the white men to just call him Jimmy, but I called him by his proper name... As Hale’s voice continues, we see -",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LIZZIE/MOLLIE’S GRAY HORSE HOME – LATER 34 34 Mollie presiding over an Osage “giveaway”. A HORSE decorated with blanket is presented to THE TRADITIONAL LEADER as a gift. Lizzie straightens up her daughters’ wedding coats and An Osage woman takes a photo of wedding party with the LATEST CAMERA. Band playing (white music) - people dancing - noticeably Kelsie. Hale’s POV. He goes through the crowd - glad handing like a politician – but focused on Minnie who looks weak and Bill. He reaches them ignores Bill Smith - there’s tension: HALE What do you need for, Minnie? MINNIE No. Sir. HALE You’re well taken care of? You have proper medicines?KOTFM - Final Shooting Script - August 10, 2022 26. KOTFM - Final Shooting Script - August 10, 2022 27.MINNIE Yes. HALE Because I want you to know that you have the best care if you need... I don’t want you to be afraid. MINNIE (tearing up) HALE So many troubles. What we’ve brought on you... I’m sorry... I hear it in the wind, it screams like a woman who has the evil spirit, that’s what you Osage say...HALE So many troubles. What we’ve brought on you... I’m sorry... Tah-tseh kee eh ah- nahnk-’ohn, wahk’-oh ween nahn-xeh hohn-zhee ah-theen tseh eh pahn eh-kohn, that’s what you Osage say... Hale invokes an Osage prayer for Minnie... All the while, freezing out Bill Smith... who looks away. HALE(CONT'D) Great Mystery Remove the sickness from her Remove the evil spirit from her You bless those who are sick I want you to bless Minnie AmenHALE(CONT'D) Wah-kohn-dah Hoo-heh-kah lah-theen hah theh wah-thah-kshee. Nah-keh hohn-zhee lah theen hah theh wah-thah-kshee. Hoo-heh-kah than-ka thee- thahk’-eh wah-thah-kshee. Minnie, thahk-eh thahk-shee kohn-brah meen-ksheh Kah-sheh-nahn Hale’s Prayer continues over the next scene. CUT TO B/W HOMES MOVIES OF OSAGE 35 35 FOOTBALL GAME featuring one OSAGE FOOTBALL PLAYER coming at us. Hale’s Osage prayer fades away as we hear Mollie’s voice. CUT TO: MOLLIE (V.O.) JOHN WHITEHAIR. Age 23. No investigation.KOTFM - Final Shooting Script - August 10, 2022 27. KOTFM - Final Shooting Script - August 10, 2022 28.FOOTBALL PLAYER LAID OUT ON A BED DEAD. 36 36 NEWSREEL FOOTAGE BILL STEPSON FAMOUS OSAGE ROPER, DOING A 37 37 ROPING TRICK. CUT TO: MOLLIE(V.O.) BILL STEPSON. Age 29, No investigation. BILL STEPSON LAID OUT DEAD. 38 38 HOME MOVIES OF ANNA SANFORD, FULL BLOOD, AND HER FAMILY. 39 39 Family picnic, kid in stroller, OR other family activity MOLLIE (V.O.) ANNA SANFORD. Age 41, No investigation. ANNA SANFORD LAID OUT DEAD. 40 40 CUT TO: HOME MOVIES OF ROSE LEWIS LAUGHING WITH FRIENDS. 41 41 MOLLIE (V.O.) ROSE LEWIS: Age 25, No investigation. ROSE LEWIS BODY FLOATING IN A MARSH. 42 42 SARA BUTLER, AGED 21, BEAUTIFUL AND PREGNANT IS SITTING ON 43 43 HER FRONT LAWN, PLAYING WITH HER INFANT BABY. MOLLIE (V.O.) And Sara Butler... Age 21...KOTFM - Final Shooting Script - August 10, 2022 28. KOTFM - Final Shooting Script - August 10, 2022 29.She is suddenly shot. WHITE MAN comes out of the house, walks over to her, places a GUN next to her as if it’s a suicide and takes the infant baby inside. MOLLIE (V.O.) ...suicide. We see SARA BUTLER’S body on the ground.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MINNIE’S HOUSE - BEDROOM – DAY – 1 YEAR LATER 44 44 MINNIE has died. It’s a year later. MOLLIE (V.O.) MINNIE, my sister, Wasting illness. (I can’t understand.) Mollie and her sisters mourning over Minnie who has recently died. Lizzie is close by in mourning. TIME CUT:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MINNIE’S HOUSE - 45 45 Minnie’s wake. Her open casket sits in room off the livingroom. She is dressed in her finest Osage traditional clothing. A feather sits on her chest. LIZZIE touches her hands, her chest, her head, then her own heart and head. In the living room, family and friends milling around the house. Ernest, his wardrobe completely transformed, dressed like a dandy. Bow tie, colorful wardrobe touches, is waiting in the living room. Bill Smith comes from the kitchen. Ernest and Bill Smith look at each other a little, odd, tense. BILL SMITH Ernest would you mind sitting outside? ERNEST Why’s that? BILL SMITH Because that’s just the way it’s going.KOTFM - Final Shooting Script - August 10, 2022 29. (MORE)KOTFM - Final Shooting Script - August 10, 2022 30.There’s people around... Ernest gets up and moves to the porch.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MINNIE’S HOUSE 46 46 Bill Hale is here with Anna. He slips her a FLASK. She walks away. Ernest sits with him. HALE It shows itself to you that Bill Smith didn’t take the care of Minnie the way he could have? ... To have her sick and die to take her headrights and her land? ERNEST mm. HALE That should go to her sisters, your wife… by rights that should go to Mollie. ...With these women dying, with how Osage suffer from illness… you will make it the headrights come to you. That is sensible and safe, you see? ERNEST Yes. HALE How is Mollie feeling? ERNEST Alright. She takes care of the little one... HALE That’s the Osage way. They’ll tolerate anybody - even whites - for their children. That’s their riches. ERNEST She’s sick with diabetes most days, you know. HALE Yes of course she is. It’s just waiting on this clock to stop... if she’s lucky. If not... (MORE)KOTFM - Final Shooting Script - August 10, 2022 30. HALE (CONT'D)KOTFM - Final Shooting Script - August 10, 2022 31.well suffering is a long, needless road... Like it said in Job, “the days of affliction have taken hold upon her... “ This diabetes is a trial to bear... Don’t have to be but it is. CU. HALE looks at Ernest. Ernest looks back, then away… HALE(CONT'D) The Mother, Lizzie… LIZZIE HELPED OUTSIDE BY HER DAUGHTERS TO GET AIR. 47 47 Mollie is carrying her first child ELIZABETH. They sit Lizzie down make her comfortable. Young Osage help their Elders get food, get comfortable. HALE (V.O.) Most Osage don’t live past 50, she won’t last. BACK TO HALE - 48 48 After her... Reta... Anna... Then of course, there’s Mollie. ERNEST Well, Mollie - she’s sick but she’s strong, King. HALE I know she’s strong now, but later... Think of our children. Our grandchildren... CU. ERNEST listens to all this. HALE(CONT'D) Now Anna - Carries a gun in her purse for heaven’s sake, did you know that? (laughs)HALE (CONT'D)KOTFM - Final Shooting Script - August 10, 2022 31. (MORE)KOTFM - Final Shooting Script - August 10, 2022 32.INSERT: ANNA, DRUNK, IN TOWN, AT NIGHT, REACHES IN HER 49 49 ALLIGATOR PURSE, PULLS OUT A GUN AND IS THREATENING A DRUNK WHITE MAN WHO GRABBED HER. SHE FIRES THE GUN ON THE GROUND IN FRONT OF HIM. HALE I love her but - she’s gonna pick a fight with the wrong person one day, won’t she? HALE AND ERNEST LETTING THIS SETTLE 50 50",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. OIL FIELD 51 51 CHARLES WHITEHORN, (20s OSAGE) wearing distinctive clothing IS SHOT. He is dragged away and dumped.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LIZZIE/MOLLIE’S GRAY HORSE HOME - DAWN 52 52 Mollie and daughter Elizabeth praying at dawn by a creek. They walk back to their home... which is now over-run with Fancy Cars parked out front, painted various colors --",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LIZZIE/MOLLIE’S GRAY HORSE HOME - QUIET SPOT - MORNING 53 53 Mollie is holding her new baby, JAMES “COWBOY” and blowing SMOKE in his ear to soothe an earache. Ernest is with Elizabeth. All sitting together. Mollie and Ernest are telling an Osage story. MOLLIE/ERNEST ...Coyote said to Whirlwind, ‘That’s a beautiful name, I want to marry you.’ And she said, ‘No, I’m too young.’ She said, “Well, you’ve got a funny face, you got some funny looking arms, your tail is kind of funny and I really don’t want to marry you.’ And Coyote said,‘Oh but it would be damaging to our reputations if we don’t get married.’ And she said, ‘Well, okay’. (MORE)KOTFM - Final Shooting Script - August 10, 2022 32. MOLLIE/ERNEST (CONT'D)KOTFM - Final Shooting Script - August 10, 2022 33.Then Coyote tried to grab her and she took off and picked him up and carried him in the air and took him far away... and dropped him. “There,’ she said, ‘when I say something you will remember what I said.’ And she left, and Coyote ended up choking on that dust she left behind. We see the four of them together as a family. Mollie’s voice carries over into the next scene. EXT/",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LIZZIE/MOLLIE’S GRAY HORSE HOME – SAME MORNING 54 54 Byron is asleep on the porch, he gets up - goes in the house. Horace comes out of the back bedroom with his two kids. From another room we see DUKE BURKHART come out. All getting ready for breakfast. JAMES “COWBOY”, is carried to a high chair by MARTHA, the servant. A visiting AUNT ANNIE and UNCLE JIM are there. Lizzie, her eyes closed, is on the floor to the side. CUT TO: OWL DREAM (OWL IN THE EMPTY HOUSE?) 55 55 OWL in the house. CU. LIZZIE - she opens her eyes. She’s looking at all these people in her house. Mollie comes over to her, in Osage, subtitles: LIZZIE Did you see the Owl?LIZZIE Wah-poh-kah ee-thah-theh? MOLLIE No.MOLLIE hahn-kah-zhee. LIZZIE When you do it’s a sign that we are dying.LIZZIE Ee-thah-theh thah-hah oh- peh-nee eh ahn-xee-thah ahn-kah-kxah-een.MOLLIE/ERNEST (CONT'D)KOTFM - Final Shooting Script - August 10, 2022 33. KOTFM - Final Shooting Script - August 10, 2022 34.MOLLIE We are dying.MOLLIE Ahnts’eh tah ah-pah. LIZZIE Because of you... You all marry white men. Our blood is getting white. Where’s Anna? I want Anna.LIZZIE Thee-eh dahn … een shdah-xeen wah-shtsoo-xah-peh. Wah-peen ahn-koh-dah-pee ah-kxah skah ah-hee-peh. Hoh-wah- een-kee Anna? Anna konbrah meenk-sheh. MOLLIE I’m here.MOLLIE Sheh meen-ksheh. LIZZIE I don’t want you, I want Anna.LIZZIE Thee-eh konbrah mah-zhee meenk-sheh, Anna konbrah meenk-sheh. The AUNT ANNIE looks at Cowboy and the daughter Elizabeth: AUNT ANNIE ... huh... This one’s more white than that one... You’d hardly know this one’s a half-breed would you?",SENTI +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LIZZIE/MOLLIE’S GRAY HORSE HOME – LATER 56 56 An hour later and Anna pulls up in a cab, gets out and is clearly very drunk in the middle of the day... Ernest, by a well, sees her wobble up to the house... ANNA Are you laughing?ANNA Ee-thah-xah? ERNEST Not yet... but...ERNEST Hahn –kah-zhee…ahn-zhee… Mollie, from the window of the house, sees Anna and comes out... in OSAGE/ENGLISH MIX: ANNA I brought blankets for Momma.ANNA Hah-xeen toh-eh ee-nahn ah- breen ah-tsee-eh. MOLLIE You’re drunk already?MOLLIE Ee-toh, thah-lohn-shtseen shtsee- shtahn?KOTFM - Final Shooting Script - August 10, 2022 34. KOTFM - Final Shooting Script - August 10, 2022 35.ANNA I’m still drunk from last night, you woke me up.ANNA Hahn tsee tah ah-lohn-breen shohn ah-theen-heh ahn-shchee- xeen peh. MOLLIE Stay outside a little, don’t let Momma see you this way.MOLLIE Kah-txahn ah-shee tah wah- spah, ee-nahn theh-kohn ee- thee-thah theen-kah. ANNA I’m just lay with her, don’t fuss on me, Mollie…ANNA Eh ah-zhahn meen-ksheh. Ahn- wahn-kee-ah theen-gah, wee- deh-zheen",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LIZZIE/MOLLIE’S GRAY HORSE HOME – THAT MOMENT 57 57 They enter and all the Burkharts turn and see the hot-mess of Anna. She makes a straight line for Byron… Ernest enters the house, watching uncomfortable the whole tense interaction that is a mix of Osage/English: BYRON Hello, Anna. You steady? ANNA I’m pickled. Do you have any whiskey? BYRON You drank it last night. ANNA My man can drink my whiskey -- BYRON I’m not your man… ANNA You maybe don’t have a choice... BRYAN Are you making threats? Keep yourself settled down in here, Anna, no one wants a mess.BRYAN Kee-dah-keh ee-eh shkah-xeh thah-een-sheh? Keep yourself settled down in here, Anna, Oh’-ee-eh tseh peh kon-thah een-keh.KOTFM - Final Shooting Script - August 10, 2022 35. KOTFM - Final Shooting Script - August 10, 2022 36.ANNA You’ll do right. ERNEST You’re making threats, Anna. Don’t do that.ERNEST You’re making threats, Anna. Eh-kee-ohn theen-kah. ANNA (to Ernest) You can’t talk - you’re no different...(to Byron) I’m telling you a secret that you don’t know... You think I open my legs for any man?ANNA (to Ernest) Ee-eh shtsoo-ts’ah-keh thah- txahn-sheh – thee-eh kohn-zeh- kohn thah-txahn-sheh.(to Byron) I’m telling you a secret that you don’t know... You think I open my legs for any man? BYRON I get that feeling. She smacks him, he laughs a little. Ernest jumps in, Mollie comes over and ushers her away, it turns messy – Aunt Annie watching the whole scene, shaking her head. Things settle. Byron gets up and moves to get another drink from Martha, who’s scared: BYRON(CONT'D) (whispering to her) You’re so pretty. You know me? MARTHA Yes. BYRON What do you know? Anna comes over and starts throwing punches -- Ernest and Mollie attempting to calm things: ANNA Fuck yourself Byron Burkhart. (to Martha) You want I’ll cut you, talking to my man? BYRON I’m not your man, I’ll do as I please.KOTFM - Final Shooting Script - August 10, 2022 36. KOTFM - Final Shooting Script - August 10, 2022 37.ANNA If I see you with any woman I will kill that woman and then I will kill you. BYRON You’ll have to kill me before I kill you. Anna goes for the gun in her purse. Ernest stops her and pushes Byron out of the house -- MOLLIE Don’t scream in the house. Don’t scream in front of the children.MOLLIE Tsee tah ho-tahn theen-kah. Zheen-kah-zheen ah-kee-xeh ho- tahn theen-kah. ANNA Stay away from these white women. Stay away from this prostitute.ANNA Stay away from these white women. Stay away from this Wa- co-no-ho(n). CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LIZZIE/MOLLIE’S GRAY HORSE HOME – DAY 58 58 Byron and Ernest outside, quiet moment smoking a cigarette: BYRON Did you hear they found Charlie Whitehorn dead? ERNEST Ay. Who did that? BYRON I don’t know. ERNEST ...his wife? BYRON Most likely. PAUSE, THEN, RE: ANNA. BYRON(CONT'D) Time for me to take her home now. ERNEST (nods)KOTFM - Final Shooting Script - August 10, 2022 37. KOTFM - Final Shooting Script - August 10, 2022 38.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LIZZIE/MOLLIE’S GRAY HORSE HOME - LIZZIE’S BEDROOM – 59 59 LATER Anna is sobering up, laying with her mother Lizzie. In Osage, subtitles: LIZZIE You’re wild.LIZZIE Dah-eh-thah-leen-zhee thah- een-sheh. Anna smiles and then there’s a BANG ON THE DOOR. ERNEST (OC) Anna. Time to leave.ERNEST (OC) Anna, mahn-theen eh-dxahn. LIZZIE You’re my best blessing.LIZZIE Thahk’eh-ahn-kee-theh oh- tsee wee-dah neenk-sheh. ANNA I’m your favorite?ANNA Kee-oh-xtah ahn-shkah-xah- peh? LIZZIE Yes. Stay with me here.LIZZIE Ahn-hain. Theh-kah zhoh-ahn- leh wah-spah. Ernest bangs again. ANNA (IN ENGLISH) STOP BANGING. CUT TO:",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LIZZIE/MOLLIE’S GRAY HORSE HOME - UPSTAIRS – THAT 60 60 MOMENT Anna comes out and Ernest is there, she gets a little surly. ANNA Time for me to go, Ernest? ERNEST Yes. ANNA You don’t want me here, do you? You want to get rid of me, snake. tsk tsk. You’re afraid I’ll say too much.KOTFM - Final Shooting Script - August 10, 2022 38. KOTFM - Final Shooting Script - August 10, 2022 39.She wobbles down the steps... Mollie comes to her and they have a tender moment, speak Osage, subtitles: MOLLIE Please go home and sleep, don’t go out. You’re my wealth...MOLLIE Thah-leh zhahn thah-leen, eh- tsee tah mahn-theen theen- kah. Oh-thoh-xdah we-dah thae- sheh ANNA Don’t worry little sister.ANNA Oak-ka shea-ga inka, wee-day- jee. MOLLIE (to Ernest) Get her straight home.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BYRON’S CAR 61 61 Ernest helps Anna into Byron’s car. Byron’s at the wheel. ANNA (TO BYRON) Let’s go find another drink... CU. MOLLIE having come down the path - anxious - ERNEST (to Mollie) Byron’s got her! He’ll get her home. Ernest and Mollie go inside. Car pulls away. MOLLIE’S POV, WIDE SHOT 62 62 The car heads to Fairfax. CHIEF BONNICASTLE (V.O.) I want to present to the council the matter of two murders that have occurred within the last few days. MONTAGE: DAY ANNA’S BODY FOUND: MOLLIE AT DAWN, PRAYING. 63 63KOTFM - Final Shooting Script - August 10, 2022 39. KOTFM - Final Shooting Script - August 10, 2022 40.INT/EXT: TERRACE OF BON BON CAFE - DAY 64 64 Sheriff comes to find Mollie treating her kids to French pastry. INSERT: MOLLIE IS DRIVEN TO THREE MILE CREEK. 65 65 CHIEF BONNICASTLE (V.O.) The Osage are in terror. There is only fear. EXT: THREE MILE CREEK - DAY 66 66 Ernest is here and half the town already. CHIEF BONNICASTLE (V.O.) I present this matter to the council for consideration - MOLLIE’S POV – She walks towards the murder scene, all the faces look TOWARD CAMERA at her... She looks down and sees a Wooden Box being pulled up from the dry river bed. CHIEF BONNICASTLE (V.O.) - and for any action that they may see fit to take in the matter... ERNEST HOLDING MOLLIE LOOKING. ANNA’S BODY ON A MAKESHIFT 67 67 TABLE. UNDERTAKER TURTON Is that your sister Anna Brown? Mollie identifies Anna’s body. TIME CUT: THEY WATCH THE MAKESHIFT AUTOPSY. HALE COMES OVER 68 68 AND CONSOLES HER. KOTFM - Final Shooting Script - August 10, 2022 40. KOTFM - Final Shooting Script - August 10, 2022 41.INSERT: CHARLIE WHITEHORN’S BODY IS FOUND BY SOME OIL WORKERS 69 69 DAYS AFTER BEING SHOT. CHIEF BONNICASTLE (V.O.) These two members of the tribe, Anna Brown and Charles Whitehorn have been murdered and were found almost at the same time, although in different parts of the County. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROUNDHOUSE - TRIBAL COUNCIL EMERGENCY MEETING – DAY 70 70 CHIEF BONNICASTLE (40s, Osage) leads the meeting… CHIEF BONNICASTLE The inquest showed that these two Indians had been killed days before they were found... CUT TO MOLLIE, LISTENING. 71 71 CHIEF BONNICASTLE In the case of Anna Brown funds is being raised by the family here on the West Side of about $2000 to $5000 reward for the arrest and conviction of the murderer. Mollie Burkart has hired a Private Investigator. MOLLIE Yes. CHIEF BONNICASTLE We will now hear from Paul Red Eagle... PAUL RED EAGLE The big amounts of money which the Osage receive have brought to the County a very undesirable class of citizens. They are a flock of buzzards who steal from us. Some of these have married our young women. SEE: ERNEST, he looks around.KOTFM - Final Shooting Script - August 10, 2022 41. KOTFM - Final Shooting Script - August 10, 2022 42.CHIEF BONNICASTLE I employ some of them. But I don’t know if they are really my friends. They say they are. Some don’t even pretend to work. These people are bums - ish-tak-hi - white people - common vags. INSERT: KELSIE MORRISON, BYRON BURKHART, BLACKIE THOMPSON 72 72 POSING IN PORTRAIT STUDIO [LIKE THE REFERENCE PHOTO OF YOUNG HALE & HIS COWBOY BUDDIES]. BACK TO TRIBAL COUNCIL MEETING - 73 73 PAUL RED EAGLE We cannot depend on the county or state officials. We need your help. Each member of the tribe is to clean up their homes themselves. BILL SMITH, Minnie’s widower, sits down next to RETA, she comforts Bill. CHIEF BONNICASTLE Murder, we’re being murdered by these ishtakhi. There are so many dead now.... BILL HALE rises and says: BILL HALE I’d like to add $1000 to that reward for any information about these murders. That means if you know something about this, you come and see me, you all know I’m easy to find - CHIEF BONNICASTLE Thank you, Mr. Hale. Your friendship has always been greatly appreciated... I move that we use tribal funds to send Mr McBride to Washington DC. PAUL RED EAGLE I second the motion. CHIEF Is Mr. Barney McBride here?…KOTFM - Final Shooting Script - August 10, 2022 42. KOTFM - Final Shooting Script - August 10, 2022 43.BARNEY MCBRIDE Yes, Chief, I’m here... A man stands up: BARNEY McBRIDE (50s, white) (married to Osage) stands up. CHIEF BONNICASTLE Mr. McBride, good afternoon... Resolution 23. Barney McBride will travel to Washington D.C. and meet with the Indian Affairs Commission to ask for investigators and additional police in this matter of all this death. Do you accept this? BARNEY MCBRIDE Yes I do. CUT TO: Mollie and Ernest as the meeting breaks up. ERNEST That’s going to cost more than your annuity payment. The tribe should take care of that not you. (love...) MOLLIE Most of it will go to Pitts Beaty’s guardian payments otherwise... [BEAT] Ernest? You think I’m incompetent? ERNEST No. (love) MOLLIE We’re going make you my guardian - that way it stays in the family.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FURNITURE STORE/UNDERTAKER – FAIRFAX – DAY 74 74 Ernest and Mollie waiting out front. Reta approaches with BILL SMITH on her arm. ERNEST Bill. BILL SMITH How are you, Ernest?KOTFM - Final Shooting Script - August 10, 2022 43. KOTFM - Final Shooting Script - August 10, 2022 44.ERNEST You’re here now, huh? BILL SMITH Reta was a comfort to me when Minnie died.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FURNITURE STORE/BACK ROOM UNDERTAKER – DAY 75 75 Mollie and Reta are with a CLOSED CASKET holding Anna’s body. Ernest in the front of the shop. ERNEST Hey, listen, leave the jewels be on this one. UNDERTAKER TURTON (hushed) Oh I do it so nobody knows. ERNEST C’mon, Frank. Just leave it be this time. (looking at the bill) $10 for grave digger gloves, $25 hearse rental, you’re charging Osage prices you think I’m thick? UNDERTAKER TURTON No. (It’s same price for everyone.) ERNEST McAllister’s entire funeral didn’t cost more than $300. This is $2000. UNDERTAKER TURTON McAllister’s girl was a youngster – ERNEST I’m gonna tell Hale you’re charging me Osage prices. UNDERTAKER TURTON We can do a wooden box if you’d like –KOTFM - Final Shooting Script - August 10, 2022 44. KOTFM - Final Shooting Script - August 10, 2022 45.ERNEST I don’t want a wooden box, you’re charging Osage prices, tell me you’re not. UNDERTAKER TURTON Your wife even wanted an open casket - ERNEST There’s no face. Why would she want it open? (reading) $25 dollar emblame (sic) preparation – you’re stealing our money. UNDERTAKER TURTON It’s not your money - just get more money for the bill – doesn’t hurt you. I work for my money like the good Lord said. Sow and reap, Ernest, Sow and reap. Did you ever see an Osage work? ANGLE, OVER RETA AND MOLLIE, ONTO THE COFFIN HOLDING ANNA’S CORPSE. CU. THE TWO SISTERS looking down.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BIG HILL TRADING COMPANY - SCOTT MATHIS OFFICE - DAY 76 76 Mollie & Ernest and Reta & Bill are sitting with SCOTT MATHIS (white, 40s) executing Anna’s will. He’s showing them a ledger. SCOTT MATHIS (V.O.) Your sister Anna leaves an estate of approximately $100,000... This is willed to your mother Lizzie Q and you, Mollie, and you, Reta... SCOTT MATHIS This is Anna’s last annuity. Out of respect, in the name of the Big Hill Trading Company, Bill Hale has waived our fee. He hands checks to Bill and Ernest. KOTFM - Final Shooting Script - August 10, 2022 45. KOTFM - Final Shooting Script - August 10, 2022 46.SCOTT MATHIS (CONT'D) (to Ernest) Now that you’re Mollie’s guardian, best of luck with it, Ernest. (to Mollie) I heard Tall Chief hired The Emmett Miller Minstrel Show to come and play his birthday party. You all could do that with this gravy you’ve got here. Have a party for the whole town... Scott continues to blather on... MOLLIE’s voice is heard: MOLLIE (V.O.) It doesn’t do to talk to this man.MOLLIE (V.O.) Nee-kah theh oh-kee-eh oh-kah- keh-een-keh",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FAIRFAX STREETS – TRAIN DEPOT – DAY 77 77 CU. MOLLIE, as she walks through the crowded streets with Ernest by her side. He guides her by the arm. CAMERA as her POV seeing a never ending collection of WHITE FACES. (note: the following voiceover from SUNDOWN by JJ Mathews) MOLLIE (V.O.) IN OSAGE Evil surrounds my heart. Many times I cry and this evil around my heart comes out of my eyes, and I say it is gone, this evil, but again it comes. I close my heart and keep what is good there, but hate comes…MOLLIE (V.O.) Hohn-zhee thahn-tseh wee-dah ah-kee-xeh ah-kxah. Ah-xah- keh shee-nahn kah-thohn hohn- zhee theh thahn-tseh wee-dah ah-kee-xeh een-shdah wee-dah ee-dahn ah-hoo-eh, koh-eh eh theen-keh ep-sheh, hohn-zhee theh, ahn-zhee shee ah-hoo ah- pai. Thahn-tseh wee-dah ah-pee- sahn meen-ksheh koh-eh eh- tsee dah-dahn thah-leen kee- tseh-theh meen-ksheh, ah- zheen ee-see ah-hoo... Mollie watching for someone, all the Speculators, Vagabonds, Hustlers jumping off the arriving train. Ernest amongst them, looking for someone…KOTFM - Final Shooting Script - August 10, 2022 46. KOTFM - Final Shooting Script - August 10, 2022 47.MOLLIE (V.O.) My heart is cold and I say I ought to kill these white men who killed my family.MOLLIE (V.O.) Thahn-tseh wee-dah nee-tseh ah-kxai kah-thohn een-shdah- xeen ah-pah tsee-leh wee-dah ts’eh-thah-peh, eh ts’eh-ah- theh thah-leen ehp-sheh. One of the men getting off the train: PRIVATE DETECTIVE WILLIAM J. BURNS with mustache walks up: WILLIAM J BURNS Mrs. Burkhart? MOLLIE Yes. WILLIAM J BURNS Bill Burns. I solve crimes. This is my card. He hands over his card. CU. CARD, lists all these cities: WILLIAM J BURNS(CONT'D) My address is New York, London, Paris, Montreal, Chicago, Los Angels, Cairo, Berlin, Boston and wherever else a law-abiding citizen may find need of men who flush out criminals that prey upon those who walk straight.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. - CAFE 78 78 William J Burns talking to Mollie, Ernest is sitting here, listening: WILLIAM J BURNS Funny it’s been two weeks and still no one from the Sheriff’s department has been to Anna’s place to corroborate Byron’s story. I stopped by - found her alligator purse there, though. Which means Byron’s not lying - he brought her home. ERNEST My brother’s not a liar.KOTFM - Final Shooting Script - August 10, 2022 47. KOTFM - Final Shooting Script - August 10, 2022 48.WILLIAM J BURNS ...your youngest sister Minnie, who died of wasting illness two years ago was married to Bill Smith... MOLLIE Yes. WILLIAM J BURNS And that is the same Bill Smith that is currently married to your sister... Reta? MOLLIE Yes. WILLIAM J BURNS Same Bill Smith? Same Bill Smith, two sisters?",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. FAIRFAX TOWN – FLASHBACK DAY 79 79 BILL and RETA SMITH exiting Sheriff Freas’ office. WILLIAM J BURNS (V.O.) He’s busy with his own investigation into Anna’s death... BILL AND RETA TALKING TO THE CAB DRIVER THAT DROVE ANNA THE 80 80 DAY OF THE MURDER... CAB DRIVER We didn’t go straight there – BILL SMITH Where’d you go? CAB DRIVER Graveyard out past Florers. She wanted to look at her land then she wanted to visit her Father.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAB – DAY - FLASHBACK 81 81 The cab has pulled over at GRAY HORSE CEMETERY, Anna in the backseat. She takes a last drink from the flask Hale gave her.KOTFM - Final Shooting Script - August 10, 2022 48. KOTFM - Final Shooting Script - August 10, 2022 49.ANNA I can’t see my Daddy with my hair flying… She fixes her hair, leans in and says: ANNA(CONT'D) Did you know I was going to have a little baby? BOB Oh my goodness, no. ANNA It’s true. CUT TO:",FLASHBACK +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. GRAY HORSE CEMETERY – FLASHBACK 82 82 Anna stumbles across the graves. She arrives at her FATHER’S HEADSTONE, places some flowers down.",FLASHBACK +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAFE - CONTINUED 83 83 Back to Mollie, Ernest and William J Burns: WILLIAM J BURNS Did you know she was pregnant? Mollie doesn’t answer.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. POOL HALL – DAY 84 84 Flashforward: Ernest plays double agent for Hale. ERNEST Anna was pregnant... CU. HALE - Hale considers this. HALE He say Byron? Me? [beat] You make sure we steer clear of that. KOTFM - Final Shooting Script - August 10, 2022 49. KOTFM - Final Shooting Script - August 10, 2022 50.EXT REX MOVIE THEATER 85 85 Bill and Reta visit with the theater manager asking questions. People are on line. WILLIAM J BURNS (V.O.) Smith’s a busy boy talking around town…he says he has a pretty good idea who killed your sister... says he’ll tell all when he has the true facts... CU. BYRON BURKHART watching Bill Smith’s investigation from inside a shop window.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. CAFE – CONTINUED 86 86 Back to Ernest and Mollie: ERNEST What’s he found out? WILLIAM J BURNS Well I just don’t know that part.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. POOL HALL – DAY 87 87 Hale and Ernest talk quietly in the half empty pool hall/barber shop. HALE What’s he found out? ERNEST Nothing. I’ll go see Blackie... HALE ...on that what we talked about... ERNEST About it, yes. HALE To see what he may say on that…KOTFM - Final Shooting Script - August 10, 2022 50. (MORE)KOTFM - Final Shooting Script - August 10, 2022 51.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. GRAY HORSE CEMETERY – NIGHT 88 88 AN EXPLOSION. Blackie and another figure behind a gravestone run. OMITTED 89 89,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. OSAGE CAVES – DAY A90 A90 Ernest RIDES A HORSE to a CAVE AREA and asks A GROUP OF OUTLAWS (6 or 7) where Blackie is. CUT TO:,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. A CRIMINAL HANGOUT AMIDST CAVES, a spot to stash stolen goods and hang out. Ernest and Blackie drink whiskey. Ernest is touching the jewels - ERNEST Disgusting these Osage graves - lot of trouble and it’s dirty. You want something to pay big? Can’t keep doing work with these trouble boys. You’ve gotta use your head, Blackie, think. Hale was thinking we could be partners. Bill Smith - he going around talking a lot. (Quieter) I mean if someone were to knock off Bill Smith and Reta, too, all that Estate would go to my mother-in-law Lizzie Q... and she wills it to my children. That’s a good deal, that. BLACKIE THOMPSON For you. ERNEST For all. Smith and her gone a lot from home and you just go down and plant a stand in the house and when they come in – get them, they’ve got, Reta’s got three or four diamonds and some ear screws and Bill Smith he’s got rocks. He always carries two or three hundred in his pocket and you could get that... (MORE)KOTFM - Final Shooting Script - August 10, 2022 51. ERNEST (CONT'D)KOTFM - Final Shooting Script - August 10, 2022 52.you can keep that, and I know this for sure, Hale would pay you a thousand for the job. Does that sound like a good one to you, Blackie? BLACKIE ... ERNEST Now, I been thinking... you know my little Buick Roadster - that little red one you’ve got your eye on? How ‘bout I throw in you take my Buick Roadster, it’s insured more than it’s worth – I get the insurance you get the Buick. But that’s just a favor. That’s just between us. That’s generous. BLACKIE THOMPSON God damn you’re a greedy Jew. ERNEST I just love money! It’s true. It’s true. I damn near love it as much as I love my wife! I can’t help myself once I get thinking on things -",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT./,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LIZZIE/MOLLIE’S GRAY HORSE HOME – NIGHT 90 90 CAMERA follows the silhouette of BLACKIE THOMPSON running across the front yard of Mollie’s homestead -- ERNEST, at the bedroom window, looks down on the Buick Roadster he’s left in the yard, sees Blackie jump in and start it up, drive off – MOLLIE WAKES UP AT THE SOUND. 91 91 Cowboy is sleeping beside her. MOLLIE What is it?ERNEST (CONT'D)KOTFM - Final Shooting Script - August 10, 2022 52. KOTFM - Final Shooting Script - August 10, 2022 53.ERNEST Lay still. Just some noise. Raccoon... Are you feeling better than this morning? MOLLIE Little. ERNEST (comforting her) You just need sleep, I tell you. You can’t do anything without good sleep. That’s the first thing. MOLLIE I don’t sleep anymore... ERNEST Now. Rest, love... MOLLIE Where are you? ERNEST I’m right here. MOLLIE Are you?... I don’t even know if you love me anymore... ERNEST C’mon now, what do you mean? MOLLIE You haven’t been here. I need you here. ERNEST I’m right here, Mollie. (kissing her) ERNEST(CONT'D) Wioxda. (I love you.) MOLLIE Piwithe. (I love you.) Ernest caresses Mollie. KOTFM - Final Shooting Script - August 10, 2022 53. KOTFM - Final Shooting Script - August 10, 2022 54.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HIGHWAY - DAY 92 92 Ernest’s car and a police car stopped on the side of the highway. Blackie is making a run for it in the prairie. Police chase him. DAVID SHOUN (V.O.) They’re calling it ‘insulin.’. INSERT: FAMILY PORTRAIT #1 A93 A93 Mollie, Ernest, Elizabeth and Baby Cowboy posed for a Family Portrait. CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. TRAIN DEPOT – DAY 93 93 CAMERA is close on a small wooden box, unloaded from the train, amidst all the other big ticket items like people, cattle, large heavy boxes of construction supplies being unloaded, CAMERA follows this small wooden shipping box carried by a YOUNG WHITE MAN. DAVID SHOUN (V.O.) It’s from Toronto and cost dearly. There isn’t more than five people that can afford it. It isn’t officially for sale yet. But Bill Hale has seen to it for you. It’s from a cow’s pancreas.... ...HE BRINGS THE BOX INTO FAIRFAX. HE BRINGS THE BOX UP THE 94 94 STAIRS INSIDE THE BANK TO THE SECOND FLOOR, PAST THE MASONIC HALL AND INTO THE SHOUN BROTHERS DOCTORS OFFICE.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SHOUN’S OFFICE – DAY 95 95 Doctors DAVID and JAMES SHOUN (white, 40s). James Shoun is handling a BOTTLE OF INSULIN from the small wooden box. Ernest is standing next to him, impressed. DAVID SHOUN (O.C.) It will come down to us once a week…KOTFM - Final Shooting Script - August 10, 2022 54. KOTFM - Final Shooting Script - August 10, 2022 55.ERNEST That’s it, huh? Shoun sinking a needle into the bottle. JAMES SHOUN Diabetes can be... MOLLIE, LOOKING HEAVIER/SICK, THEIR DAUGHTER ELIZABETH ON THE 96 96 FLOOR PLAYING. JAMES SHOUN (O.C.) Have you eaten in the last hour? MOLLIE No. DAVID SHOUN Lift your blouse, please. JAMES SHOUN Have you had anything to drink? MOLLIE Goat’s Milk. Hotcakes. ERNEST (in Osage) ...And bacon.ERNEST (in Osage) …wah-shee shkee ELIZABETH And taffy!ELIZABETH Zah-Nee Skee! JAMES SHOUN If you don’t stop eating sweets, this won’t matter. You will lose your feet or worse if you eat like a white... He gives her the shot. Ernest helps Mollie get her shirt and blanket back on. JAMES SHOUN(CONT'D) That should help you some. DAVID SHOUN If you’d like we can come to you twice weekly for a small fee... Ernest helps Mollie.KOTFM - Final Shooting Script - August 10, 2022 55. KOTFM - Final Shooting Script - August 10, 2022 56.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LIZZIE/MOLLIE’S GRAY HORSE HOME – DAY 97 97 BILL HALE has come unannounced to the house. He honks over and over. Ernest looks out the door, Cowboy behind him - interrupted their play on the floor. Ernest comes running out... notices a mood on Hale... Ernest just gets in the car. They drive off.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FAIRFAX – MASONIC HALL/BANK – DAY 98 98 They park the car and get out, Ernest follows Hale… [everyday streetlife around them]",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MASONIC HALL – BACK ROOM – DAY 99 99 Hale and Ernest enter a back room. Byron Burkhart is here, waiting for them. ERNEST Byron... BYRON Brother... Hale takes Ernest by the ear and forces him to kneel. HALE On your knees. Ernest kneeling. HALE(CONT'D) Did you make a deal with Blackie to steal your Red Roadster and cash insurance? ERNEST ...did I... um? Yes, Uncle, I did. HALE Well Blackie has been arrested for stealing your car... What were you supposed to do? ERNEST To feel them out on Bill and Reta. HALE And you got big ideas?KOTFM - Final Shooting Script - August 10, 2022 56. KOTFM - Final Shooting Script - August 10, 2022 57.ERNEST Yes. HALE Now who takes care of Bill Smith and his blanket? ERNEST I don’t know. HALE Bring it to me, please, Byron. Byron walks as directed and gets a paddle hanging on the wall. (Masonic type ritual paddle) Byron gives to Hale. BYRON Hands and knees, brother. HALE I’m a 32nd degree Mason... I’m imbued with confidence, trust and responsibility. You don’t have what it takes to even walk into this hallowed hall. ... You remember when you were a child. You behave like a child now - you get treated like a child. Ernest gets paddled by Hale. The first knocks him forward into chairs. Byron pulls him back up. Then he gives him four good smacks, Hale grabs Ernest by the hair of his head. HALE(CONT'D) Why are you so thick? Follow like your brother and learn. Get up and sit there. They sit, settle, then: HALE(CONT'D) You’re to take control of your home. Do you understand what I mean? ERNEST Yes I do, King. HALE Are you challenged to lead your house? ERNEST ...KOTFM - Final Shooting Script - August 10, 2022 57. KOTFM - Final Shooting Script - August 10, 2022 58.HALE She’s hired a private investigator who noses and brings unwanted eyes. She got the Tribal Council to pay for Barney McBride’s trip to Washington. She’s a very hard headed woman and she’s making things hard on you. ERNEST I’m sorry... you know she is just stubborn. HALE Ernest, Handsome son. The Celestial. We ARE nothing. We’re a speck of dust in the universe - not even that. What’s going to happen to these people. I love them but in the turning of the earth they will go. Their time is over. It’s Destiny. No one has more of a right than me. I’ve been here a long time. Way before the oil came. Now all of a sudden, these people? These hustlers, these vags? It’s gonna go to them? They get it? Not the Osage? Not us?!! They’re taking advantage of our rights. Osage have their oil rights. We have our rights. I own this land. It belongs to us. Ernest, there will not be no lightning strike and it stops happening. It’s going to happen. These headrights got to go to Mollie. Not to the Mother. Not her sister, Reta. Not Bill Smith. Now take back control of your house. NEWSREEL: TULSA MASSACRE 100 100 INTERTITLE Tulsa in Flames! We see Hale, Myrtle and Willie looking at the newsreel. Tighter on Hale. KOTFM - Final Shooting Script - August 10, 2022 58. KOTFM - Final Shooting Script - August 10, 2022 59.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SHOUN BROTHERS’ OFFICE - DAY 101 101 HENRY ROAN is being examined by the two DR SHOUNS. JAMES SHOUN How you feeling, Henry? HENRY ROAN Good. Sometimes I feel sad. JAMES SHOUN That’s not a health issue for us. HALE He’s fit as a fiddle. DAVID SHOUN That he is, Bill. So what are you going to do... kill this Indian? HALE Yes I am. No, no, of course not. He needs to be insured. It’s just a formality. HENRY ROAN What do I do about my melancholy? JAMES SHOUN A little whiskey can help that. While Henry Roan dresses, SHOUN talks to HALE. JAMES SHOUN(CONT'D) I don’t know, Bill, this may not look very good. It’s hard to justify this one, Bill. HALE He owes me a lot of money.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HALLWAY OUTSIDE SHOUN BROTHERS’ OFFICE 102 102 At the foot of the stairs is a young woman PEARL - a friend of Henry’s - waiting. HENRY ROAN Bill, my guardian won’t give me what’s mine. HALE What do you need?KOTFM - Final Shooting Script - August 10, 2022 59. KOTFM - Final Shooting Script - August 10, 2022 60.HENRY ROAN I want to buy some moonshine. PEARL C’mon, Henry, let’s get going. They ignore her. HALE No, Henry. Henry, you don’t need that. It’s hurting you. HENRY ROAN Even the doctor just said I should use some. HALE Don’t mind him, he doesn’t know what he’s talking about. HENRY ROAN Uncle, my wife is on Roy Bunch. HALE Women are all over you, Henry. Be at peace with what you got and don’t do anything stupid... HENRY ROAN I want to hurt myself. HALE No, no, no – you’re not gonna hurt yourself again – that’s not a man’s way out – HENRY ROAN A man gets what’s his. They won’t give that to me. A wife’s to give respect. I don’t want to be here anymore on this place. I’m ashamed... I’m ashamed to be an Indian. Get me some moonshine or get me a gun. HALE Now Henry you go and enjoy yourself with Pearl and don’t do anything stupid. Henry storms off. KOTFM - Final Shooting Script - August 10, 2022 60. KOTFM - Final Shooting Script - August 10, 2022 61.HALE(CONT'D) (calling after Roan) I need you, my friend.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LIZZIE/MOLLIE’S GRAY HORSE HOME - MOLLIE’S BEDROOM – DAY 103 103 CU. MOLLIE, listening to something… She is in her back room where she gets her medical treatments. She’s alone. We hear something outside the room, moving feet, shuffling. The door opens and Ernest brings the Shoun Brothers in. We see this through Mollie’s eyes. Her steadiness, paranoia, watching each move of everyone in the room. It’s a silent scene. They get the needle prepared, the insulin. Mollie in English/Osage, to Ernest: MOLLIE Not today now. Turn them away.MOLLIE Hahn-pah theh, eh-kee-mahn kohn-brah theen-keh. Toh-wah-kxah mahn-theen tseh- ah. ERNEST What?ERNEST Dah-dahn? MOLLIE I don’t want it today.MOLLIE Eh kohn-bra mahn-zhee hahn-pa theh. ERNEST ...but they’re Doctors.ERNEST … wah-kahn-dah-kee eh ah- kxah.. MOLLIE Not today now.MOLLIE Hahn-pah theh, hahn-kah-zhee ERNEST It’s the Shouns, they’re the doctors.ERNEST Shouns eh ah-kxah, wah-kahn- dah-kee eh ah-kxah. MOLLIE Turn them away.MOLLIE Toh-wah-kxah mahn-theen tseh- ah. CU. ERNEST hesitates, thinks, then: ERNEST Fellas, can you stand outside for me please while I speak to my wife?KOTFM - Final Shooting Script - August 10, 2022 61. KOTFM - Final Shooting Script - August 10, 2022 62.They leave. Mollie to Ernest: MOLLIE I don’t like them. I don’t believe them.MOLLIE Weh-ah-see eh, weh-ah-nahn-he- mahn-zhee meen-ksheh. ERNEST You can’t be the Doctor. We need the shots and insulin. What then, Mollie?ERNEST Thee-eh wah-kahn-dah-kee nee- eh shtsoots’-ah-keh. Insulin oh-weh-peh-tseh ahn- kohn-thah ah-kxah-een. Kah- thohn hee-ah-nahn, Mollie? MOLLIE I’ll take it from you. I don’t want it from them, turn them away.MOLLIE Shtseh-ahn-thah-theh ah-kshee- theh tseh. Kah-tseh wah-kohn- bra mahn-zhee, doh-wah-kxah mahn-theen tseh-ah. ERNEST, THINKS, GOES OUTSIDE, FINDS THEM ON THE PORCH. THE 104 104 KIDS HAVE FOLLOWED HIM OUTSIDE. ERNEST So fellas, give me that. I’ll do it. JAMES SHOUN You’re administering the shot? ERNEST Yes. DAVID SHOUN Oh Ernest, Bill Hale has entrusted us with this care - ERNEST (interrupting) - I know. I know. Just give me that and get going! DAVID SHOUN We’re still going to have to charge you for this visit. JAMES SHOUN We made the trip out here. Gas, time. KOTFM - Final Shooting Script - August 10, 2022 62. KOTFM - Final Shooting Script - August 10, 2022 63.ERNEST You’re going to charge me for this robbery? Oh, J Grover Cripes just give me that - He grabs the INSULIN (BOX), heads back inside the house – the kids follow him. INSIDE: ERNEST SAYS TO MOLLIE… 105 105 ERNEST You made me send the doctors away. The doctors! Are you a doctor? Am I a doctor? ...Stupid stubborn bitch let those men do their work. MOLLIE Give it to me.MOLLIE Ahnk’oo-eh. Ernest settles and sits down, gets the shot and the insulin ready. She lifts her blouse and he gives her the insulin shot. MOLLIE(CONT'D) We don’t need them.MOLLIE(CONT'D) Eh ahn-wah-kohn-thah-pah-zhee ERNEST So I’m the doctor - and the nurse - and God knows what all! MOLLIE It’s not helping... it’s not good. ERNEST (holding the vial) It’s new. King Hale is gifting you with this! Only five people in the whole world are getting this. Give it a chance. Maybe it’s got to get worse before it gets better. Think you know everything with your Indian ways. You think someone’s going to hurt you? MOLLIE ... ERNEST You don’t say something to that? (caressing her) I’m to take care of you, no one will hurt you when I’m in front.KOTFM - Final Shooting Script - August 10, 2022 63. KOTFM - Final Shooting Script - August 10, 2022 64.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROY BUNCH BUTCHER SHOP - DAY 106 106 Roan attacking ROY BUNCH (white, grinding sausage) with a club across the back of his head. HENRY ROAN Get off my wife! MARY ROAN, Henry’s wife, comes in and separates them. ROY BUNCH I’ve done nothing to you!",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BANK/FAIRFAX - DAY 107 107 Bank doors open and BANK MANAGER let’s in Bill & Ernest – Pearl is right there with the Bank Manager. BANK MANAGER There he is - right over there... Pearl follows Hale and Ernest. HENRY ROAN (O.C.) I’m tired of asking friends for things when I can pay my own way. Henry is standing shouting at a BANK EMPLOYEE. HENRY ROAN(CONT'D) Who tells you how to spend your money? I’m tired of coming in here begging. (cursing) Oh-shkee-kah thah-ee(n)-sheh! Hale gets him. HALE Ee-aahh, Henry! Thi-shdan, Henry! I told you not to do anything stupid! You went and hit Roy Bunch! HENRY ROAN I knocked him down, Reverend Hale, I knocked him. HALE Calm down, thoo-shtaka. Come on, kyu. On-ga-the-tse. Let’s get out of here.KOTFM - Final Shooting Script - August 10, 2022 64. KOTFM - Final Shooting Script - August 10, 2022 65.Hale and Ernest help an almost collapsing Roan - Hale hands Roan to Ernest and Pearl who take him toward the door. Hale turns and admonishes everyone in the bank - HALE(CONT'D) WHO IS LETTING THIS MAN DOWN IN A TIME OF NEED? ‘LEST WE LOOK THE OTHER WAY FROM A MAN IN DESPERATE TIMES??? SHAME ON US.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HALE RANCH/LIVING ROOM – MOMENTS LATER 108 108 Hale and Ernest lay Roan on the floor. ERNEST Why do you take care of him? HALE He’s a melancholic. Do you know he tried to do away with himself last year? They lay him out on the floor, catch their breath. ERNEST (nods, yes) HALE I take care of that man because he’s my best friend and my neighbor. And that’s $25,000 dollars lying there. I’ve got an insurance policy on him against what he owes me. If he succeeds in demising himself before the end of the year I forfeit. He needs to stay alive at least one more year... And I might even have a chance at his headrights... CUT TO: ERNEST & HALE SITTING IN THE NEXT ROOM. HAVING A DRINK. 109 109 HALE Something you should know... Mollie’s first husband is that man right there on the floor. She didn’t tell you?KOTFM - Final Shooting Script - August 10, 2022 65. KOTFM - Final Shooting Script - August 10, 2022 66.ERNEST No. HALE Osage don’t divorce. ERNEST So she’s still married to him? HALE No. No. Traditional. They were fifteen. But it’s all passed now. ERNEST She lied to me? HALE How does she treat you? ERNEST She’s a good one. HALE So it doesn’t matter what happened before... ERNEST She can’t be lying to me. HALE Let her have her secrets. That way you can have yours.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SUMMER HOUSE - LIZZIE/MOLLIE’S GRAY HORSE HOME – DAY 110 110 Mollie is sitting with her mother, Lizzie, who has had a bed set up on the floor of the summer house. Mollie is COMBING her hair as she gets closer to death... Reta comes in... Elizabeth and Cowboy are there, too. At a distance the Shouns are lurking putting away their medical things (figures turning away). Lizzie dies. Eyes open, still. Mollie/Reta watching her. CUT TO:KOTFM - Final Shooting Script - August 10, 2022 66. KOTFM - Final Shooting Script - August 10, 2022 67.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SUMMER HOUSE - WITH ANCESTORS 111 111 Empty except for LIZZIE’S ANCESTORS: WARRIOR, MOTHER, FATHER: the Committee that has come to take her to the heavens. Lizzie gets up and walks away with them. She glances back. BACK TO Summer House in the Present. Hale and Ernest comfort Mollie and the children.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LIZZIE/MOLLIE'S GRAY HORSE HOME - EARLY MORNING A112 A112 Mollie, Reta and WAILING RELATIVE wail for Lizzie on the porch.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. GRAY HORSE CEMETERY – DAY 112 112 Lizzie Q’s Burial. A large crowd gathered at the gravesite. PRIEST stands aside as the TRADITIONAL OSAGE LEADER makes a blessing. TRADITIONAL LEADER (IN OSAGE) It is mid-day, when the sun, our Grandfather has reached its highest place in the sky, the gates of heaven have opened for the soul to pass through. The gateway to the next world. As the sun moves west, the path we travel is cleared for our journey. Food is a blessing. Now let us go to gather and partake in that blessing as Lizzie enters the next world and joins those that are waiting for her.TRADITIONAL LEADER Meen thoh-dahn kah-txahn he thah-hah we-tsee-koh meen ah- kxah mahn-xeh kshee-dah oo- stseh-tseh he ah-kxah, kah- kohn nahn-xeh theh-tseh mahn- xeh mah-she dah ah-theh dah- tseh. Meen thahn mahn-hah kshee-dah-hah mahn-theen ah- ha oh-zhan-keh ahn-koh-dah- pee kah-shdah da pee. Oh-nohn- breh tseh weh-thoo-thah- gtheen tseh ahn-thah-tseh ahn- kah-theh dye. Eh-dahn Lizzie ah-pah nahn mahn-zhahn ee- mahn-tseh kshee-dah-hah mahn- theen ah-hah mohn-psheh ah- pah ah-thee-zahn-ha dah- ah- pah. TRADITIONAL LEADER ends his blessing and walks over to the family. He helps Elizabeth WALK ACROSS LIZZIE’S CASKET. ERNEST, HALE, BYRON among mourners. A BOX OF FOOD is placed at the head of the casket and it’s lowered. KOTFM - Final Shooting Script - August 10, 2022 67. KOTFM - Final Shooting Script - August 10, 2022 68.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MASONIC HALL LODGE - NIGHT A113 A113 Hale and SIX OF HIS FREEMASON BROTHERS at a Scottish Rite ritual of EXTINGUISHING THE TAPERS. The seven men, dressed in black suits, are standing behind TALL CANDLE HOLDERS with CANDLES WITH FLAMES AT CHEST HEIGHT. There is no other light in the room. The candles are in a “V” formation, with the “V” pointing to the East Side of the room. Two candles are already out. TREASURER (PITTS BEATY) His pure and lofty lessons were intended to insure the happiness of mankind; but those whom he would fain have served knew him not, and put him to death. TREASURER takes his finger and extinguishes the third light.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. LIZZIE/MOLLIE’S GRAY HORSE HOME – DUSK 113 113 Mollie and daughter Elizabeth, praying. Praying for lost loved ones. Mollie slips Lizzie’s BROKEN COMB into the moving, shiny water of the stream. BACK TO MASONIC HALL. A114 A114 Six candles are out. Only one light remains. WISE MASTER (HALE) Guest of one day, and shelterless the next! Your Friend is dead; your Benefactor is no more! Mourn, lament, and cry “WOE UNTO US”! For falshood triumphs, Truth disappears and ignorance extinguishes the light of Philosophy! He takes his finger and extinguishes the last light. EXT: LIZZIE/MOLLIE’S GRAY HORSE HOME 114 114 Mollie & Elizabeth walk back to the house. KOTFM - Final Shooting Script - August 10, 2022 68. KOTFM - Final Shooting Script - August 10, 2022 69.GRAMMER’S’ WALL OF MEMORABILIA – DAY 115 115 CU. Blue Ribbons, Trophies, Pictures and Memorabilia from a great Cowboy’s career in roping, bull riding, etc. This is for HENRY GRAMMER - a movie-star in this world also runs a distillery, main booze supplier to Osage County. HALE (V.O.) Look at all this blue! It’s like looking at the sea. Or the ocean. Is that gold? HENRY GRAMMER (V.O.) That’s better than gold.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. GRAMMER’S DISTILLERY 116 116 Working Distillery. Hale and Ernest pay a vist to Grammer. Ernest having to watch Hale treat Grammer like a son and a rock star. HENRY GRAMMER ...That’s recognition. HALE (TO ERNEST) This man knows what it’s like to be the best at what you do. Time cut - they’re all drinking at a table nearby. HALE(CONT'D) Henry what I want is someone who can do a job, who can take a proposition to do an old man and his blanket. Now I just don’t want any man because this has to be done right, I need them both to go at the same time. So it’s not going to be poison whiskey but something else that is fool proof. Grammer calls JOHN RAMSEY (50s, ranchhand, white, skinny). Grammer hands him a bottle. HENRY GRAMMER John! Go stash this in the house and don’t let Maggie see you. Ramsey takes the bottle. KOTFM - Final Shooting Script - August 10, 2022 69. KOTFM - Final Shooting Script - August 10, 2022 70.RAMSEY Oh now - she’s got eyes, Henry. She caught me last time and I - HENRY GRAMMER Give it to me! Ramsey goes back to the distillery. HENRY GRAMMER(CONT'D) What good is it to have a man who can’t do what I tell him. (pause) He turns to Hale. HENRY GRAMMER(CONT'D) Why don’t you talk to Blackie Thompson? ERNEST He’s in penitentiary right now - HALE (interrupting) - because you made a stupid move and had him nabbed for Insurance Money on his car – HENRY GRAMMER That’s bad luck. What about Kelsie Morrison? HALE Kelsie’s gone soft on me right now... ERNEST He’s down in Mexico, last I heard... There’s Dick Gregg. HENRY GRAMMER No - he’s wanted in Arkansas, he’s wanted in Kansas - he’s so hid he can’t find himself -- you need a yegg man, someone if you want explosives that can make it sure you get them both – soup under the house, nitro or dynamite to blow ‘em up – I think that’s Acie Kirby … ...Hey John, where’s Acie Kirby these days?KOTFM - Final Shooting Script - August 10, 2022 70. KOTFM - Final Shooting Script - August 10, 2022 71.RAMSEY I don’t rightly know where he is, he’s hiding in his hole. FLASH ON:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BANK – SOMEPLACE IN OKLAHOMA – DAY 117 117 Meet: ASA, “ACIE” KIRBY, sets explosives, runs from a bank vault, jumps over counter and takes cover. The Vault blows up and money is raining down, some of it on fire…… HENRY GRAMMER (V.O.) That’s your man. RANCH – DINNER TABLE – NIGHT 118 118 Hale, Myrtle, Willie and Ernest, Mollie at the table. MOLLIE Pitts Beaty is trying to get his Klan to find the killers who killed Anna – he said they’re helping to take the lazy men away from town. HALE mmmhmm. Well, Pitts and his Klan are trying to have authority here, and they have none. They need to let the Police Force do their work – I am very disapproving of the Ku Klux Klan, Mollie, they’re very hungry for a power -- MOLLIE But is there anyone? We tried with Barney McBride.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ELK'S CLUB - EVENING A119 A119 Barney McBride receives a TELEGRAM and reads it. XCU: TELEGRAM “BE REAL CAREFUL. STOP.” McBride looks around surreptitiously, puts his hat on and heads out of the Club.KOTFM - Final Shooting Script - August 10, 2022 71. KOTFM - Final Shooting Script - August 10, 2022 72.INSERT:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. WASHINGTON D.C. ELK’S CLUB – EVENING 119 119 Barney McBride exits and somebody suddenly seizes him and ties a sack over his head...,FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HALE'S RANCH - DINNER TABLE - CONTINUED 120 120 CU. Of Mollie. MOLLIE I hired a private investigator - INSERT:,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FAIRFAX ROOMING HOUSE – NIGHT 121 121 WILLIAM J BURNS, Private Investigator, is walking to his room on the second floor… BYRON BURKHART and ANOTHER GUY are waiting in the hallway. As Burns opens his door, they push him inside where a THIRD MAN is waiting and beats him unconscious... Out of the shadows steps ERNEST who rifles through Burns’ pockets and removes money from his wallet. CU. his business cards from wallet go flying, “Cairo” “Los Angeles” “New York” “Berlin”.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HALE'S RANCH – DINNER TABLE – CONTINUED 122 122 HALE You paid him? MOLLIE Yes. HALE Well he’s run off, hasn’t he? Ernest? He’s run off? ERNEST Seems that way, King. HALE You should be more careful how you’re spending that money of Mollie’s, Ernest... and you buying a farm... Consult with me before you buy another farm. ERNEST I will, King. KOTFM - Final Shooting Script - August 10, 2022 72. KOTFM - Final Shooting Script - August 10, 2022 73.HALE (to Mollie) There’s something different about you tonight, Mollie... what is it? ERNEST Mollie’s pregnant. BEAT, HOLD, THEN: ERNEST(CONT'D) We have news that Mollie is going to have a baby, King. HALE ...is that so? MOLLIE Yes. CU. HALE: Looks to Ernest, back to Mollie. HALE Well, blessings. Blessings on this house. Myrtle and Willie jump for joy and come for hugs and kisses... Ernest looks to Hale. INSERT:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. D.C. ELK’S CLUB ALLEY - MORNING 123 123 Barney McBride, bag over his head is stabbed twenty times and his skull is beaten in. CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HALE'S RANCH – NIGHT – CONTINUED 124 124 Behind them, in the house, has stepped: HENRY ROAN. MYRTIE Henry! Oh Henry, come in here, we just got some wonderful news, Mollie is pregnant again! HENRY ROAN looks troubled, he approaches Mollie and congratulates her. Hale comes to Henry Roan.KOTFM - Final Shooting Script - August 10, 2022 73. KOTFM - Final Shooting Script - August 10, 2022 74.HALE What is it, Henry? HENRY ROAN Sorry to bother you, Uncle, I just need to have some words with you, please. HALE Of course, just wait for me, take a seat over here and wait for me. CU. ERNEST watching Mollie and Henry...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HALE'S RANCH – LIBRARY - LATER 125 125 Hale and Ernest by the fire… HALE You’ve been loving with her in this sickness? Maybe that’s a preversion of yours. Well, horseshit. Sentimental horseshit. ERNEST Yes. HALE God Bless You and the Child…… Well, she’ll get the care she needs... CU. ERNEST watching Henry Roan ERNEST First husband, huh?... You think he has a claim on the family?... Claim on Mollie’s headrights?... HALE Only if the law believes he’s still married to her... but I don’t take chances...I’m seeing to it... I’m seeing to it. ERNEST sees the threat.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. GRAMMER’S DISTILLERY – MORNING – WINTER 126 126 Ernest with Ramsey. KOTFM - Final Shooting Script - August 10, 2022 74. KOTFM - Final Shooting Script - August 10, 2022 75.ERNEST Ramsey, I know you’re in bad way in this life, you have very hard circumstances, you’ve got lots of kids, seven or eight I heard...? JOHN RAMSEY Yah, I got a passel of ‘em. ERNEST I’ve got a job to get you out of the bind you’re in. King Bill Hale wants to know if you’d like a job getting someone done? JOHN RAMSEY That’s not what I do. I can’t do that. ERNEST It’s an Indian. JOHN RAMSEY ...that’s different. ERNEST You know Henry Roan? JOHN RAMSEY I don’t know him. ERNEST ...what do you think? LONG PAUSE. ERNEST(CONT'D) I’m going to take you right now and buy you a Roadster so you can drive around and do this for him. There won’t be no rumble over this killing. The Injun’s a melancholic - Hale’s going around saying he tried twice already, so he wants you make it like he did it himself... in the front of the head. Understand?",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. OLD LADY RALL’S CAFÉ – FAIRFAX – DAY 127 127 Parade. Gray Horse War Mothers, Baseball team, lots of kids in the street. KOTFM - Final Shooting Script - August 10, 2022 75. KOTFM - Final Shooting Script - August 10, 2022 76.Pick up Ernest and John Ramsey crossing the street through a parading local KKK group with Pitts Beaty proudly leading in black gown and hood. ERNEST Hey Pitts! (Lookin’ good!) PITTS BEATY Hey Ernest! We see Ernest and Ramsey go into the cafe. RAMSEY (V.O.) So Ernest had me meet this Indian at a restaurant in Fairfax and he sat down beside me and I smelled whiskey on his breath. Through the front window we see Ramsey be introduced to Henry Roan. (Sit at counter and have a meal.) THROUGH THE WINDOW we see them at the counter. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. OIL RIG – 128 128 A blank, open sky. The profile of an OIL WORKER covered in oil – then ANOTHER OIL WORKER similarly covered in oil – looking into the distance. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PRAIRIE 129 129 Ramsey’s car stopped in the distance. Ramsey and Roan finding a jug down a disused oil well. RAMSEY (V.O.) I told him I could sell him some. I told him to meet me out on the road running through Sol Smith’s pasture about 10 o’clock and I would meet him and have the whiskey for him. BACK TO:KOTFM - Final Shooting Script - August 10, 2022 76. KOTFM - Final Shooting Script - August 10, 2022 77.OIL WORKERS – A GROUP NOW ALL LOOKING INTO THE DISTANCE 130 130 WATCHING RAMSEY AND ROAN WHO ARE NOW SITTING ON THE RUNNING BOARD, DRINKING. THE OIL WORKERS TURN OMINOUSLY AWAY. CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MRS MACKIE’S SPEAKEASY 131 131 Roan and Ramsey drinking with Mrs. Mackie and A HOOKER. Roan has his arm around her. She is cutting cocaine from a giant rock of coke (not partaking of cocaine). RAMSEY (V.O.) A few times after that I met this Indian. And we got to like one another - what with his troubles being respected and all... Sometimes we go to Mrs Mackie’s Place. MRS. MACKIE So he took it! Imagine that! What kind of sheriff goes around selling cocaine? You tell me that. RAMSEY (V.O.) ...This went on for awhile. I was trying to rib up a little more courage and one day I decided to pull the job everything being favorable. So I told this Indian we get a jug and some girls and meet me on the road running through Smith’s pasture. They drink.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FIELD – DAY 132 132 Roan and Ramsey at a secret stash spot in Sol Smith’s pasture. Roan stays in the car, behind the wheel. Ramsey gets the booze, walks it back and hands it to Roan... Ramsey gets the nerve, walks around the front of the car... then walks around the back of the car, gets up on the standing board, and SHOOTS HENRY ROAN IN THE BACK OF THE HEAD AS HE’S DRINKING. John Ramsey walks back to his car…KOTFM - Final Shooting Script - August 10, 2022 77. KOTFM - Final Shooting Script - August 10, 2022 78.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FAIRFAX POOL HALL – DAY 133 133 John Ramsey comes into the pool hall, shaky and glassy eyed, finds Ernest who has Cowboy with him... Ernest follows Ramsey to the telephone booth -",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. POOL HALL TELEPHONE BOOTH – THAT MOMENT 134 134 JOHN RAMSEY Where’s Hale? ERNEST I don’t know. Pawhuska. JOHN RAMSEY Tell him it’s done – ERNEST You did it where? JOHN RAMSEY It’s done out at the road off Sol Smith’s pasture and that’s it... I’m gonna give you the gun... John Ramsey hands Ernest the gun and walks off. INSERT PHOTO: IMAGE FROM HENRY ROAN AND MOLLIE’S TRADITIONAL 135 135 OSAGE WEDDING AS TEENAGERS, C.1902. WE HEAR ERNEST SAY - ERNEST (overlap) Henry Roan is dead.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LIZZIE/MOLLIE’S GRAY HORSE HOME – DAY 136 136 Mollie, visibly pregnant comes into the house. CU. MOLLIE’S REACTION. Ernest watching her closely to see her reaction, scrutinizing. MOLLIE Did he kill himself? ERNEST Don’t know.KOTFM - Final Shooting Script - August 10, 2022 78. KOTFM - Final Shooting Script - August 10, 2022 79.MOLLIE He was always sad. Always. ERNEST You know him well? MOLLIE Since we were children. His wife is not true to him I don’t think. Does your Uncle know? They were friends. ERNEST Yes. MOLLIE He wasn’t murdered was he? ERNEST No. MOLLIE He tried to kill himself last year. Did you know that? ERNEST (nods, yes) MOLLIE Was he murdered? Or did he kill himself? Do you know? ERNEST Roy Bunch made a lot of noise about wanting to kill him. He was on his wife. So you don’t have to look too far. Maybe he killed himself, like you say... I don’t know. Mollie looks. Then walks into her room and closes the door.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HALE’S RANCH – DUSK 137 137 Ernest waiting in his car outside Hale’s Ranch. Hale bursts out of his house, angry, heads to the car -- HALE I told you to do it in the front of the head.KOTFM - Final Shooting Script - August 10, 2022 79. KOTFM - Final Shooting Script - August 10, 2022 80.ERNEST I don’t know why he didn’t. HALE Why did he do that? ERNEST I don’t know. I told him. I told him.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FAIRFAX/ERNEST’S CAR – DRIVING – NIGHT 138 138 Ernest and Hale, driving, arguing: HALE And you told him proper? How do I know you told him right? ERNEST I’ll get him right now and put him in front of you to tell you what I told him – I didn’t do this wrong. He did it wrong. He’s a coward, couldn’t do it in the face like you said. I promise you. I swear on my children. HALE Don’t do that. Settle down. Settle. There’s no problem that can’t be fixed. Now it’s too much murder. Don’t swear on your children, that makes you look foolish. ERNEST I’m not foolish because I did it right. John Ramsey is your man and he’s a shuckle head and he didn’t have the nerve to do it in his face. I’ll find him and make him tell you. HALE You settle down, settle down, settle yourself, son... As they approach downtown Fairfax at dusk, they see something: ERNEST What is....KOTFM - Final Shooting Script - August 10, 2022 80. KOTFM - Final Shooting Script - August 10, 2022 81.FAIRFAX RESIDENTIAL NEIGHBORHOOD IS LIT UP BY STRINGS OF 139 139 WHITE LIGHTS. LIGHTS EVERYWHERE… ”FRAID LIGHTS” [MMWDYSLN] ERNEST What is this? HALE (Has seen it already) They’re putting up lights to keep the murder away – We see AN OSAGE FAMILY packing up their car to leave town, and have a reflexive reaction as they see the car go by (paranoia). Hale and Ernest continue to drive around, looking for something or someone, looking, looking... HALE(CONT'D) There he is... slow up the car, here... ANGLE, ON MAIN STREET: ERNEST PULLS THE CAR OVER, ROY BUNCH 140 140 IS SITTING ON A BENCH WITH FRIENDS. HALE Roy... ROY BUNCH Bill. HALE This isn’t the place for you to be. And I have a line that says you should leave town because Sheriff’s office is looking to charge you in this killing – they know you were on shooting terms – ROY BUNCH If I run, I’m guilty and I’ve got nothing to be guilty about. HALE If you don’t run, you’re going to go to prison for this, you did it or not – this is my friendly word. ROY BUNCH Thank you, Bill.KOTFM - Final Shooting Script - August 10, 2022 81. KOTFM - Final Shooting Script - August 10, 2022 82.HALE ...you should run. ROY BUNCH Thank you, Bill but no, I don’t think I will. And you’re not my friend. I’ll take my chances right here in Fairfax. Ernest drives off...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BILL & RETA SMITH’S FAIRFAX HOME – NIGHT 141 141 Bill Smith’s GUN. Smith’s coming through his front door. It’s dark. He moves forward slowly to look around, then looks down. Sees a dead dog. INSERT: FAMILY PORTRAIT #2 A142 A142 Mollie, Ernest, Elizabeth, Cowboy, and Baby Anna posed for a Family Portrait",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BRUSH ARBOR - GRAY HORSE INDIAN VILLAGE – SUNRISE 142 142 It’s months later. Mollie and Ernest with their baby, “Anna.” Noticeably fewer Osage than the previous baby naming event. Elizabeth and Cowboy are with them. Hale is here, Bill Smith and Reta. Burkhart Bros. Bigheart relatives. BABY NAMER (TRADITIONAL OSAGE) gives Little Anna her Osage name and presents her to gathering. TIME CUT: Bertha Bigheart presents A BLANKET to the Baby Namer and puts it on him. As Mollie watches she sees all the faces that surround her.... Whites and Osage now... Over Mollie we hear - RETA (V.O.) What is this wasting illness, Mollie? Minnie died from it...Mom died from it, too. Anna was shot. This blanket is a target on our backs.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BILL & RETA SMITH’S FAIRFAX HOME – NIGHT 143 143 There’s a young, white servant named NETTIE BERKSHIRE (20s) serving them and cleaning up after dinner.KOTFM - Final Shooting Script - August 10, 2022 82. KOTFM - Final Shooting Script - August 10, 2022 83.RETA (confidentially) I’m gonna protect you. I changed my will. MOLLIE You can’t outrun what’s coming, Reta. If they want to get us... RETA Yes, I know, but why are you helping them? MOLLIE Who? RETA Who it is that’s doing these killings. Sometimes I think someone’s put medicine on you... How are you being taken care of, Mollie? MOLLIE I have Ernest and my children. Ernest takes good care of me. RETA I don’t want to be scared. Why don’t we just leave? Go to Colorado Springs. Why are we staying here? MOLLIE This is home. Reta looks to the other room and Ernest and Bill, looks back to Mollie. Ernest looks back and sees Reta’s eyes for a flash. BILL SMITH So you and Mollie stayin’ in town now, too, huh? ERNEST …yea. Pretty much. We’re here now. [Beat] You made yourself a nice place here. BILL SMITH Yeah, the Shoun brothers gave us a sweet deal. Left us some nice things here, too. [Beat] Not as nice as you’ve been buying, but it’s enough for us.KOTFM - Final Shooting Script - August 10, 2022 83. KOTFM - Final Shooting Script - August 10, 2022 84.ERNEST Mollie likes nice things. BILL SMITH Not as much as you... Ernest stares at him. BILL SMITH(CONT'D) ...you need a drink? ERNEST You have some? BILL SMITH No. ERNEST Then why you asking? BILL SMITH You seem nervous. ERNEST I got no nerves. I don’t really like talking to you, Bill. That’s mostly it. BILL SMITH Am I doing something to bother you, Ernest? ERNEST Just the way you are bothers me. BILL SMITH Nothin’ I can do about that. ERNEST No there isn’t. BILL SMITH Lest you kill me. Maybe that’s your brother’s job. ERNEST Maybe you stick around long enough I’ll get a chance at you, Bill... BILL SMITH You do your own work?KOTFM - Final Shooting Script - August 10, 2022 84. KOTFM - Final Shooting Script - August 10, 2022 85.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT./,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HALE’S RANCH - DUSK 144 144 We see somebody in the house through the window.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. SHOUN’S OFFICE - SAME MOMENT 145 145 Myrtle Hale is on the phone with James Shoun at his desk. JAMES SHOUN Myrtle? MYRTLE Get your best furniture out of the house. JAMES SHOUN Okay.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MOLLIE’S FAIRFAX HOME – DAY 146 146 Ernest is playing in the front yard with Cowboy... Other neighborhood kids playing in their yards/street. Ernest hears a HORN HONKING in the front... over and over... He comes around and sees: BILL HALE in the car, with HENRY GRAMMER. ERNEST Alright? BILL HALE I’m to Fort Worth for the Stock Show, so I want you to find Acie Kirby and tell him it’s time on the Smith job. ERNEST ... BILL HALE You hear me? ERNEST I don’t know him. I don’t know where to find Acie Kirby, where does he stay? BILL HALE (TO GRAMMER) Where’s he find Acie?KOTFM - Final Shooting Script - August 10, 2022 85. KOTFM - Final Shooting Script - August 10, 2022 86.HENRY GRAMMER Find John Ramsey... he’ll know. BILL HALE Got that? Find John Ramsey... tell Ramsey to tell Acie that it’s time. I’m to Fort Worth…… Ernest stares… BILL HALE(CONT'D) Look at me like this makes sense. ERNEST I am. I understand. I’ll find Ramsey and tell him. Hale drives off. CU. ERNEST.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FAIRFAX STREET AAA147 AAA147 Ernest finds John Ramsey. ERNEST Hale wants you to find Acie Kirby and tell him to take care of Bill and Reta. JOHN RAMSEY Well, I can’t go right now, my wife’s sick. ERNEST My wife’s sick too! Just tell her you gotta go out to Grammer’s for some whiskey and then find Acie and tell him it’s time for Bill and Reta… JOHN RAMSEY Why aren’t you doing this? Why are you always getting someone else to do your work? ERNEST I don’t know Acie Kirby. I don’t even know what he looks like. I would do it, but I can’t do it because I don’t know what he looks like. I’m sorry.KOTFM - Final Shooting Script - August 10, 2022 86. KOTFM - Final Shooting Script - August 10, 2022 87.JOHN RAMSEY Alright, I’ll get to it later... ERNEST So you know, it’s something should be done straight away, not to wait on it for Hale, you see? It has to be done straight away. JOHN RAMSEY You’re pushy, Ernest. I’ll do it, I’ll do it. I gotta get back to work... They walk off their different directions…",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROOMING HOUSE AA147 AA147 John Ramsey walks right by the clerk and finds a certain door. He knocks on the door. JOHN RAMSEY Acie? Acie? ACIE KIRBY Yah? JOHN RAMSEY It’s John. Don’t shoot. ACIE KIRBY Come in. John Ramsey goes inside. ACIE KIRBY(CONT'D) Hello, John. RAMSEY You got your soup with you? - ‘cause it’s time for that job.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MOLLIE’S FAIRFAX HOME – EVENING / NIGHT A147 A147 Ernest looking down from the top of the stairs and seeing Mollie who has just come in from outdoors. (Osage/English mix)KOTFM - Final Shooting Script - August 10, 2022 87. KOTFM - Final Shooting Script - August 10, 2022 88.ERNEST Where you been (sweetheart)? You were supposed to be home. MOLLIE I was at Reta’s. Cowboy had an earache. ERNEST Again? MOLLIE Bill ain’t too kind to her when I’m not there. ERNEST That’s her problem not yours. MOLLIE You know you’re talking like your uncle again. ERNEST Now listen, Mollie, I don’t want you going out so much right now. With all that’s going on. MOLLIE I know, I know, but I was just at my sisters. ERNEST You and the kids stay in the house.ERNEST Zhin-ka-zhin thishki tsi da waspa MOLLIE Elizabeth still has school. I still have family to see. ERNEST I just don’t want you to go out unless you have to. TIME CUT: Mollie asleep in bed. Ernest is next to her half asleep. 147 147 AN EXPLOSION. A bomb has gone off that rattles the whole town awake, shaking houses and sending a shockwave...KOTFM - Final Shooting Script - August 10, 2022 88. KOTFM - Final Shooting Script - August 10, 2022 89.Mollie moves to the window, Ernest follows. MOLLIE I think it’s Perry King’s house. Ernest puts on his pants and moves downstairs... Mollie slowly behind moves towards the kids... Elizabeth, the eldest, sees her mother struggle down the stairs… (Vera, alarmed, goes to help Mollie.) MOLLIE (CONT'D) Go to Anna.MOLLIE (CONT'D) Anna tah mahn-theen. (Vera) gathers baby Anna, Elizabeth and Cowboy. Mollie arrives at the bottom of the steps and collects all the children… IN THE STREET 148 148 Ernest walking towards the blast. People are awake, screaming, heading towards the blast... PEOPLE That’s Bill Smith’s house! That’s Bill and Reta’s! etc etc etc CU. ERNEST as he arrives at the bomb sight. Bill and Reta’s house is a hole in the ground. Men try and salvage, dig around under the mess… Ernest wanders through the area stunned - ERNEST Some fire... They find Bill Smith, still alive, screaming, moaning. BILL SMITH SHOOT ME. SHOOT ME. They find Reta’s sleeping body, the side of her head falls off as they lift her... PEOPLE Nettie’s in there. Nettie Berkshire stays in the back room that way – They dig around looking for Nettie... A RIVAL AMBULANCE arrives and Undertaker Turton rushes up to them and pushes them back into the ambulance. KOTFM - Final Shooting Script - August 10, 2022 89. KOTFM - Final Shooting Script - August 10, 2022 90.TURTON Big Hill Company’s got this. Move back! Push it out. Bill Smith being carried on a stretcher accompanied by the Shoun brothers. They pass Ernest standing stunned - BILL SMITH I know who did this. I know who did this. Ernest and the Shouns exchange looks. ERNEST (stunned) Some fire... some fire... some fire... CU. ERNEST turns and walks away... HE COMES BACK INTO THE HOUSE... SOUND DROPS OUT, AS WE SEE 149 149 MOLLIE AND THE CHILDREN WAIT FOR ERNEST... A REPRISE OF HER VOICE OVER: MOLLIE (V.O.) I close my heart and keep what is good there, but hate comes… My heart is cold and I say I ought to kill these white men who killed my family. CU. MOLLIE as Ernest comes back to tell her it’s Reta’s house. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. STOCK SHOW – FT. WORTH, TX – THAT MOMENT 150 150 At this moment, in Fort Worth, at a STOCK SHOW OF CATTLE, BULLS, RODEO RIDING: HALE and HENRY GRAMMER. They have an alibi. We see Henry Grammer sign some autographs and snap a picture with adoring fans. Bill Hale squeezes into the side of the picture... CUT TO:",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FAIRFAX – DAY 151 151KOTFM - Final Shooting Script - August 10, 2022 90. KOTFM - Final Shooting Script - August 10, 2022 91.DRONE CAMERA OVER THE HOLE IN THE GROUND THAT WAS BILL AND RETA’S HOME. DEBRIS EVERYWHERE. PEOPLE CLEANING UP, KIDS PLAYING IN THE 152 152 RUBBLE, ANGRY NEIGHBORS AND TOWNSPEOPLE. BILL HALE AND HENRY GRAMMER drive back into town. HENRY GRAMMER Too much dynamite. Hale gets out, looks at the damage. Pitts Beaty there. PITTS BEATY You know, you’re pronouncing yourself too much, Bill. Hale moves forward kicks up by accident part of an arm. PITTS BEATY(CONT'D) Nettie... they’re finding pieces of her. Hale looks at him.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PITTS BEATY OFFICE – DAY 153 153 Pitts Beaty and Mollie. MOLLIE Mollie Burkhart, Incompetent. Allotment number 285. PITTS BEATY You want $300 to go to Washington, D.C.? MOLLIE Yes. PITTS BEATY That’s a hard trip for an ailing woman, Mollie. It didn’t go so well with Ernest as your guardian, did it?... I am now reinstated as your guardian and I can’t let you have this money or make this trip, Mollie, that would do a disservice to you and your children. KOTFM - Final Shooting Script - August 10, 2022 91. KOTFM - Final Shooting Script - August 10, 2022 92.MOLLIE I want to go now because I will not be alive much longer.MOLLIE Theh-kohn-tsee breh kohn-brah tahn thoh-hah ahts’eh dah meen-ksheh.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. TRAIN PLATFORM – FAIRFAX – MORNING 154 154 The Osage Delegation is leaving to head to Washington D.C. Ernest helps Mollie towards the steps of the train. Another member of the Delegation helps her up into the train. She waves goodbye to Ernest and the children... MOLLIE (V.O.) This evil surrounds my heart... (more?)MOLLIE (V.O.) Hohn-zhee thahn-tseh wee-dah ah-kee-xeh ah-kxah. (more?),ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. WASHINGTON D.C., GOVERNMENT BUILDING – DAY 155 155 It’s a photo op for PRESIDENT COOLIDGE and the Osage Tribe. Mollie standing next to the President. The photograph is taken and President Coolidge moves away, Mollie and the Tribe’s INTERPRETER grab his attention: MOLLIE Mr. President, please send someone to help us. There is murder in Osage and the police do nothing about this. I lost my sisters and mother and we have Osage killed for the oil money. He nods and nods and nods and then is ushered away.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SHOUN’S OFFICE – DAY 156 156 Ernest, Hale and Byron with the Shoun Brothers. The Shoun brothers are preparing Mollie’s Insulin. DAVID SHOUN Give her some of this (indicating the vial)... and this (indicating a different vial). That’s this whole vial. Make sure the balance is right. KOTFM - Final Shooting Script - August 10, 2022 92. KOTFM - Final Shooting Script - August 10, 2022 93.JAMES SHOUN Now you keep the shots regular. Ernest reacts. Doctors occupy themselves (organizing vials for Ernest to take home?) As Hale talks to Ernest privately. HALE It’s just to slow her down... (repeats?: It’s just to slow her down... ) It’s not going to hurt her. Ernest looks. HALE(CONT'D) She’s gone to Washington - you know what that means for us?... For you?... We don’t have a choice, son. Ernest still resisting. HALE(CONT'D) You believe in the Bible? The miracles of old? ERNEST Yeah.. yeah.. HALE You expecting a miracle to make all this go away? They don’t happen anymore. We make the miracles... You’re not going anywhere, Ernest. CUT TO: CU. ERNEST IN THE LIVING ROOM. A157 A157 He’s preparing the Insulin mixture. He loads the needle. He walks down the hallway toward Mollie’s room with the needle...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CATHOLIC CHURCH FAIRFAX – DAY 157 157 We see Mollie seated. There has been a major change in her health. She speaks to the priest. Vera in the back with Anna. KOTFM - Final Shooting Script - August 10, 2022 93. KOTFM - Final Shooting Script - August 10, 2022 94.MOLLIE I’m afraid. PRIEST What are you afraid of? MOLLIE I’m afraid to eat in my house. PRIEST Why are you afraid to eat? MOLLIE ... PRIEST Do you drink whiskey? MOLLIE Sometimes. PRIEST Don’t drink anymore whiskey. There’s so many people that have been given bad whiskey... poisoned. There are so many deaths. MOLLIE I won’t drink any whiskey, Father. PRIEST Do you have any thought to who might want to hurt you? MOLLIE ... PRIEST You’re looking poorly Mollie, very poorly. Are you being well cared for? CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MOLLIE’S FAIRFAX HOME – DAY 158 158 A family meeting. Mollie sits in a chair in the living room. Ernest is here, Elizabeth and Cowboy and Baby Anna. The Housekeeper, Vera. English/Osage mix.KOTFM - Final Shooting Script - August 10, 2022 94. KOTFM - Final Shooting Script - August 10, 2022 95.MOLLIE I am sick. We will not have visitors. We will eat food only made by Vera, we will not have anyone to work here near us. Tell Mr. Blasingame he does not need to finish painting the garage, I want him to leave. I want to bring the upstairs bed, down, into the back room. Cowboy you cannot play inside the house anymore you must go outside. Inside you have to be quiet. Elizabeth you only go to school when your father takes you. No one else can take you to school, just your father. Ernest, you will pick up my insulin fromthe train. You alone. Do not take it from the Shoun Brothers.MOLLIE ahn-who-heck-ah meen(n)- kshey. Ee-kee-mahn-thee(n) wah-thee(n)-key dah-xhai. eh- nan(n) dah-dah(n) oh-ho bee- thahn ahn-daht-sey dahn-kaht- kah, we will not have anyone to work here near us. Tell Mr. Blasingame he does not need to finish painting the garage, I want him to leave. I want to bring the upstairs bed, down, into the back room. Cowboy, ah-shee dah thah-sh-kaht-sey eh-nah(n). Tsee dah dai-ee-shee ah-hah oh-knee theen-kah thee. Elizabeth you only go to school when your father takes you. Thee-thaht-sey eh-nah(n) thee-eh dah-poh-skah-tsee ah- theen-ah-they dah-kxai. Ernest, you will pick up my insulin fromthe train. You alone. Do not take it from the Shoun Brothers. ERNEST ...(he nods) MOLLIE Baby Anna is sick with whooping cough and she needs care. I cannot nurse her,because of my illness. She might make you both sick if she stays here. I want her to live with brother and sister Bigheart. This will make her better and cure her cough. Ernest, will you please make these things happen for me?MOLLIE Baby Anna is sick with whooping cough and she needs care. Oh-kah-shey broots-ah- key. Ah(n) who-heck-ah mee(n)kshey kah-kah(n) bah- zey ee(n) broots-ah-key. Thahn-tsey who-heck-ah thee- kshee-they dah-kxai. I want her to live with brother and sister Bigheart. This will make her better and cure her cough. Ernest, Dah-dah(n) shkee ahn- thah-kshee-theh dah nee(n)- ksheh? ERNEST Yes, Mollie. CUT TO:KOTFM - Final Shooting Script - August 10, 2022 95. KOTFM - Final Shooting Script - August 10, 2022 96.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MOLLIE’S FAIRFAX HOME – LATER 159 159 The Bighearts come and take the baby. Mollie hands over Baby Anna. Ernest watching, Cowboy and Elizabeth say ‘good-bye’ to their little sister. Mollie closes herself off in the back room, like a tomb. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MOLLIE’S FAIRFAX HOME – AFTERNOON 160 160 CU. MOLLIE in the bed downstairs now, half asleep. She hears a strange sound. She looks over. An OWL walks into her room. She looks back, Ernest is standing there with an insulin needle. He walks in. Ernest looks at her, she looks at him, loving eyes and he gives her the shot. OMITTED 161 161 CONTINUOUS - 162 162 CU. MOLLIE - half dreaming - MOLLIE ... I can hear Inlonshka... I hear the dances. ERNEST ... It’s not that time of year, darlin’. MOLLIE (TO ERNEST) My mother came for me, to dance with her. I told her I can’t dance anymore... ERNEST That’s just a dream, honey. MOLLIE She said I was dying. She wasn’t going to let me die alone.KOTFM - Final Shooting Script - August 10, 2022 96. KOTFM - Final Shooting Script - August 10, 2022 97.ERNEST Dream’s are like dying... but just for awhile... only you come back... MOLLIE She said the man is here. ERNEST What man? MOLLIE The man in the hat. I want to talk to the man in the hat. THERE’S A KNOCKING ON THE SCREEN DOOR. ERNEST COMES OUT INTO 163 163 THE HALLWAY…TO SEE OUTSIDE, THROUGH THE SCREEN DOOR: A MAN IN A HAT. This is TOM WHITE, FBI. ERNEST Who’s that? TOM WHITE Mr. Burkhart? ERNEST Who is that? TOM WHITE My name is Tom White, I’m with the Bureau of Investigation. ERNEST What’s that? TOM WHITE - Sent down from Washington, D.C. to see about these murders. Ernest comes to the door... he sees, standing back by their car are two more agents: JOHN BURGER and FRANK SMITH (white, 40s) ERNEST ...see what about it? TOM WHITE See who’s doing it. ERNEST ...are you a Pinkerton?KOTFM - Final Shooting Script - August 10, 2022 97. KOTFM - Final Shooting Script - August 10, 2022 98.TOM WHITE Well, no, I was a Texas Ranger. I’m now with the Federal Government, called the Bureau of Investigation. ERNEST If you’ve got questions go see the Sheriff. TOM WHITE Yes I have talked with him, but I’m here for Mollie Burkhart whose sisters and mother are dead. ERNEST I’m Ernest Burkhart, her husband and she’s not well right now, but you can call on her another time. TOM WHITE Tomorrow? ERNEST Tomorrow’s too soon. Come back on Friday. TOM WHITE Is she home right now? ERNEST She has diabetes. TOM WHITE Does she? ERNEST She’s resting and I’m caring for her – so come back on Friday. TOM WHITE I’ll do that. TWO OR THREE WHITE GUYS TAKING TURNS FIRING AT A BELL. 164 164",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT./,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TENT/TOWN DANCE OR PARTY OR PICNIC – DUSK 165 165 The whole town has gathered for a dance/party/picnic. Osage and whites and everyone. KOTFM - Final Shooting Script - August 10, 2022 98. KOTFM - Final Shooting Script - August 10, 2022 99.A band is playing – through the band we see an OLDER OSAGE COUPLE moving through the dancers with JOHN WREN (part-Ute) bringing him to meet a few Osage Council Members who are chatting with Mollie’s Catholic Priest. At first cautious, Wren then receives a warm welcome. OSAGE COUPLE This here’s John Wren. Friend of cousin Mary. He��s come looking for family. COUNCIL MEMBER Welcome. [Asks a Question] JOHN WREN I’ve been told I have Osage relations in Hominy. Mary was kind enough to take me in. COUNCIL MEMBER Where are you from, [MORE] etc. Ernest rushes through them as they’re speaking acting frantic and skittish to report news of Tom White. Hale has just finished dancing, out of breath, taking a seat. Ernest grabs Bill Hale tries to take him to the side. Hale agitated sees his manner and tells him to stop and settle himself. Things get heated. Hale loses his cool and grabs him by the back of the neck like a child and squeezes, pushes him down, pushes his face into his own knees. This is noticed by some people. The couple with John Wren and the Council member(s) witness it. It’s over as soon as it started, Hale hoping to make it all go away. Ernest settles down, says a few words more but is cut off by Hale walking away, getting back on the dance floor and finding Myrtie. He seems concerned. Ernest leaves. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HALE’S RANCH – DAY 166 166 Hale looking over his cattle. He seems pre-occupied, seems to be selling off some large piece of his empire… He is introduced to CJ ROBINSON (white, 30s). They shake hands and begin negotiating on a sale...KOTFM - Final Shooting Script - August 10, 2022 99. KOTFM - Final Shooting Script - August 10, 2022 100.HALE Where you up from? CJ ROBINSON Kendrick.... How’s the rain been? HALE Can’t complain. CJ ROBINSON We could use a little more down my way.... Right... HALE Well, let’s make a price on this… CJ ROBINSON I’d like to take a look first - HALE Good let’s make this quick. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FAIRFAX CAFÉ – DAY 167 167 Tom White has come to meet with the Tribal Council. CHIEF BONNICASTLE Have you seen the lights burning in our streets? TOM WHITE I have. CHIEF BONNICASTLE Why are you here now? TOM WHITE I’ve only just been asked to come. PAUL RED EAGLE Is that because McBride was killed... a white man?... Or that we paid the Government $20,000? TOM WHITE I don’t think it’s too late to find out who’s doing this...KOTFM - Final Shooting Script - August 10, 2022 100. KOTFM - Final Shooting Script - August 10, 2022 101.PAUL RED EAGLE It isn’t just who... it’s how many dead. We’ve lost count. CHIEF BONNICASTLE In the old days we would fight these people. Twenty years ago I fought overseas in The Boxer Rebellion. I was one of the first to climb over that Great Wall. I knew who my enemy was and I knew who I had to kill. If we could find these people we would fight them. But now this invisible enemy we cannot see. We can’t trust any of the local officials. We can’t trust the state government. We can’t trust the Bureau of Affairs officials. We can’t trust our neighbor. We can’t trust the local pastor. We can’t trust the morgue, the morticians, funeral homes. We can’t trust you. We can’t trust anybody. We don’t see any stop. [Beat] Try to make it stop. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. INSURANCE OFFICE – DAY 168 168 We’re in the middle of HALE losing his temper with an INSURANCE MAN named JOE JONES and his PARTNER. HALE No, no, no, it’s $25,000 come due on Henry Roan – he’s been dead months! I want my Henry Roan money. JOE JONES You’ll have to argue that out with Denver. They’re contesting the payment. HALE Who are you?? JOE JONES I’m J.T. Jones, I’m from the Denver office.KOTFM - Final Shooting Script - August 10, 2022 101. KOTFM - Final Shooting Script - August 10, 2022 102.HALE This is not a Denver problem, this is a Fairfax problem. JOE JONES I’m just telling you if we wire Denver, (that’s how we can settle this) – HALE Don’t say Denver, it’s not Denver, it’s Fairfax. Give me my Henry Roan Money. Write that note. Silence. Hale storms out. Bumps into John Wren coming in with two Osage men. John Wren gives him a shady look. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MOLLIE’S FAIRFAX HOME - 169 169 Mollie’s in bed somewhat delirious. Ernest is giving her a shot. MOLLIE ... she has no face...she has no face... ERNEST What? MOLLIE Anna... She can���t rest... We didn’t smoke her to the sky. Wakonda doesn’t know her. Ernest putting away the needle. Getting scared. ERNEST No Mollie. But you smoked the house. Remember? He looks and stops - sees that Mollie’s head has nodded back. Lost in another world. Ernest gets up to put away the medicine.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SHOUN BROTHERS OFFICE - DAY 170 170 Agents Frank Smith and John Burger in the Shoun Brothers office.KOTFM - Final Shooting Script - August 10, 2022 102. KOTFM - Final Shooting Script - August 10, 2022 103.JAMES SHOUN I think you need to see the Justice of the Peace, he has the inquest records about Anna Brown’s death. JOHN BURGER -- Those records have gone missing from his desk – JAMES SHOUN So then you need the Undertaker Turton, he’s all the details you might need, he kept the skull - JOHN BURGER Seen him too and that’s what brings us to you – possible you lost the bullet that killed her? JAMES SHOUN Well no, because we never found it. FRANK SMITH That’s why you were tearing up the brain, looking for the bullet? JAMES SHOUN Yes that’s right. The condition of the corpse was so bad because she had been dead for five or six days. Then we exhumed her. FRANK SMITH Why did you cut the body up into small pieces and cleave the flesh from the limbs with a meat ax? DAVID SHOUN We were looking for the bullet. FRANK SMITH Ah huh. DAVID SHOUN You know, this is really a matter for the Indian Tribal Council, you should see Chief Bonnicastle. FRANK SMITH What’s he going to tell me? DAVID SHOUN This is Indian country, they have their own ways.KOTFM - Final Shooting Script - August 10, 2022 103. KOTFM - Final Shooting Script - August 10, 2022 104.FRANK SMITH ... CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FAIRFAX POOL HALL/BARBER SHOP - DAY 171 171 Hale is in the barber chair. The BARBER at work. TOM WHITE looms over Hale... HALE What took you so long to get here? TOM WHITE I’ve only just been assigned to come down here a week ago, Mr Hale. HALE Assigned by who? The President? TOM WHITE No, sir. By J. Edgar Hoover. HALE Well, I don’t know him. TOM WHITE I heard you’re the King of the Osage Hills - so you might be the man to talk to. HALE mm... seems to me... this murder in the air is at the hand of most likely a band of men from outside these parts. Possibly negroes. (You saw what happened in Tulsa.) No proof - just my hunch. Then there’s just bad luck - Anna Brown - nasty mouth. Henry Roan? Melancholic you know. Charlie Whitehorn? Now he was a great man.... TOM WHITE What about the other dead Osage? Joe Grayhorse? Joe Bates... 25, 30 we keep counting... Seems like you’ve got one hell of an epidemic here... Anna Sanford? Bill...KOTFM - Final Shooting Script - August 10, 2022 104. KOTFM - Final Shooting Script - August 10, 2022 105.HALE (interrupting him) Stepson. Bill Stepson. Yeah. [beat] Seems like you need to speak with our Justice of the Peace. TOM WHITE wasn’t very helpful. HALE The Principal Chief? TOM WHITE I saw him too. HALE Well we want to put a finish to this death business, but I don’t like speaking while I’m in the chair, this is a quiet place but I’d be happy to meet you when you have questions.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MOVIE THEATER – 172 172 An AL JENNINGS WESTERN is playing. We see BLACKIE watching it. We hear Hale who is seated behind him - HALE (QUIET) Blackie?... Government men have come around. BLACKIE ... HALE Stirring. BLACKIE (still looking at the screen) I’ve done my time. HALE No use staying around someplace when there’s trouble. I owe you for what you did for my nephew and stood pat... on that roadster dee- bacle. Just spend time down someplace else - that place in Drumright - negro janitor opens at sunrise.KOTFM - Final Shooting Script - August 10, 2022 105. (MORE)KOTFM - Final Shooting Script - August 10, 2022 106.BLACKIE Drumright... CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DRUMRIGHT BANK – 173 173 WE ARE IN THE MIDDLE OF A BANK ROBBERY/VIOLENT SHOOT-OUT WITH BLACKIE THOMPSON who is robbing the bank with three other men and his Wife… Blackie shoots the police officer, dead... It all ends with Blackie and all of them handcuffed, arrested. We hear - CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BALLET SCHOOL/FAIRFAX – DAY 174 174 Mostly Osage girls doing exercises at a ballet barre. BOB MOUNT (V.O.) Thank you, Bill, for your support of this town and this beautiful dance school. Bill Hale, our sponsor...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FAIRFAX STREET – DAY – SAME MOMENT 175 175 Outside, Bill Hale is giving away PONIES to the girls. An Osage and white crowd has gathered. Hale presents a pony to one of the girls. Nearby John Wren is helping an Osage family find something near an alley -(with a dousing-type tool) Hale takes BOB MOUNT (white, 50s) aside with his granddaughters. HALE Did your girls get a pony? BOB MOUNT Yes they did, thank you Bill. HALE I’d like you to keep a watchful eye on your business tonight. (MORE)KOTFM - Final Shooting Script - August 10, 2022 106. HALE (CONT'D)KOTFM - Final Shooting Script - August 10, 2022 107.I have heard that your store is set- up for a robbery at 11pm. Might have heard about them gems you stashed. It’s two whites and a negro. BOB MOUNT Thank you, brother. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BOARDING HOUSE – NIGHT 176 176 Hale has come to see Acie Kirby and pays him $500. HALE Here’s the rest I owe you with great appreciation. ACIE You aware there’s Federal Agents around? HALE Ah. ACIE They looking into the blast. HALE …This isn’t Federal land, this is Indian land, so there’s no trouble that can come... good time to take a trip, there’s a nice opportunity if you can let me tell you of something? ACIE Sure. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ANOTHER TOWN - SHOP SIGN: “R MOUNT - GROCERY” 177 177 BOB MOUNT, WAITING AND READY WITH HIS SHOTGUN.HALE (CONT'D)KOTFM - Final Shooting Script - August 10, 2022 107. KOTFM - Final Shooting Script - August 10, 2022 108.Acie and two ASSOCIATES (one white, one black) break into Bob Mount’s store when Mount fires his shotgun at Acie - shooting him through the glass door.… Acie is dead on the street. CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HENRY GRAMMER’S RANCH/DISTILLERY – DAY 178 178 AGENTS TOM WHITE, JOHN BURGER, AND FRANK SMITH stand at Henry Grammer’s hideout which has been quickly deserted. The Distillery Equipment has been knocked over, but fires still burn and stove’s are still hot. They comes across a lone OLD TIMER who doesn’t move... AGENT JOHN BURGER Where can we find Henry Grammer? OLD TIMER Angel came down and done spread her big ole wings inside his chest... he’s down there with the snakes... CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. ROAD – NIGHT 179 179 Henry Grammer with a strange look on his face is driving. We pan along with the car until it smashes violently into a tree. Henry Grammer is dead. CUT TO:,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. HENRY GRAMMER’S RANCH/DISTILLERY 180 180 AGENT JOHN BURGER When’d this happen? OLD TIMER Yesterday.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FAIRFAX POOL HALL – DAY 181 181 Through the window we see Ernest playing pool with John Wren. Feeling the pressure he sneaks a swig from a flask. Byron Burkhart arrives.KOTFM - Final Shooting Script - August 10, 2022 108. KOTFM - Final Shooting Script - August 10, 2022 109.BYRON Brother. Put that away. They exit. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BACK ALLEY WAY – DAY 182 182 Byron leads Ernest out and into a car. Hale is in the car. HALE If you’re charged – if anything happens - you can beat it. ERNEST What are you talking about? What, I’m... what are they going to charge me with? HALE Ernest, I have many friends. That means I’ve got the best lawyers. They protect me. I protect you. Nobody’s getting near you, son. Argh... ERNEST What is it? HALE My stomach’s all torn up, Myrtie’s a mess, Willie’s hysterical – you need to sign this here now - Something happens to you, the headrights got to stay in the family – ... sign that. ERNEST What happens if something happens - if something happens to me what? What would happen to me? HALE Nothing’s gonna happen to you. It’s just a formality. No matter what. No one’s going to touch me. But they could come after you. And that could stop everything. This way for sure the money stays in the family. KOTFM - Final Shooting Script - August 10, 2022 109. KOTFM - Final Shooting Script - August 10, 2022 110.Ernest looks to Byron: ERNEST Did you sign a paper? HALE Oh yeah, he signed it. BYRON My wife’s not sick. Ernest hesitates. Hale gets out of the car, signals for Ernest to follow him… CU. TOM WHITE across the street, hidden from their view, watching them... ANGLE, ERNEST AND HALE HALE You’re scared. ERNEST No. HALE You’re giving her the shots? All of it? ERNEST Yes. HALE Now Ernest, I know you love Mollie, I know. I love her, too. But she’s gonna go. It’s not in our hands, it’s in God’s hands. He’s waiting on her now. We can’t stop the diabetes... but the children - they’re your children. We don’t want that illness around them, they don’t need to see her suffer and lose her legs. So you need to stay by her side now, and give her that medicine to ease her pain. You’ll never regret spending this time with her before she returns to the eternal... You’re strong enough now... ? You need to stay by her side, you need to give her that medicine, and you need to sign this. KOTFM - Final Shooting Script - August 10, 2022 110. KOTFM - Final Shooting Script - August 10, 2022 111.Ernest looks. HALE(CONT'D) Sign the paper... sign it. Ernest signs the paper. CU. TOM WHITE watching. CUT TO: EXT FIELD WITH DERRICKS IN THE DISTANCE - NIGHT 183 183 Joe Jones, CJ Robinson and John Wren getting out of their cars. Headlights illuminate a group of men waiting for them. They all shake hands.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. FIELD - MOMENTS LATER 184 184 Tom White in a huddle. TOM WHITE I was out in Ralston - met an old timer Alvin Reynolds last night.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. RALSTON HOTEL – DUSK 185 185 ALVIN REYNOLDS (84) on the porch of an old hotel. ALVIN I knew every Indian that was murdered... That bunch that did it even give dogs poison liquor to see what will happen to them. We see Tom White sitting with him, listening. ALVIN(CONT'D) They even kill coyotes. Now I don’t like coyotes but you shouldn’t poison a coyote. It’s not right - coyotes gonna die natural... My son-in-law told me not to talk for that bunch may bump me off but I’ve run out of time anyways...I’ll tell you who did it... I sat in this spot and I saw...KOTFM - Final Shooting Script - August 10, 2022 111. KOTFM - Final Shooting Script - August 10, 2022 112.Alvin points to the road in front of him, Tom looks. ALVIN REYNOLDS’ POV: 186 186 BYRON BURKHART DRIVING ANNA BROWN INTO TOWN ALVIN (V.O.) I saw Byron Burkhart drive Anna Brown down this street... with Kelsie Morrison and his wife in the back seat... CU. KELSIE MORRISON in the back seat. BYRON BURKHART PULLS THE CAR OVER. ALVIN They took her and got her juiced up. I seen them coming through town - they were all together. Kelsie and Byron and Anna... WE SEE: ANNA gets out of the car, very drunk and flirty with Byron... Kelsie follows. And as we see Kelsie - BURGER (V.O.) Kelsie Morrison runs dope and whiskey from Fort Worth to New Orleans to Dallas.. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. OIL FIELDS – NIGHT 187 187 John Burger - Federal Agent - is reporting to Tom White, Frank Smith, CJ Robinson, Joe Jones, John Wren. BURGER ... Bill Stepson died of corn whiskey. There was no investigation. Bill’s wife was Tillie Stepson... Kelsie dropped Catherine and married Tillie two weeks after Bill died.KOTFM - Final Shooting Script - August 10, 2022 112. KOTFM - Final Shooting Script - August 10, 2022 113.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOSPITAL – DAY 188 188 Tillie dead in the hospital. Bedside, Kelsie is there with TILLIE’S TWO KIDS. BURGER (V.O.) Two months later, Tillie died from poison. TIGHTER TO TILLIE’S KIDS. BURGER (V.O.) Kelsie ran off with her kids down to Mexico but he came right back because... CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LAWYER’S OFFICE – DAY 189 189 Kelsie is talking to a LAWYER. KELSIE So, my dead wife has two kids, and they have my name. So if I adopted them proper, if these two kids were to die, would I inherit their estates? They’re Osage. One’s half Osage, but they have headrights. LAWYER Kelsie, you realize that this indicates to me that you’re planning on adopting and killing these children? KELSIE No, not if it’s not legal and I don’t get the money. Then I’m not gonna do it. CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. POST OFFICE BOX – FT. WORTH, TX. 190 190 Kelsie is coming to his post office and he’s surrounded by officers and John Burger. BURGER Kelsie Morrison?KOTFM - Final Shooting Script - August 10, 2022 113. KOTFM - Final Shooting Script - August 10, 2022 114.KELSIE Who? No, my name’s Lloyd Miller. They take him. CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. OIL FIELD – BACK TO SCENE 191 191 BURGER I always admired Kelsie’s ambition. Told him so and he thanked me. Ask him point blank about Byron and Ernest and the murders. He said - BACK TO: EXT - POST OFFICE 192 192 KELSIE ....well maybe we can help each other out here. CUT TO:,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. OIL FIELD – BACK TO SCENE 193 193 JOHN WREN I’m in real close with them now and they tell me things. I’m a trusted friend to Father Albert, too. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. OSAGE GOLF COURSE – FLASHBACK - DAY 194 194 John Wren, undercover, with Mollie’s Priest who’s playing golf at a new Osage golf course hosting a COMMUNITY EVENT. THE PRIEST I am very concerned about a parishioner of mine. JOHN WREN Tell me what you know…KOTFM - Final Shooting Script - August 10, 2022 114. KOTFM - Final Shooting Script - August 10, 2022 115.THE PRIEST ... She fears her life may be in danger…",FLASHBACK +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. OIL FIELDS 195 195 Tom taking all this in. JOHN WREN ...You got a better chance convicting a guy for kicking a dog than killing an Indian ... You know there’s more to this than what we’re on to. Hale’s not tied to the Charlie Whitehorn murder. Or Sara Butler or Bill Stepson... (alts: Or Rose Lewis - Or John Whitehair)... there’s more... TOM WHITE We’re on Bill Hale, we’re on Ernest Burkhart - that’s what we’re working on now. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. OIL FIELDS – CONTINUED 196 196 Off in the distance, there is something happening. Faintly we can see that it is a fire... The Agents stand and watch... JOHN WREN That’s Bill Hale’s ranch. JOE JONES I sold him a $30,000 fire policy last month. JOHN WREN (smiles) Well, “Insurance Man” looks like you’ve got some work in the morning. CUT TO:KOTFM - Final Shooting Script - August 10, 2022 115. KOTFM - Final Shooting Script - August 10, 2022 116.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HALE RANCH – NIGHT 197 197 Bill Hale’s ranch is on fire. It’s acreage around the house set fire for insurance purposes. Ranch hands walk around the fire, making sure this ‘accident’ is contained to a certain area. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MOLLIE’S FAIRFAX HOME – NIGHT 198 198 CU. ERNEST watching unusual light on the horizon. THE FIRE. Silhouettes, moving around, like Demons. TOM WHITE (V.O.) Ernest Burkhart is skittish, he is afraid. He drinks and displays a nervous temper. It is in my opinion that he could be made to tell the truth... Ernest turns into his house…",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. CELLAR MOLLIE’S FAIRFAX HOME A199 A199 Ernest mixes up something with the vials (and whiskey?) in the cellar and drinks it. CUT TO:,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MOLLIE’S FAIRFAX HOME – NIGHT 199 199 Mollie sees the flicker of fire on the ceiling of her sick room. She closes her eyes. Ernest is drunk and out of it. He shoots her up - injecting her... with two bottles. Ernest takes a vial and adds it to a whiskey (or drinks it from the vial). He sees flames like demons on the wall. He walks toward the flames... Mollie flickers her eyes open for a moment. Sees him, doesn’t see him. MOLLIE (TO ERNEST) You’re n",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","ext.KOTFM - Final Shooting Script - August 10, 2022 116. KOTFM - Final Shooting Script - August 10, 2022 117.Ernest backs out of the room… CU. TOM WHITE – ON CAMERA 200 200 TOM WHITE It is my view that he is the weak sister. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FAIRFAX POOL HALL - FAIRFAX - DAY 201 201 Ernest hanging out at his pool hall when suddenly: Tom White, Frank Smith and John Burger come in to arrest him – they have brought the local OSAGE COUNTY SHERIFF as The Bureau can’t arrest anyone or carry guns at this time… ERNEST Here we go, then... you got this all wrong. I have to go home, I have to go home and see my wife... she’s sick and I have to take care of her... Ernest tries some side-steps around pool tables and pretends they’re not even there, until they are upon him and handcuff him... CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. THE FEDERAL BUILDING, CIVIL SERVICE ROOM – NIGHT 202 202 Tom White and Frank Smith look across from Ernest. ERNEST Can I sit down? FRANK SMITH Standing is good. TOM WHITE We want to talk to you about the murder of Reta and Bill Smith and Anna Brown. ERNEST ...KOTFM - Final Shooting Script - August 10, 2022 117. KOTFM - Final Shooting Script - August 10, 2022 118.HOLD ON ERNEST’S FACE. They say nothing. LONG PAUSE, THEN: TIME CUT: CU. ERNEST IT’S MANY HOURS LATER, IT’S NIGHT. HE’S STILL 203 203 STANDING IN THE SAME SPOT, HE LOOKS EXHAUSTED. SILENCE, THEN: ERNEST I need to sit down. TOM WHITE Yes you do but you’re standing. ERNEST I need some sleep. TOM WHITE Were you alone when you put the explosives under the house? Was Blackie Thompson with you? ERNEST He was no where around me, because I don’t even know him so much – just from around. TOM WHITE You didn’t rob a bank in Oilton with him did you? ERNEST I never did that. TOM WHITE You didn’t have a bunkhouse with stolen cars where men could stay? Cook stove? Place to eat? Beds? ERNEST Not that I know of. TOM WHITE You did help Blackie Thompson steal your own Buick car in 1921 for the purpose of collecting insurance on it, didn’t you? ERNEST I told him he could take the car.KOTFM - Final Shooting Script - August 10, 2022 118. KOTFM - Final Shooting Script - August 10, 2022 119.TOM WHITE For the purpose of using it? ERNEST I don’t know what he wanted it for. TOM WHITE You loaned it to him. ERNEST ...what, what, what is all this? I loaned him my car, that’s not against the law.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CIVIL SERVICE ROOM – CONTINUED 204 204 The door opens and in steps Blackie Thompson. BLACKIE How you doing, Ernest? CU. ERNEST: Silence, then... ERNEST May I speak to this man? Alone? TOM WHITE You want to speak to him alone? ERNEST Yes. They all leave the room. BLACKIE THOMPSON They got you turned around? ERNEST No. What did you tell them? BLACKIE THOMPSON I told them when I came back from prison to see you to make things right, you gave me $1.50 and you told me, “Well, we all knew the chances we were taking...” ERNEST We did. But I gave you a twenty.KOTFM - Final Shooting Script - August 10, 2022 119. KOTFM - Final Shooting Script - August 10, 2022 120.BLACKIE THOMPSON No you didn’t. You gave me a dollar fifty. ERNEST I gave you a twenty. I meant to give you a twenty. What did you tell them? BLACKIE THOMPSON All of it. I told them you and your Uncle are too much Jew. I’m doing life for killing that Drumright cop and I’m telling you now, Ernest - I know you can’t do time in prison. So tell them what you know for your pleasure... CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MOLLIE’S FAIRFAX HOME – NIGHT 205 205 Bill Hale steps into Mollie’s house. He’s dressed up fancy. Mollie is near death. In Bed. Hale comes into the room. She is delirious; he speaks in Osage… HALE Settle down, Mollie. You’re strong.HALE Mollie, thoo-shtah-kah. Wah- thee-skahn tahn-kah. MOLLIE Are you real?MOLLIE Thee-eh eh-kohn xtsee ah? HALE (in English) I could be real.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CIVIL SERVICE ROOM – LATER 206 206 Tom White holds up his hand... motioning Ernest to stop talking: TOM WHITE ...Acie Kirby... Henry Grammer ... [we might see images of them] they’re both dead. There’s nobody alive in your story who did this. ERNEST ...well, yeah, they’re dead.KOTFM - Final Shooting Script - August 10, 2022 120. KOTFM - Final Shooting Script - August 10, 2022 121.TOM WHITE You’re a good man, Ernest and you love your wife and children. You served your country in Infantry and I don’t think this is how your life was meant to turn out – I see your family is more of a blessing than your King Bill Hale. He’s done nothing but taken advantage of your human nature and forced you into doing bad things. ERNEST I want to go back home to my wife, so tell me what I can do. TOM WHITE Well then who killed Henry Roan? Do you know about that? Ernest about to speak... CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. JOHN RAMSEY’S PLACE – RIPLEY 207 207 John Ramsey, living in poverty with six kids on the edges of Fairfax. He steps out of his house, to pick up something from the yard and before he knows anything... JOHN WREN is beside him... JOHN WREN Don’t run. I’m to take you in. John Ramsey holds still. His wife and kids look. As Wren deals with Ramsey we hear - TOM WHITE (V.O.) Bill Hale and Ernest Burkhart have taken advantage of you because you’re a poor man, had a wife and six children, are in bad circumstances. CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CIVIL SERVICE ROOM – NIGHT 208 208 Ramsey and Tom White:KOTFM - Final Shooting Script - August 10, 2022 121. KOTFM - Final Shooting Script - August 10, 2022 122.TOM WHITE What do you know about the murder of Henry Roan? JOHN RAMSEY Why I don’t know anything about it. TOM WHITE I have a man who is your friend who states that you do know about it. JOHN RAMSEY Who is he? Tom White opens the door and Ernest is brought in... Ernest looks at John Ramsey. HOLD the looks, then: JOHN RAMSEY(CONT'D) So is this on my neck? TOM WHITE Yes. JOHN RAMSEY ...get your pencils. CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MOLLIE’S FAIRFAX HOME – MORNING 209 209 CAMERA PUSHES DOWN THE HALLWAY TOWARDS MOLLIE’S SICK ROOM. FBI AGENTS JOHN WREN and CJ ROBINSON enter the back sick room and see Mollie near death. Vera following them in... JOHN WREN Does she have a doctor? VERA No, she won’t see one. MOLLIE (GARBLED, OSAGE) ...where’s my husband?MOLLIE Nee-kah we-da ho-wae-ke theh. Mollie sees John Wren. MOLLIE(CONT'D) Are you real? Grandfather? Is it time now? They begin to rush Mollie out of the house and into a car. KOTFM - Final Shooting Script - August 10, 2022 122. KOTFM - Final Shooting Script - August 10, 2022 123.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. FEDERAL COURT BUILDING - HALLWAY 210 210 Tom White and Frank Smith accompany Ernest. ERNEST I suppose we all need to tell the truth? TOM WHITE Yes. ERNEST It’s time for all the true facts to come out… TOM WHITE Do you want protection? ERNEST Yes. TOM WHITE From? ERNEST My Uncle.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FAIRFAX SHERIFF’S OFFICE 211 211 SHERIFF FREAS at his desk ...The door opens, and William Hale enters, dressed immaculately. WILLIAM HALE I understand I’m wanted. I’m here to turn myself in -- no need put you fellows out... SHERIFF What you supposed to have done? WILLIAM HALE Killed somebody, if you can believe it. SHERIFF Oh now Bill I wouldn’t go that far. That can’t be. WILLIAM HALE (hands out to be cuffed) Arrest me, son.KOTFM - Final Shooting Script - August 10, 2022 123. KOTFM - Final Shooting Script - August 10, 2022 124.SHERIFF No need for that. He leads Hale toward the back.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. GUTHRIE FEDERAL BUILDING – DAY 212 212 HALE IS UNDER ARREST NOW. U.S. Marshalls have now brought Hale to the Federal Building. A REPORTER rushes over: REPORTER 1 Have you a statement to make? HALE Who are you? REPORTER 1 A newspaper man. HALE I’ll not try my case in the newspapers, but in the courts of this country. REPORTER 2 You are pretty well known aren’t you? HALE I think so. REPORTER 2 It’s a long trip from Pawhuska, isn’t it? HALE Yes, but we’ve had a car with curtains up. REPORTER 2 Just a statement? Just “I’m innocent”? CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. WITNESS INTERVIEW ROOM – DAY 213 213 Blackie Thompson with his lawyer is being interviewed by PROSECUTOR PETER LEAWARD. KOTFM - Final Shooting Script - August 10, 2022 124. KOTFM - Final Shooting Script - August 10, 2022 125.PROSECUTOR LEAWARD Where are you currently residing? BLACKIE THOMPSON The Penetentiary. PROSECUTOR LEAWARD How long are your serving? BLACKIE THOMPSON Life. PROSECUTOR LEAWARD For the Drumright job, right? BLACKIE THOMPSON Yes. PROSECUTOR LEAWARD It was William Hale who arranged that, right? BLACKIE THOMPSON That he did, funny ain’t it? PROSECUTOR LEAWARD Now who asked you to kill Bill and Reta Smith? BLACKIE THOMPSON William Hale and Ernest Burkhart. PROSECUTOR LEAWARD Have you had recent contact with Mr. Hale? BLACKIE THOMPSON As a matter of fact, he just got a note to me - asked me to kill his nephew... PROSECUTOR LEAWARD ... Now when you testify for the United States, you have one job and one job only... to tell the truth -",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BLACKIE’S JAIL CELL - NIGHT 214 214 Blackie on his bunk in his cell, a JAIL GUARD slips A NOTE through the bars of the cell.KOTFM - Final Shooting Script - August 10, 2022 125. KOTFM - Final Shooting Script - August 10, 2022 126.BLACKIE THOMPSON (V.O.) - Yes... He said he could help me escape and then if I could, take Ernest to old Mexico and kill him. I sent a note back saying I wouldn't testify if he got me out.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. WITNESS INTERVIEW ROOM – DAY 215 215 PROSECUTOR LEAWARD And how did that work out for you? BLACKIE THOMPSON How did what? PROSECUTOR LEAWARD Mr. Hale’s promise of a grand escape. BLACKIE THOMPSON I’m sitting here talking to you, ain’t I?",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HOSPITAL – PAWHUSKA – DAY 216 216 Mollie is brought into her hospital room with the help of John Wren and CJ Robinson. There is a team of Doctors and Nurses around here in a flash. HALE (V.O.) Take a letter: JUDGE NOT! By William K. Hale. Judge Not! the clouds of seeming guilt may dim thy brother’s fame; OMITTED 217 217,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HALE’S JAIL CELL - GUTHRIE - DAY 218 218 Hale with a SECRETARY...KOTFM - Final Shooting Script - August 10, 2022 126. KOTFM - Final Shooting Script - August 10, 2022 127.HALE For fate may throw suspicion’s shade upon the brightest name! CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FEDERAL PRISON - MORNING 219 219 Ernest, witness for the prosecution, is under the guard of Tom White, Joe Jones and John Wren and some U.S. MARSHALLS. ERNEST I want to see my wife. You said if I testified I could see my wife. TOM WHITE She’s in hospital in Pawhuska. ERNEST Is she alright? TOM WHITE Doesn’t seem it. ERNEST When can I see her? TOM WHITE I don’t know. ERNEST I need to get a letter to her. A group of reporters is there. REPORTER 2 Where are they taking you, Mr. Burkhart? ERNEST I’m going the other way for a while now. Ernest gets in the backseat of the car. Tom White shuts the door. TIME CUT: Tom White OPENS the backseat door on the other side, starts to get in beside Ernest.KOTFM - Final Shooting Script - August 10, 2022 127. KOTFM - Final Shooting Script - August 10, 2022 128.TOM WHITE We’re not charging you with anything ‘cause you’re gonna testify… but it’s best I shepherd you out of the state for awhile. Keep Hale and his wolves away from you. Now I know you wanna get back to Mollie and the kids but this is protection. Ernest listens. The car drives away from the municipal building. CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOSPITAL - PAWHUSKA 220 220 A GUARD with a RIFLE monitors the hospital room. Mollie, feeling better, in bed, eating something. HALE (V.O.) Thou canst not tell what hidden chain of circumstances may have wrought the sad results that takes an honest name away…",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HALE’S JAIL CELL – GUTHRIE – DAY 221 221 HALE Judge Not! The vilest criminal may rightfully demand a chance to prove his innocence by jury of his land; Judge Not!!! Hale finishes his poem: HALE(CONT'D) Get this in the Pawhuska Daily Journal, Fairfax Chief, Hominy Journal and the Osage County News - CUT TO:",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOSPITAL - PAWHUSKA 222 222 GUARD with a RIFLE monitors the room. Mollie helped around the room. Elizabeth and Cowboy are visting her. We hear Ernest’s letter:KOTFM - Final Shooting Script - August 10, 2022 128. KOTFM - Final Shooting Script - August 10, 2022 129.ERNEST (V.O.) LETTER TO MOLLIE concludes with a repeat “It’s time for all the true facts to come out…”",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FEDERAL COURTROOM - ENTRY DOOR TO COURTROOM 223 223 A beat of quiet at the door to the courtroom. Tom White looks at Ernest who seems very shaky and sweaty. TOM WHITE Hold steady, son.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FEDERAL COURTROOM - CONTINUOUS 224 224 Ernest is brought into the courtroom. Ernest sees Hale at the defendant’s table with his lawyers. Hale looks at Ernest. Tom White and John Wren take a seat and look at the all white jury. He sees the Judge, HONORABLE JOHN C. POLLOCK. Ernest takes the stand, everyone falls quiet for one second and then, suddenly: W.S. HAMILTON (Hale’s Lawyer) stands up and stops all this before it starts by screaming out: W.S. HAMILTON I demand to confer privately with Mr. Burkhart. He is my client. Loud objections, minor chaos, then, Ernest looks baffled, everyone does: W.S. HAMILTON(CONT'D) ERNEST BURKHART IS MY CLIENT AND I DEMAND AN OPPORTUNITY TO SPEAK WITH HIM! HE HAS BEEN MISSING FOR TWO MONTHS AND I HAVE NOT HAD THE CHANCE TO COMMUNICATE WITH HIM BEFORE HE TESTIFIES! JUDGE POLLOCK Is this man really your attorney?KOTFM - Final Shooting Script - August 10, 2022 129. KOTFM - Final Shooting Script - August 10, 2022 130.ERNEST I don’t know...? I don’t have a contract with him but I’m willing to talk to him. More objections from prosecution, Tom White and Wren look on as the courtroom goes nuts. W.S. Hamilton and Hale’s team of lawyers get Ernest into a back room. JUDGE POLLOCK Court is adjourned until tomorrow at 10. Tom White and John Wren look. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. WIDE OPEN SPACE – DUSK 225 225 A chauffeured limousine and another car. Both parked in the middle of the empty highway. A couple hundred yards back... Tom White and another in their car... They make no effort not to be seen, just keep back and watch. Ernest steps out of the car... Mollie steps out of the other car, driven by Byron... and they come to each other... CU. MOLLIE and ERNEST they look at each other and don’t say anything... Ernest is seeing Mollie, healthy for the first time in a long time... something dawns on him: ERNEST I’m sorry. MOLLIE For what? ERNEST All troubles. MOLLIE I’ll take you home now.MOLLIE Ah-we-breen-ah-leh theh-kohn- tsee-eh. ERNEST Yes, ma’am.ERNEST Hoh-weh.KOTFM - Final Shooting Script - August 10, 2022 130. KOTFM - Final Shooting Script - August 10, 2022 131.Ernest and Mollie walk together and get in the car... BYRON Brother. ERNEST Brother. BYRON Freeling and Hamilton want to see you at Hale’s tonight. Talk things over. CUT TO: OMITTED 226 226 OMITTED 227 227",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HALE’S RANCH - NIGHT 228 228 Faces looking at Ernest as he enters the livingroom. Ernest acknowledges the recognizable men and women from town including Myrtle and Hale’s lawyers looking at him. And two oil executives MR SOLOWEY and MR KRACEON. ERNEST Sheriff... Aunt Myrtie... FREELING Ernest, you know Mr Solowey from Solowey Oil? And Mr Kraceon from Kraceon Oil?... Ernest sits. W.S. HAMILTON If you testify against your Uncle, you realize that this can be held against you for years to come and you can get convicted for the Smith murder, do you see that? ERNEST No.KOTFM - Final Shooting Script - August 10, 2022 131. KOTFM - Final Shooting Script - August 10, 2022 132.W.S. HAMILTON They’re giving you the rope to hang yourself, you see that? FREELING He doesn’t see that. W.S. HAMILTON Ernest, you realize if you do this you will be murdering your Uncle? ERNEST No, no, no. FREELING Yes. You have all the power to save his life. W.S. HAMILTON HE IS SAVING YOU, DUMB BOY... Do you want to go home right now? ERNEST Yes. W.S. HAMILTON Do you want to see your wife and kids? ERNEST Yes. W.S. HAMILTON These Government Men BEAT you and TORTURED you, didn’t they?? ERNEST They kept me awake for days… W.S. HAMILTON No, they BEAT you. ERNEST ...yes, sir, they did. W.S. HAMILTON THANK YOU.KOTFM - Final Shooting Script - August 10, 2022 132. KOTFM - Final Shooting Script - August 10, 2022 133.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LIZZIE/MOLLIE’S GRAY HORSE HOME – MORNING 229 229 Ernest sits with Mollie. She prepares her insulin and gives herself a shot through the scene. He watches her... (Children present)? MOLLIE I had a dream we went to Colorado Springs. You told me all your secrets and I held them in a box for you... we went to a river and dumped them away... and we were happy, then. ERNEST The insulin is working... I guess you had to get worse before you got better? Something like that? MOLLIE Yes, Ernest. I had to get worse before I got better. ...What’s going to come now? ERNEST Well, Mollie... it’s very complicated. MOLLIE No, it shouldn’t be. ERNEST Yes, I know. But white man’s laws are hard to understand... sometimes you have to do one thing even though you mean the other thing – and I know that’s hard for you to understand as Osage. So what I have to do is to go now and tell the real Truth about what these government men have done to make me lie to them... you see they beat me and tortured me so that I would say that my Uncle did these things... but now I am in my right way... and I cannot tell that lie about him. So I am going to do the right thing now and protect him. MOLLIE When will you come back?KOTFM - Final Shooting Script - August 10, 2022 133. KOTFM - Final Shooting Script - August 10, 2022 134.ERNEST Just in a few days this will all be over. They have to arrest me just for a show of it. But I’m not in trouble cause I done nothing wrong in this world. She finishes giving herself the shot, looks at him. MOLLIE Osage know a true story when they hear one. ERNEST Yes... this is true to you? MOLLIE It has too many turns in it to be a true story. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LIZZIE/MOLLIE’S GRAY HORSE HOME – MORNING 230 230 POV Mollie from inside the house looking out the window. See Hale’s lawyers and Government Agents waiting outside. Hear a door. See Ernest leave the house. Lawmen and lawyers talk to Ernest. They handcuff him and take him away, he nods to Mollie that it’s all just fine. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JAIL – DAY 231 231 Ernest is brought into jail. Hale is roaming free down here, and comes to greet him. He hugs him. A long, silent bear hug between them. CUT TO:",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FEDERAL COURTROOM – DAY 232 232 CU. MOLLIE: She sits down in FRAME. Osage Tribe are here, it’s packed with people, reporters, etc. HALE is sitting at defendant table.KOTFM - Final Shooting Script - August 10, 2022 134. KOTFM - Final Shooting Script - August 10, 2022 135.KELSIE MORRISON is on the stand. PROSECUTOR LEAWARD ... how did you come to kill Anna Brown? KELSIE I was hired by W.K. Hale. PROSECUTOR LEAWARD What did he say to you? KELSIE I was to get a thousand dollars and the money I owed him which was six hundred dollars. PROSECUTOR LEAWARD Now you say you killed Anna Brown? KELSIE Yes, sir. PROSECUTOR LEAWARD You took her down into that canyon there into what was commonly known as the Three Mile Canyon, didn’t you? KELSIE Yes, sir. PROSECUTOR LEAWARD What did you shoot her with? KELSIE Automatic. PROSECUTOR LEAWARD And where did you shoot her? KELSIE Shot her down through the top of the head, I guess I killed her. PROSECUTOR LEAWARD Now you say you were pretty drunk? KELSIE Yes, sir. PROSECUTOR LEAWARD You knew you were killing her didn’t you?KOTFM - Final Shooting Script - August 10, 2022 135. KOTFM - Final Shooting Script - August 10, 2022 136.KELSIE Yes sir. PROSECUTOR LEAWARD How did you get her down to the place where you killed her? KELSIE Byron and I carried her down there. PROSECUTOR LEAWARD Did you make her drunk so you could kill her? KELSIE Yes, sir. PROSECUTOR LEAWARD Was she laying down when you killed her? KELSIE No, sir. PROSECUTOR LEAWARD What position was she in? KELSIE Sitting up. Byron raised her up, pulled her up and held her up. PROSECUTOR LEAWARD You stood there and directed him how to hold this drunken helpless Indian woman down in the bottom of that canyon while you got ready to shoot a bullet into her brain? KELSIE Yes, sir. PROSECUTOR LEAWARD What happened when you shot her? KELSIE Turned her loose and she fell back down. PROSECUTOR LEAWARD Did she make any outcry? KELSIE No, sir.KOTFM - Final Shooting Script - August 10, 2022 136. KOTFM - Final Shooting Script - August 10, 2022 137.PROSECUTOR LEAWARD Did you stand there and watch her die? KELSIE No, sir. PROSECUTOR LEAWARD You were satisifed with your work? KELSIE Yes, sir. PROSECUTOR LEAWARD Then you turned and left. KELSIE Yes, sir. PROSECUTOR LEAWARD Have you seen that canyon where you killed Anna Brown? KELSIE I have seen it a hundred times, I suppose. PROSECUTOR LEAWARD You have seen it a hundred times since? You wanted to go back and see where you killed Anna Brown? KELSIE No, sir. PROSECUTOR LEAWARD Well? KELSIE No, sir. PROSECUTOR LEAWARD What did you go back out there for? Kelsie smiles. PROSECUTOR LEAWARD(CONT'D) Go ahead and tell the jury. KELSIE Well it was a good place to park and drink and put on parties – it can’t be seen from the road……KOTFM - Final Shooting Script - August 10, 2022 137. KOTFM - Final Shooting Script - August 10, 2022 138.CU. MOLLIE. PROSECUTOR LEAWARD (O.C.) And where did you go after you killed Anna Brown? KELSIE (O.C.) Went to sleep at Bill Hale’s. PROSECUTOR LEAWARD (O.C.) And what did you do then? KELSIE (O.C.) We stayed drunk. PROSECUTOR LEAWARD (OC) Where did Byron go? KELSIE (OC) Back home to Mollie’s. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MOLLIE’S BEDROOM – NIGHT – FLASHBACK 233 233 The night of the murder. Mollie brings Byron a pillow as he gets on the couch to go to sleep. She comes upstairs and gets into bed with Ernest. She turns and holds on to him... CUT TO:,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. THREE MILE CREEK – FLASHBACK – NIGHT 234 234 Byron props up Anna’s limp body as Kelsie raises his gun and aims at the back of her head... CUT TO:,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JAIL CELL – NIGHT 235 235 Ernest is asleep in his cell. Tom White comes to see him. TOM WHITE Ernest, wake up... Ernest, I’m to tell you that your child has died. ERNEST What child?KOTFM - Final Shooting Script - August 10, 2022 138. KOTFM - Final Shooting Script - August 10, 2022 139.TOM WHITE I don’t know the name. ERNEST Cowboy? Which one? TOM WHITE Is there a child that’s had trouble with her lungs - like whooping cough? ERNEST Who told you this? How do you know this? TOM WHITE This was told to me by our agents in Fairfax. Mollie has gone to see and take it home. ERNEST It’s the baby... it’s the baby Anna. Oooo lord. Ooo my lord no. TOM WHITE Bless you son, I’m sorry for your loss. Tom White walks away, past Hale’s cell. Hale hears Ernest crying and crying and moaning in loss. Hale gets the Jailers attention. HALE (TO JAILER) What happened? JAILER Told him his baby died... HALE Which one? JAILER The baby. HALE Sad news. Sad news, terrible tragedy. White man’s disease. We’ve brought nothing but trouble to them. Ernest weeps. Hale tries to call to him...KOTFM - Final Shooting Script - August 10, 2022 139. KOTFM - Final Shooting Script - August 10, 2022 140.HALE(CONT'D) (Boy...boy it’s alright...) Suffer little children, and forbid them not, to come unto me: for of such is the kingdom of heaven. And he laid his hands on them... CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BIGHEART’S HOUSE - BEDROOM – DAY 236 236 In the bedroom, Mollie is overcome with grief, kneeling by bed. Mollie's LITTLE GIRL ANNA is wrapped in a blanket lying motionless on the bed. The BIGHEARTS standing. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. GRAY HORSE CEMETERY - DAY 237 237 Ernest, in shackles and handcuffs, escorted by Tom White out of car… Mollie & Ernest with two Marshalls at his elbow, the Bighearts and Mollie standing at a freshly dug grave. The Catholic Priest is presiding over the burial of Little Anna. An ACOLYTE assists. PRIEST Lord, have mercy. Christ, have mercy. Lord, have mercy. Our Father -PRIEST Kyrie eleison. Christe eleison. Kyrie eleison. Pater noster - (inaudibly) - qui es in caelis, sanctificetur nomen tuum. Adveniat regnum tuum. Fiat voluntas tua, sicut in caelo, et in terra. Panem nostrum quotidianum da nobis hodie, et dimitte nobis debita nostra, sicut et nos dimittimus debitoribus nostris. (until...) PRIEST(CONT'D) (aloud) And lead us not into temptation.PRIEST(CONT'D) (aloud) Et ne nos inducas in tentationem. MOLLIE & BIGHEARTS & ACOLYTE But deliver us from evil.MOLLIE & BIGHEARTS & ACOLYTE Sed libera nos a malo.KOTFM - Final Shooting Script - August 10, 2022 140. KOTFM - Final Shooting Script - August 10, 2022 141.PRIEST Let little children come to me.PRIEST Sinite parvulos venire ad me. MOLLIE & BIGHEARTS & ACOLYTE For theirs is the kingdom of heaven.MOLLIE & BIGHEARTS & ACOLYTE Talium est enim regnum caelorum. PRIEST The Lord be with you.PRIEST Dominus vobiscum. MOLLIE & BIGHEARTS & ACOLYTE May He also be with you.MOLLIE & BIGHEARTS & ACOLYTE Et cum spiritu tuo. TIME CUT: The casket and grave are then sprinkled with holy water and incensed. Elizabeth PLACES A PIECE OF FRUIT on the casket. Ernest reacts. TIME CUT: 238 238 ERNEST I love you. I love you. I’ve always loved you, Mollie. Tom White puts Ernest in his car. Ernest is shaken. TOM WHITE You still strong? (still up for this?) Ernest gives White a look. They drive off. OMITTED 239 239",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JAIL CELL – NIGHT 240 240 Tom White brings Ernest to see Bill Hale in his jail cell. Ernest safe on the other side of the bars, says:KOTFM - Final Shooting Script - August 10, 2022 141. (MORE)KOTFM - Final Shooting Script - August 10, 2022 142.ERNEST Hello, King. HALE How is everyone? ERNEST Not good. HALE I know, my son, I feel it too. ERNEST You know, I’ve got to take care of the two kids and Mollie. Ernest looks at Hale. HALE Uh huh... What are you thinking of? ERNEST ...to testify. HALE That’s a strong choice to make against adversity... ERNEST I have to, Uncle. HALE ... They gave you a deal. ERNEST ... a deal... HALE They won’t hold to it. ERNEST It’s the Federal Government. HALE That’s right - it’s the Federal government. That’s why I say that. Pauses. Let’s Ernest reflect. HALE(CONT'D) All that’s really going to happen is the family is going to be broke up. Is that what you want? (MORE)KOTFM - Final Shooting Script - August 10, 2022 142. HALE (CONT'D) (MORE)KOTFM - Final Shooting Script - August 10, 2022 143.It’s just not going to make any difference. I tell you this from the deepest part of my heart. ERNEST People have turned. They’ve seen a dark streak through the country. It’s different now, Bill - the Osage - HALE (interrupts) - The Osage know. They know who gave them the schools - the streets they walk on... I’ve brought them into the great 20th century. What have you done - you’ve created a family with my help - because of me. ERNEST They’re not going to stand by you, Bill. Not now - it’s over - after all this - HALE No, they will, they will - Oh there might be some public outcry ‘for awhile’ but then people will forget. They won’t even remember - they won’t even care. Nothing’s gonna change, son, it’s just gonna be another “everyday”... common tragedy. ERNEST ... common, huh?... HALE If it’s the last thing you hear me tell you - please don’t do something you’re gonna regret for the rest of your life. ERNEST Regret? Regret?! I got nothing but regrets. I regret now that I should have done this earlier. HALE You really believe you’ll be better off after you do what you think you ought to do? - you’re gonna go on living like nothing happened? HALE (CONT'D) (MORE)KOTFM - Final Shooting Script - August 10, 2022 143. HALE (CONT'D)KOTFM - Final Shooting Script - August 10, 2022 144.You’ve got a family, children, you lost one already. Don’t make it more of a tragedy (than it already is) - . ERNEST It’s already a goddamn tragedy! I don’t trust you, Bill. Nobody trusts you. You understand that? HALE Son - (I know you believe you think you’re making the right decision- ) ERNEST (Interrupting) I’m not your son, Bill. HALE (Oh yes you are!) Whether you are or you’re not, you’re a son to me. Ernest takes this in. ERNEST I thank you, Bill, but I gotta look after my family... I can’t - Ernest backs away. HALE I don’t know what to say and I’m sorry to hear that. I forgive you for you know not what you say. The Lord has forgiven you, so you also must forgive. I love you, son. Don’t throw it all away. We now see that Agents Burger and Smith have been secretly listening to the conversation on a recording device. CUT TO: OMITTED 241 241",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FEDERAL COURTROOM – DAY 242 242 Ernest on the stand. He looks at Mollie, in her blanket, in the courtroom. The Prosecutor begins:HALE (CONT'D)KOTFM - Final Shooting Script - August 10, 2022 144. KOTFM - Final Shooting Script - August 10, 2022 145.PROSECUTOR LEAWARD Mr. Burkhart, is this of your own accord? ERNEST Yes sir. PROSECUTOR LEAWARD No one has promised you anything? ERNEST No sir. PROSECUTOR LEAWARD Did you seek out John Ramsey at your Uncle’s behest to kill Henry Roan? ERNEST Yes sir. PROSECUTOR LEAWARD Did you drive from Fairfax to Ripley to tell John Ramsey to tell Asa Kirby to do a job? ERNEST Yes, sir. PROSECUTOR LEAWARD Who asked you to do this? ERNEST My Uncle William Hale. PROSECUTOR LEAWARD Do you see him? ERNEST Yes, sir. PROSECUTOR LEAWARD Can you point to him? ERNEST Yes, sir, right there. PROSECUTOR LEAWARD I’d ask that the record reflect the witness identified the Defendant, Mr. Hale.KOTFM - Final Shooting Script - August 10, 2022 145. KOTFM - Final Shooting Script - August 10, 2022 146.JUDGE POLLOCK The record shall so reflect. PROSECUTOR LEAWARD What was the job that he wanted Asa Kirby to do? ERNEST He wanted to blow up Reta and Bill Smith. PROSECUTOR LEAWARD Why would he want them blown up? ERNEST So to get their money. PROSECUTOR LEAWARD Are you a married man? ERNEST Yes, sir. PROSECUTOR LEAWARD What is your wife’s name? ERNEST Mollie Burkhart. PROSECUTOR LEAWARD She is Reta’s sister? ERNEST Yes, sir. PROSECUTOR LEAWARD She is also the sister of Anna Brown who was murdered. ERNEST Yes. PROSECUTOR LEAWARD And her mother Lizzie Q who is dead? ERNEST Yes. PROSECUTOR LEAWARD And her sister Minnie is dead?KOTFM - Final Shooting Script - August 10, 2022 146. KOTFM - Final Shooting Script - August 10, 2022 147.ERNEST Yes. PROSECUTOR LEAWARD And all these dead women are Indian women, are they? ERNEST Yes. PROSECUTOR LEAWARD If Mollie, your wife, died, who would get her Oil Money? ERNEST Me and our children. PROSECUTOR LEAWARD Did your Uncle lay out a plan toyou by which you would benefit from the deaths of all these Indian women? ERNEST ...yes, sir. PROSECUTOR LEAWARD And you helped your Uncle on your own making? ERNEST Yes. PROSECUTOR LEAWARD Was part of this plan that you would meet and marry Mollie Kyle? And kill her family and her for their Indian Oil Money? ERNEST No, sir. I met and married my wife because I picked her up in my cab. PROSECUTOR LEAWARD (O.C.) You did not marry her because your Uncle directed you to? ERNEST No, sir. I loved my wife from because that’s what happened to us when I picked her up in my cab. CU MOLLIE – Listening to this in the courtroom. KOTFM - Final Shooting Script - August 10, 2022 147. KOTFM - Final Shooting Script - August 10, 2022 148.OMITTED 243 243",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COURTHOUSE - LARGE ANTECHAMBER – DAY 244 244 Ernest is guarded by Tom White. The blinds are drawn. Mollie is brought in by John Wren to sit and meet with Ernest. Tom White sits as far back as he can for their privacy. Mollie and Ernest sit down. He reaches for her hand. ERNEST How’s my Cowboy? MOLLIE Well. ERNEST He miss his Pops? MOLLIE Yes. Elizabeth too. ERNEST They know what’s happened? MOLLIE Not so much. PAUSE, THEN: MOLLIE(CONT'D) Have you told all the truths? ERNEST Yes I have. My soul is clean now. It’s a relief to me. To be out from under this. (ALT I wasn’t going to let him get anywhere near you and the kids.) MOLLIE What did you give me? ERNEST What? MOLLIE What was in the shots?KOTFM - Final Shooting Script - August 10, 2022 148. (MORE)KOTFM - Final Shooting Script - August 10, 2022 149.ERNEST ... MOLLIE My medicine you gave me. What was in it, Sho-mee-kah-see? LONG BEAT, THEN: ERNEST Insulin. She stands up and walks out... Tom White is trained on Ernest... Ernest and Tom White. ERNEST(CONT'D) (ALT. I swear, Mollie. I swear...) Tom White says nothing... CU. ERNEST: He’s lost it all. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RADIO BROADCAST STUDIO, NEW YORK - NIGHT, YEARS LATER 245 245 AN ORCHESTRA PLAYING WITH A FLOURISH WHAT IS THE FINISH TO A DRAMA. RADIO ANNOUNCER (V.O.) Right had won. Music swells again. Applause is heard.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RADIO BROADCAST STUDIO, NEW YORK - NIGHT, YEARS LATER 246 246 And we see an AUDIENCE is watching the Orchestra play its closing music, a sound of hope, for the episode. AN ANNOUNCER at a microphone. The PERFORMERS sitting in front of microphones. Two SOUND EFFECTS MEN with their wide ranging props standing at microphones. RADIO ANNOUNCER (reading while holding a headset) True Crime Stories has been brought to you through the courtesy of J. (MORE)KOTFM - Final Shooting Script - August 10, 2022 149. RADIO ANNOUNCER (CONT'D)KOTFM - Final Shooting Script - August 10, 2022 150.Edgar Hoover and the Federal Bureau of Investigation, the Department of Justice. This brings to a close the authenticated story of the “Osage Indian Murders”. MUSIC STARTS TO FADE - RADIO ANNOUNCER(CONT'D) As we take our leave from Osage County we conclude: The Doctors, the Shoun Brothers, were never pursued by the legal system for having certainly helped poison Mollie. Tom White said... The PERFORMER playing TOM WHITE: TOM WHITE ACTOR I just never had hard enough evidence to bring them to justice. Music: A CONCLUDING CHORD from the Orchestra. RADIO ANNOUNCER They continued to practice medicine. (pause) Ernest’s brother Byron Burkhart was tried as an accomplice to Anna’s murder. Kelsie Morrison said at his trial... An ACTOR PORTRAYING Kelsie Morrison says, KELSIE ACTOR Byron got her drunk - Sound Effect: GUN SHOT KELSIE ACTOR(CONT'D) - and I did the rest. RADIO ANNOUNCER Byron was released after a hung jury. He said... The SAME ACTOR PLAYING Morrison, now playing Byron says: BYRON ACTOR She couldn't hold her liquor.RADIO ANNOUNCER (CONT'D)KOTFM - Final Shooting Script - August 10, 2022 150. KOTFM - Final Shooting Script - August 10, 2022 151.RADIO ANNOUNCER William Hale, the ringleader of the deadly plots, was found guilty and sent to Leavenworth for life. Sound Effect: PRISON DOOR SLOWLY CLOSES & SHUTS RADIO ANNOUNCER(CONT'D) He would write letters back home to his Osage friends… Sound Effect: PEN WRITING ON PAPER The HALE ACTOR reads: HALE ACTOR “Dear Friends! How are you all? I’m in perfect health. I haven’t got a gray hair. I never had better friends in my life than the Osages. I was a true friend to them. I had rather live at Gray Horse than any place on Earth. I will be back with you before many moons. How is my friend, Dah kah-hee-keh? Your true friend W.K. Hale.” RADIO ANNOUNCER Hale was released in 1947. The Parole Board cited his record as a good prisoner for his early release. Not everybody was happy. Sound Effects Man: “INDIAN DRUMMING”. AN ACTOR PORTRAYING AN OSAGE CHIEF, with full racist accent speaks as drumming continues... OSAGE CHIEF ACTOR This man he is being released because he paid off politicians and nobody cares about the Osage lives. RADIO ANNOUNCER Hale was not supposed to set foot in Oklahoma again - Sound Effect: CAR RADIO ANNOUNCER(CONT'D) - but according to relatives he often visited them. Sound Effect: CAR STOPSKOTFM - Final Shooting Script - August 10, 2022 151. KOTFM - Final Shooting Script - August 10, 2022 152.Sound Effect: SCREEN DOOR OPENS An ACTRESS PORTRAYING one of Hale’s relatives says: ACTRESS What do you want for lunch William? Sound Effects: COUNTRY KITCHEN: DISHES Sound Effects: CHAIR PULLED UP TO TABLE. Sound Effect: WATER POURED IN A GLASS HALE ACTOR If only that damn thick-head Ernest had kept his fool trap shut we'd be in clover today. RADIO ANNOUNCER William Hale died in an Arizona nursing home. He lived to 87 years. Sound Effects Interlude: BUSY PRISON: Whistle, Turntable playing record of prison ambience, Keys Rattling in Cell Door, Chains and Shuffling Feet, Cell Door slowly opening. RADIO ANNOUNCER(CONT'D) Tom White went on to become the Warden of Leavenworth Prison in Kansas. He was Warden at the same time William Hale was there. Sound Effects Man turns off Turntable. Sound Effects: FOOTSTEPS passing one another RADIO ANNOUNCER (CONT'D)(CONT'D) They would pass each other in the prison yard - Pause as footsteps continue - RADIO ANNOUNCER(CONT'D) - never saying a word to one another. Music: There’s overplayed melodramatic concluding music. Sound Effect:CELL DOOR SLOWLY CLOSING AND RESOUNDINGLY SHUTS. RADIO ANNOUNCER(CONT'D) Ernest Burkhart was sentenced to life imprisonment at the Oklahoma State Penitentiary.KOTFM - Final Shooting Script - August 10, 2022 152. KOTFM - Final Shooting Script - August 10, 2022 153.Sound Effect: GAVEL AN ACTOR PORTRAYING A PRISONER saying PRISONER ACTOR “Aren’t you the one tried to kill his Injun wife for the oil money?” RADIO ANNOUNCER He got out in 1937 and went back to the Osage land, where he robbed an Osage home... Sounds of a BREAK-IN (something broken, breaking glass) RADIO ANNOUNCER(CONT'D) ...the Indian having caught him in the act of the robbery... Sound Effects Man: with “INDIAN DRUMMING”. INDIAN ACTOR ""If you move I will scalp you with this tomahawk.” RADIO ANNOUNCER Ernest was sent back to prison. Years later he was granted a Pardon for his crimes and once again, moved back to Osage County, just outside Fairfax where he lived out his days with Byron in a trailer park north of the city. ERNEST ACTOR Pass me a beer, brother... Sound Effect: BEER BOTTLE OPENS BYRON ACTOR Got a light for my Lucky Strike? Sound Effect: A MATCH IS LIT. MUSIC: There’s a solo VIOLIN. As music continues... RADIO ANNOUNCER After Mollie divorced Ernest she lived with her new husband John Cobb on the Reservation. She died of diabetes on June 16, 1937. Her obituary in the local paper said simply...KOTFM - Final Shooting Script - August 10, 2022 153. KOTFM - Final Shooting Script - August 10, 2022 154.Sound Effect: TYPEWRITER A RADIO SHOW PRODUCER reads the obituary... RADIO SHOW PRODUCER “Mrs. Mollie Cobb, 50 years of age, passed away at 11:00 Wednesday night at her home. She was a full- blood Osage. She was buried in the old cemetery in Gray Horse beside her father, mother, sisters, and daughter."" VIOLIN fades out. WE HEAR THE SOUND EFFECTS of a SHOVEL and DIRT being put on a casket. RADIO SHOW PRODUCER(CONT'D) There was no mention of the murders. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. OSAGE DRUM DANCE CELEBRATION - 2021 A247 A247 CU A DRUM: THE LOUD BEAT OF SEVERAL DRUMMERS (MEN) AS THEY SIT AROUND THE DRUM. They are in CURRENT DAY CLOTHING. The CAMERA PULLS UP to reveal WOMEN SINGERS sitting around the drummers and continues up to reveal: A COLORFUL SWIRL of OSAGE PEOPLE DANCING AROUND THE DRUM, dressed in their own TRADITIONAL DANCE CLOTHING or EVERYDAY CLOTHES WITH BLANKETS. Color and movement fill the screen. A circle forms. We fade slowly.KOTFM - Final Shooting Script - August 10, 2022 154.",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MOUNTAINS - NIGHT Snow is falling in a gusting wind. The voice of an old man: VOICE OVER I was sheriff of this county when I was twenty -five. Hard to believe. Grandfather was a lawman. Father too. Me and him was sheriff at the same time, him in Plano and me here. I think he was pretty proud of that. I know I was.",FLASHBACK +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. WEST TEXAS LANDSCAPE - DAWN/DAY We dissolve to another West Texas landscape. Sun is rising. VOIC E OVER Some of the old -time sheriffs never even wore a gun. A lot of folks find that hard to believe. Jim Scarborough never carried one. That's the young er Jim. Gaston Boykins wouldn't wear one. Up in Comanche County. We dissolve through more landscapes, bringing us to full day. None of them show people or human habitation. VOICE OVER I always liked to hear about the old - timers. Never missed a chance to do so. Nigger Hoskins over in Bastrop County knowed everbody's phone number off by heart. You can't help but compare yourself against the old - timers. Can't help but wonder how they woul d've operated these times. There was this boy I sent to the gas chamber at Huntsville here a while back. My arrest and my testimony. He killed a fourtee n-year-old girl. Papers said it was a crime of passion but he told me there wasn't any passion to it.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. WEST TEXAS ROAD - DAY The last landscap e, hard sunbaked prairie, is surveyed in a long slow pan. 2 VOICE OVER Told me that he'd been planning to kill somebody for about as long as he could remember. Said that if they turned him out he'd do it again. The pan has brought into frame the flashing light bars of a police car stopped on the shoulder. A young sheriff's deputy is opening the rear door on the far side of the car. VOICE OVER Said he knew he was going to hell. Be there in about fifteen minutes. I don't know what to make of that. I surely don't. Close on a pair of hands manacled behind someone's back. A hand enters to take the prisoner by one arm. VOICE OVER The crime you see now, it's hard to even take its measure. It's not that I'm afraid of it. Back to the shot over the light bars: t he deputy, with a hand on top of the prisoner's head to help him clear the door frame, eases the prisoner into the backseat. All we see of the prisoner is his dark hair disappearing into the car. VOICE OVER I always knew you had to be willing to die to even do this job -- not to be glorious. But I don't want to push my chips forward and go out and meet something I don't understand. The deputy closes the back door. He opens the front passenger door and reaches down for something -apparently heavy -at his feet. VOICE OVER You can say it's my job to fight it but I don't know what it is anymore. The deputy swings the heavy object into the fron t passenger seat. Matching inside the car: it looks like an oxygen tank with a petcock at the top and tubing running off it. VOICE OVER ...More than that, I don' t want to know. A man would have to put his soul at hazard. The deputy slams the door. 3 On the door slam we cut to Texas highway racing under the lens, the l andscape flat to the horizon. The siren whoops. VOICE OVER ...He would have to say, okay, I'll be part of this world.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SHERIFF LAMAR'S OFFICE - DAY THE DEPUTY Seated in the sheriff's office, on the phone. The prisoner stands in the background. Focus is too soft for us to see his features but his posture shows that his arms are still behind his back. DEPUTY Yessir, just walked in the door. Sheriff he had some sort of a thing on him like one of them oxygen tanks for emphysema or somethin'. And a hose from it run down his sleeve... Behind him we see the prisoner seat himself on the floor without making a sound and scoot his manacle d hands out under his legs. Hands in front of him now, he stands. DEPUTY ...Well you got me, sir. You can see it when you get in... The prisoner approaches. As he nears the deputy's back he grows sharper but begins to crop out of the top of the frame. DEPUTY ...Yessir I got it covered. As the deputy reaches forward to hang up, the prisoner is raising his hands out of frame just behind him. The manacled hands drop back into frame in front of the deputy's throat and jerk back a nd up. Wider: the prisoner's momentum brings both men crashing backward to the floor, face -up, deputy on top. The deputy reaches up to try to get his hands under the strangling chain. The prisoner brings pressure. His wrists whiten around the manacles. 4 The deputy's legs writhe and stamp. He moves in a clumsy circle, crabbing around the pivot -point of the other man's back arched against the floor. The deputy's flailing legs kick over a wastebasket, send spinning the castored chair, slam at the desk. Blood creeps around the friction points where the cuffs bite the prisoner's wrists. Blood is being spit by the deputy. The prisoner feels with his thumb at the deputy's neck and averts his own face. A yank of the chain ruptures the carotid artery. It jets blood. The blood hits the office wall, drumming hollowly.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SHERIFF LAMAR'S BATHROOM - DAY The prisoner walks in, runs the water, and puts his wrists, now freed, under it.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. OFF ICE - DAY Close on the air tank. One hand, a towel wrapped at the wrist, reaches in to hoist it.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ROAD - LATE DAY Road rushes under the lens. Point -of-view through a windshield of taillights ahead, the only pair in sight. A siren bloop. The car pulls over. A four -door Ford sedan. The police car pulls over behind. The prisoner -- his name is Anton Chigurh -- gets out of the police car and slings the tank over his shoulder. He walks up the road to the man cranking down his window, groping for his wallet. MAN What's this about? CHIGURH Step out of the car please, sir. The motorist squints at the man with the strange apparatus. MAN Huh? What is... 5 CHIGURH I need you to step out of the car, sir. The man opens his door and emerges. MAN Am I... Chigurh reaches up to the man's forehead with the end of the tube connected to the air tank. CHIGURH Would you hold still please, sir. A hard pneumatic sound. The man flops back against the car. Blood trickles from a hole in the middle of his forehead. Chigurh waits for the body to slide down th e car and crumple, clearing the front door. He opens it and hoists the air tank over into the front seat.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ARID PLAIN - DAY Seen through an extreme telephoto lens. Heat shimmer rises from the desert floor. A pan of the horizon discovers a distant herd of antelope. The animals are grazing. Reverse on a man in blue jeans and cowboy boots sitting on his heels, elbo ws on knees, peering through a pair of binoculars. A heavy -barreled rifle is slung across his back. This is Moss. He lowers the binoculars, slowly unslings the rifle and looks through its sigh t. The view through the sight swims for a moment to refind the herd. One animal is staring directly at us, its motion arrested as if it's heard or seen something. Close on Moss's eyes, one at the sight, the other closed. He mutters: MOSS Hold still. He opens the free eye and rolls his head off the sight to give himself stereo. Close on the hatch -marked range dial on the sight. Moss delicately thumbs it. 6 He eases the one eye back onto the sight. Point -of-view through the sight: Moss adjusts to bring the cross -hairs back down to the staring animal. Moss's finger tightens on the trigger. Shot: gunbuck swishes the point -of-view upward. Moss fights it back down. The point -of-view through the sight fin ds the beast again, still staring at us. The sound of the gunshot rings out across the barial. Short beat. The bullet hits the antelope: not a kill. The animal recoils and runs , packing one leg. The other animals are off with it. MOSS Shit. He stands and jacks out the spent casing which jangles against the rocks. He sto ops for it and puts it in his shirt pocket.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ARID PLAIN - LATER Moss is on foot, rifle again slung over his shoulder, binoculars around his neck. He is looking at the ground. An intermitte nt trail of blood. Moss's pace is brisk. Distances are long. He suddenly stops, staring. On the ground is the fresh trail of blood, the glistening drops already dry at the periphery. But this trail is crossed by another trail of blood. Drier. Moss looks one way along this older trail: His point -of-view: flatlands. Scrub. No movement. He looks the other way. A distan t range of mountains. No movement. He stoops to examine the trail. 7 He paces it 'til he finds a print clear enough to give him the animal's orientation. He stands and looks again toward the dis tant mountains. He brings up the binoculars. His point -of-view: landscape, swimming into focus, heat waves exaggerated by the compression of the lens. Panning, looking for the animal. Movement, very distant. The animal is brought into focus: a black tailless dog, huge head, limping badly, phantasmal by virtue of the rippling heat waves and the silence. Moss lowers the glass. A mome nt of thought as he gazes off. He turns and heads in the direction from which the dog came.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. RISE NEAR BASIN - MINUTES LATER Moss tops a rise. He scans the landscape below. Not much to s ee except -distant glints, off something not native to the environment. Moss brings up the binoculars. Parked vehicles: three of them, squat, Broncos or other off - road trucks with fat tires, wi nches in the bed and racks of roof lights. On the ground near the trucks dark shapes lie still.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BASIN - MINUTES LATER Moss is walking cautiously up to the site, unslung rifle at the ready. Flies drone. He circles two dead bodies lying in the grass, covered with blood. A gut -shot dog of the same kind we saw limping toward the mountains lies beside them. A sawed -off shotgun with a pistol stock lies in the grass. The tires and most of the window glass are shot out of the first pickup Moss approaches. He opens the door and looks inside. The driver is dead, leaning over the wheel. Moss shuts the door. 8 He opens the door of the second truck. The driver, sitting upright, still in shoulder harness, is staring at him. Moss stumbles back, raising the rifle. The man does not move. The front of his shirt is covered with blood. MAN Agua. Moss stares at him MAN ...Agua. Por Dios. MOSS Ain't got no water. On the seat next to the man is an HK machine pistol. Moss looks at it. He looks back at the man. The man is still staring at him. Without lowering his eyes Moss reaches in and takes the pistol. Moss straightens up out of the truck and slings the rifle back over his shoulder. He snaps the clip off the machine pistol, checks it and snaps it back on. Moss crosses to the back of the truck and lifts the tarp that covers the truck bed. A loa d of brick -sized brown parcels each wrapped in plastic. He throws the tarp back over the load and crosses back to the open cab door. MAN Agua. MOSS I told you I ain't got no agua. You speak English? A blank look. MOSS ...Where's the last guy? The injured man stares, unresponsive. Moss persists: 9 MOSS Ultimo hombre. Last man standing, must've been one. Where'd he go? MAN ...Agua. Moss turns to scan the horizon. He looks at the tire tracks extending back from the truck. He thinks for a beat. MOSS (to himself) I reckon I'd go out the way I came in... He starts off. Through the truck's open door: MAN La puerta... Hay lobos... MOSS (walking off) Ain't no lobos.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FLATLAND NEAR THE BASIN - LATER Moss stops to look out at a new prospect. Flatland, no cover. He raises the binoculars. MOSS If you stopped... to watch your backtrack... you're gonna shoot my dumb ass. He doesn't see anything. He lowers the glass, thinking. He raises the glass again. MOSS ...But. If you stopped... you stopped in shade. He sets off.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. NEAR THE ROCK SHELF - DAY A POINT -OF-VIEW Through the binoculars, some time later. One lone shelf of rock throws shade toward us. Heat shimmers in between. 10 Hard sun makes the rock shadow impenetrable. But there is a booted foot sticking into the sun toe -up like the nub on a sundial. Moss lowers the binoculars. He look s at his watch. 11:30. He sits down. FAST FADE",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. NEAR THE ROCK SHELF - DAY THE WATCH 12:30. Moss lowers the wristwatch and raises the binocul ars again. The shadow has shifted. The foot hasn't moved. Moss gets up and walks toward it.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ROCK SHELF - MINUTES LATER Moss arrives at the rock shelf. The man's body is tipped to one side. His nose is in the dirt but his eyes are open, as if he is examining something quite small on the ground. One hand holds a .45 automatic. Next to the body is a boxy leather document case. Moss looks at the man. He takes the gun, looks at it, sticks it in his belt. He drags the document case away from the body and opens it. Bank -wrapped hundreds fill it. Each pa cket is stamped ""$10,000."" Moss stares. He reaches in to rifle the stacks, either to confirm that the bag is full or to estimate the amount. He stands, looks around, looks back the way he came . 11",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CATTLEGUARD ROAD - DAY HIS TRUCK Moss's pickup is parked by a cattleguard off a paved but little -used road. Moss is just arriving. He throws in the document case, the rifle and the machine pistol, climbs into the cab and slams the door.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DESERT AIRE TRAILER PARK - TWILIGHT Moss's truck pulls into a trailer park that sits alongside the high way on the outskirts of Sanderson, Texas. An old sign with a neon palm tree identifies the park as the Desert Aire. Moss gets out of the truck next to a double -wide. Lights glow inside. He tak es the case and machine pistol, gets down on his back next to the trailer and scoots underneath it. His point -of-view: plywood and plastic pipes. He pulls some insulation aside and crams the machine pistol up under the pipes.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TRAILER - NIGHT Moss enters carrying the document case. A twentysomething woman in cutoff jeans and a halter top watches TV. This is Carla Jean. CARLA JEAN What's in the satchel? MOSS It's full a money. CARLA JEAN That' ll be the day. Moss is crossing to a back bedroom. Before he disappears inside Carla Jean sees the pistol stuck in the back of his waistband. CARLA JEAN ...Where'd you get the pistol? MOSS At the gettin' place. He emerges without the case or the gun and crosses to the refrigerator. He takes a beer from th e refrigerator and peels its pulltab. 12 CARLA JEAN Did you buy that gun? MOSS No. I found it. CARLA JEAN Llewelyn! MOSS What? Quit hollerin'. He walks back sipping the beer and sprawls on the couch. CARLA JEAN What'd you give for that thing? MOSS You don't need to know everthing, Carla Jean. C ARLA JEAN I need to know that. MOSS You keep running that mouth I'm gonna take you in the back and screw you. CARLA JEAN Big talk. MOSS Just keep it up. CARLA JEAN Fine. I don't wanna know. I don't even wanna know where you been all day. MOSS That'll work.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TRAILER BEDROOM - NIGHT We are drifting down toward Moss as he lies in bed next to Carla Jean. He lies still, eyes closed, but he is shaking his head. As the camera stops he opens his eyes, grimacing. MOSS All right. He looks at the bedside clock. 13 Its LED display: 1:06. He swings his legs off the bed, looks back at Carla Jean, and pulls the blanket up over her shoulder.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TRAILER KITCHE N - NIGHT Close on a gallon jug as Moss hold it under the tap, filling it with water. Carla Jean appears in the doorway, looking sleepy. CARLA JEAN Llewelyn. MOSS Yeah. CARLA JEAN What're you doin', baby? MOSS G oin' out. CARLA JEAN Goin' where? MOSS Somethin' I forgot to do. I'll be back. CARLA JEAN What're you goin' to do? Moss turns from the sink, screwing the top onto the jug. MOSS I'm fixin' to do somethin' dumbern hell but I'm goin' anyways. He starts toward the front door. MOSS ...If I don't come back tell Mother I love her. CARLA JEAN Your mother's dead, Llewelyn. MOSS Well then I'll tell her myself.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. TRUCK/,FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CATTLEGUARD ROAD - NIGHT 14 A MAP A detailed topographical survey map, illuminated by a flashlight. Moss is studying it in the cab of his truck. After a beat he folds the map. He checks the .45 ta ken off the corpse with the money. Wider: the pickup truck parked outside the cattle guard. After a beat, the truck drives over the grate onto the unpaved part of the road, jogging up the uneven terrain. Through the windshield, the view is pitch black except for the boulders and scrub picked out by the crazily bouncing headlights.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BASIN - NIGHT DOOR SLAM We are close on the water jug slapping against Moss's leg as we pull him through the darkness. The shape of his parked truck is just visible behind him, silhouetted on the crest by the glow of the moon already set. Walking across the basin to the near truck Moss freezes, noticing: Its driver's -side door: closed. Moss scans the horizon. Its only blemish remains his own pickup. He jogs the few remaining paces to the pickup. He sets down the gallon jug. Softly: MOSS Hello?... No answer. He opens the door. The man's body is still held upright by the shoulder harness but his head, flayed by buckshot, is tipped away. Moss glances at the bed of the truck. Empty. He again looks at the horizon. 15 Now another pickup stands in silhouette next to his own. Two men are there. Moss covers behind the dead man's truck. He eases his head out for another look. Only one man visib le now. Sounds hard to identify. Something airy. Up on the crest his pickup rocks and settles. Its tires are being slashed. The other pickup's engine coughs to life. Headlights and roof light s go on. Moss again covers behind the vehicle. A search -spot sweeps back and forth across the basin tableau of bodies and trucks. After a few trips back and forth something happens to the spot : its weaving light begins to bounce. We can hear the jouncing suspension of the pickup as it trundles down the incline. But the light tells the perspective of the slowly approaching truck. Mo ss stays in the lee of his sheltering vehicle as he runs, doubled over, directly away from the light, keeping to the shadow that wipes on and off. A gunshot. Its impact kicks up dirt just ahead of Moss to his right. Moss turns to see: Two jogging men flanking the truck like infantry escorting a tank. One has just halted to fire; the other is now raising his gun. Mos s tacks and sprints and rolls under a second abandoned pickup to his left. Another shot sounds and misses. Bullets plunk into the metal of the truck body. One bullet skips off the dirt in front of the truck a nd pings up into the undercarriage. Moss is elbowing out the far side, next to a body lying by the truck's passenger door. The firing has stopped: Moss steals a look over the hood: The pursuing pickup is slowing so that the two gunmen can swing onto the running boards. The truck accelerates and as it veers around the first abandoned pickup its lights swing off Moss's cover truck. 16 Moss sprints off, doubled over, at a perpendicular to his previous path. He hits the ground, pressing himself into the earth, head between his forearms. He elbows away as the truck bears on hi s former cover.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. RIVER GORGE - DAWN He tops the small rise and straightens and flat -out runs. We hear the pickup's engine racing and see, behind Moss, its spot sweeping backlight across t he crest. Moss is running towards the declivity of a river gorge. Sky there is pink from unrisen sun. Moss bears on the gorge, panting. The pickup bounces up into view on the crest behind him, roof lights blazing. It is pointed off at an angle. Its spotlight sweeps the river plain. It finds Moss. The truck reorients as it bounces down in pursuit. A muzzle flash precedes the dull wh ump of the shotgun. Moss races on toward the river. Another shotgun whump. Moss stumbles, turns to look behind him. The truck, gaining ground. A man stands up out of the sunroof, one hand on top of the cab, the other holding a shotgun. Moss is almost to the steep riverbank. Another whump of the shotgun. Shot catches Moss on the right shoulder. It tears the back of his shirt away and sends him over the crest of the river bank. Moss airborne, ass over elbows, hits near the bottom of the sandy slope with a loud fhump. He rolls to a stop and looks up. We hear a skidding squeal and see dirt and dust float over the lip of the ridge, thrown by the truck's hard stop. As Moss pulls off his boots we hear voices from the men in the truck. There is the clank of its tailgate being dropped and sounds of activity on the hollow metal of its bed. 17 Moss tucks his boots into his belt and runs splashing into the fast -moving water. A look back: Something shakes the scrub down the steep slope. Moss backpedals deeper. Bursting out of the scrub at the foot of the slope: a huge black dog with a large head and clipped ears. It bounds toward Moss. Moss turns and half stumbles, half dives into the river. Underwater a very dull whump followed by the fizz of buckshot. Moss breaks the surface of the water, gasping, and looks back: Figures on the ridge. Below, the dog hitting the water. Another gunshot from the bank. Where it hits we don't know. River current and Moss's strokes speed him away.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. RIVER BE ND - DAWN He sweeps around a bend. He finds his feet under him and staggers onto a sandbar and then splashes through some outwash to the far bank. The pursuing dog's head bobs rhythmically in the water. Moss pulls the gun from his belt. He takes the clip out and ejects the chamber round. The dog finds his stumpy legs much closer to the sandbar: his massive head dips and waggles as he lurches out of his swim. He emerges from the river and bounds across the sand. Moss shakes the gun and blows into the barrel. The dog splashes through the riverwash that separates him from the human. Moss reinserts the clip. He chambers a round as the dog runs snarling and as the dog leaps he fires. Moss fires twice more quickly, not waiting to see whether the first round told. The dog lands, stopped but not dead. It jerks and gurgles. MOSS Goddamnit. He is looking out at the river. His boots are drifting by. 18",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. RIVER BANK - DAY Moss has climbed the far bank and found a seat on a rock. It is now full day. Moss has taken off his shirt and has his neck craned round and his back upper arm twisted toward him. Where the buckshot hit, his arm is purpled and pinpricked. He meticulously picks shirt fiber out from where buckshot packed it into the flesh. He finishes. He rips swatches from his shirt. He starts wrapping his bare feet as he gazes off. His point -of-view: a lot of landscape, a highway in the distance. An eighteen -wheeler shimmies along in the heat.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. GAS STATION/GROCERY - SHEFFIELD - DAY At an isolated dusty crossroad. It is twilight. The Ford sedan that Chigurh stopped is parked alongside the pump.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GAS STATION/GROCERY - DAY Chigurh stands at the counter across from the elde rly proprietor. He holds up a bag of cashews. CHIGURH How much? PROPRIETOR Sixty -nine cent. CHIGURH This. And the gas. PROPRIETOR Y'all getting any rain up your way? CHIGURH What way would that be? PROPRIETOR I seen you was from Dallas. Chigurh tears open the bag of cashews and pours a few into his hand. CHIGURH What business is it of yours where I'm from, friendo? PROPRIETOR I didn't mean nothin' by it. 19 CHIGURH Didn't mean nothin'. PROPRIETOR I was just passin' the time. CHIGURH I guess that passes for manners in your cracker view of things. A beat. PROPRIETOR Well sir I apologize. If you don't wanna accept that I don't know what else I can do for you. Chigurh stands chewing cashews, staring while the old man works the register and puts change on the counter. PROPRIETOR ...Will there be somethin' else? CHIGURH I don't know. Will there? Beat. The proprietor turns and coughs. Chigurh stares. PROPRIETOR Is somethin' wrong? CHIGURH With what? PROPRIETOR With anything? CHIGURH Is that what you're asking me? Is there something wrong with anything? The proprietor looks at him, uncomfortable, looks away. PROPRIETOR Will there be anything else? CHIGURH You already asked me that. PROPRIETOR Well... I need to see about closin'. 20 CHIGURH See about closing. PROPRIETOR Yessir. CHIGURH What time do you close? PROPRIETOR Now. We close now. CHIGURH Now is not a time. What time do you close. PROPRIETOR Generally around dark. At dark. Chigurh stares, slowly chewing. CHIGURH You don't kno w what you're talking about, do you? PROPRIETOR Sir? CHIGURH I said you don't know what you're talking about. Chigurh chews. CHIGURH ...What time do you go to bed. PROPRIETOR Sir? CHIGURH You're a bit deaf, aren't you? I said what time do you go to bed. PROPRIETOR Well... A paus e. PROPRIETOR ...I'd say around nine -thirty. Somewhere around nine -thirty. 21 CHIGURH I could come back the n. PROPRIETOR Why would you be comin' back? We'll be closed. CHIGURH You said that. He c ontinues to stare, chewing. PROPRIETOR Well... I need to close now -- CHIGURH You live in that house behind the store? PROPRIETOR Yes I do. CHIGURH You've lived here all your life? A beat. PROPRIETOR This was my wife's father's place. Originally. CHIGURH You married into it. PROPRIE TOR We lived in Temple Texas for many years. Raised a family there. In Temple. We come out here about four years ago. CHIGURH You married into it. PROPRIETOR ...If that's the way you wanna put it. CHIGURH I don't have some way to put it. That's the way it is. 22 He finishes the cashews and wads the packet and sets it on the counter where it begins to slowly unkink. The proprietor's eyes have tracked the packet. Chigurh's eyes stay on the proprietor. CHIGURH ...What's the most you've ever lost on a coin toss? PROPRIETOR Sir? CHIGURH The most. You ever lost. On a coin toss. PROPRIETOR I don't know. I couldn't say. Chigurh is digging in his pocket. A quarter: he tosses it. He slaps it onto his forearm but keeps it covered. CHIGURH Call it. PROPRIETOR Call it? CHIGURH Yes. PROPRIETOR For wha t? CHIGURH Just call it. PROPRIETOR Well -- we need to know what it is we're callin' for here. CHIGURH You need to call it. I can't call it for you. It wouldn't be fair. It wouldn't even be right. PROPRIE TOR I didn't put nothin' up. CHIGURH Yes you did. You been putting it up your whole life. You just didn't know it. Y ou know what date is on this coin? 23 PROPRIETOR No. CHIGURH Nineteen fifty -eight. It's been traveling twenty -two years to get here. And now it's here. And it's either heads or tails, and you have to say. Call it. A long beat. PROPRIETOR Look... I got to know what I stand to win. CHIGURH Everything. PROPRIE TOR How's that? CHIGURH You stand to win everything. Call it. PROPRIETOR All r ight. Heads then. Chigurh takes his hand away from the coin and turns his arm to look at it. CHIGURH Well done. He hands it across. CHIGURH ...Don't put it in your pocket. PROPRIETOR Sir? CHIGURH Don't put it in your pocket. It's your lucky quarter. PROPRIETOR ...Where you want me to put it? 24 CHIGURH Anywhere not in your pocket. Or it'll get mixed in with the others and become just a coin. Which it is. He turns and goes. The proprietor watches him.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. DESERT AIRE - NIGHT It is full night. Moss is pushing open the door to his trailer. We see Carla Jean inside. CARLA JEAN Llewelyn? What the hell? Moss enters and the door closes.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MOSS' TRAILER - LATER Carla Jean is finishing bandaging his arm. MOSS Odessa. C ARLA JEAN Why would we go to Odessa? MOSS Not we, you. Stay with your mother. CARLA JEAN Well -- how com e? MOSS Right now it's midnight Sunday. When the courthouse opens nine hours from now someone's gonna be callin in the vehicle number off the inspection plate on my truck. And around nine - thirty they'll show up here. CARLA JEAN So... for how long do we have to... MOSS Baby, at what point would you quit botherin' to look for your two million dollars? Carla Jean stares, thinking. 25 CARLA JEAN What'm I supposed to tell Mama? MOSS Try standin' in the door and hollerin: Mama I'm home. CARLA JEAN Llewelyn -- MOSS C'mon, pack your things. Anything you leave you ain't gonna see again. Carla Jean begins peevishly tossing things into a bag: CARLA JEAN Well thanks for fallin' all over and apologizing. MOSS Things happened. I can't take 'em back.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. CATTLEGUARD ROAD - NIGHT POINT -OF-VIEW THROUGH WINDSHIELD It is night. No other vehicles on this paved road. Our car turns off and rattles over a cattleguard. Parked on the other side is a Ra mcharger. Its passenger door starts to open. Outside: Chigurh emerges from his Ford. The man emerging from the truck wears a Western -cut suit. MAN Mind ridin' bitch?,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BASIN - NIGHT THE RAMCHARGER Bouncing through ungraded terrain. It stops and discharges the three men -the driver and his partner, both in suits, from either side, and then Chigurh from the middle seat. They have pulled over at Moss's truck. 26 CHIGURH This his truck? He is opening the door and l ooking at the plate riveted inside. MAN Mm -hm. CHIGURH Screwgie. The man reaches into a pocket and hands over a screwdriver. As Chigurh works it under the plate: CHIGURH ...Who slashed his tires? DRIVER Wudden us .",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BASIN - NIGHT A flashlight beam picks out the dog carcass. DRIVER That's a dead dog. CHIGURH Thank you. Chigurh plays the flashlight around the scene. Dead bodies on the ground. CHIGURH ...Where's the transponder? MAN In the truck. I'll get it. DRIVER These are some ripe petunias. Chigurh gives his flashlight to the driver. C HIGURH Hold this please. He bends down and takes a 9 mm. Glock off of one of the dead bodies and checks the clip. The other man is returning from the truck. He hands Chigurh a small e lectronic receiver. CHIGURH ...You getting anything on this? 27 MAN Not a bleep. CHIGURH All right... Chigurh stands and holds his hand out for his flashlight. The driver hands it to him. Chigurh shines it in his face and shoots him through the forehead. As the man falls Chigur h pans the light to the other man who has watched his partner drop. He looks up, puzzled, and is shot as well.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BELL'S RANCH - MORNING A horse trailer is backed up to a small stable with i ts gate down. Sheriff Bell, sixties, in uniform, slaps a horse on the ass and gives it a ""Hyah!"" to send it clattering up the ramp and into the trailer. His wife, Loretta, appe ars. She wears a heavy robe and holds a coffee mug. LORETTA I thought it was a car afire. BELL It is a car afire. But Wendell said there was something back country too. LORETTA When is the county gonna start payin' a rental on my horse. BELL Hyah! He is sending a second horse up into the trailer. BELL ...I love you more'n more, ever day. LORETTA (unmoved) That's very nice. Sheriff Bell puts up the gate and pins it. She watches. LORETTA ...Be careful. 28 BELL I always am. LORETTA Don't get hurt. BELL I never do. LORETTA Don't hurt no one. BELL Well. If you say so.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CATTLEGUARD ROAD - DAY The pickup with horse trailer rattles up next to a parked squad car. Just beyond the cattle guard the Ford sedan is blazing. Sheriff Bell gets out of the truck and joins his deputy, Wendell, looking at t he car. After a beat of staring: BELL You wouldn't think a car would burn like that. WENDELL Yessir. We should a brought wieners. Sheriff Bell takes his hat off and mops his brow. BELL Does that look to you like about a '77 Ford, Wendell? WENDELL It could be. BELL I'd say it is. Not a doubt in my mind. WENDELL The old boy shot by the highway? BELL Yessir, his vehicle. Man killed Lamar's deputy, took his car, killed someone on the h ighway, swapped for his car, and now here it is and he's swapped again for god knows what. 29 WENDELL That's very linear Sheriff. Bell stares at the fire. BELL Well. Old age flattens a man. WENDELL Yessir. But then there's this other. He nods up the ridge away from the highway. BELL Uh -huh. He walks back toward the trailer. BELL ...You ride Winston. WENDELL You sure? BELL Oh, I'm more than sure. Anything happens to Lor etta's horse I can tell you right now you don't wanna be the party that was aboard.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BASIN - DAY The two men on horseback pick their way through the scrub approaching Moss's truck. Sheriff Bell is studying the ground. BELL It's the same tire tread comin back as goin'. Made about the same time. You can see the sipes real clear. Wendell is standing in the stirrups, looking up the ridge. WENDELL Truck's just yonder. Somebodies pried the inspe ction plate off the door. Bell looks up, circling the truck. BELL I know this truck. Belongs to a feller named Moss. WENDELL Llewelyn Moss? 30 BELL That's the boy. WENDELL You figure him for a dope runner? Bell sits his horse looking at the slashed tires. BELL I don't know but I kindly doubt it. BASIN - DAY BY THE BODIES The two lawmen are dismou nting. WENDELL Hell's bells, they even shot the dog. They walk towards the near truck. WENDELL ...Well this is just a deal gone wrong. Sheriff Bell stoops to look at casings. BELL Yes, appears to have been a glitch or two. WENDELL What calibers you got there, Sheriff? BELL Nine millimeter. Couple of .45 ACP's. He stands, look ing at the truck. BELL ...Somebody unloaded on this thing with a shotgun. WENDELL Mm. Be ll opens the door of the truck. Looks at the dead driver. WENDELL ...How come do you reckon the coyotes ain't been at 'em? 31 BELL I don't know... He shuts the door softly with two hands. BELL ...Supposedly they won't eat a Mexican. Wendell i s looking at the two corpses close together, wearing suits. WENDELL These boys appear to be managerial. Bell walks back toward the bed of the truck as Wendell appraises: WENDELL ...I think we're lookin' at more'n one fracas. A gesture toward the scattered bodies. WENDELL ...Wild West over there... A nod down at the two men in suits with head wounds. WENDELL ...Execution here. Bell, at the ba ck of the truck, wets a finger and runs it against the bed and looks at it. BELL That Mexican brown dope. Wendell strolls among the bodies. WENDELL These boys is all swole up. So this was earlier: gettin set to trade. Then, whoa, differences... You know: might not of even bee n no money. BELL That's possible. WENDELL But you don't believe it. 32 BELL No. Probably I don't. WENDELL It's a mess, ain't it Sheriff? Bell is remounting. BELL If it ain't it'll do til a mess gets here.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MOSS' TRAILER - DAY AIR TANK We follow it being toted along a gravel path and up three shallow steps to a trailer door. A h and rises to knock. Tubing runs out of the sleeve and into the fist clenched to knock. The door rattles under the knock. A short beat. The hand opens to press the nozzle at the end of the tube against the lock cylinder. A sharp report. INSIDE A cylinder of brass from the door slams into the far wall denting it and drops to the floor and rolls. Reverse on the door. Daylight shows th rough the lock. The door swings slowly in and Chigurh, hard backlit, enters. He sets the tank down by the door. He looks around. He ambles in. He opens a door. The bedroom, a messy aftermath of hasty packing. The main room. Mail is stacked on the counter that separates a kitchen area. Chigurh flips unhurriedly through the pieces. One of them is a phone bill. He puts it in his pock et. He goes to the refrigerator. He opens it. He looks for a still beat. He decides. He reaches out a quart of milk. He goes to the main room sofa and sits. He pinches the spout open and drink s. 33 He looks at himself in the dead gray -green screen of the facing television.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DESERT AIRE OFFICE - DAY Chigurh enters. Old plywood paneling, gunmetal desk, litter of pape rs. A window air -conditioner works hard. A fifty -year-old woman with a cast -iron hairdo sits behind the desk. WOMAN Yessir? CHIGURH I'm looking for Llewelyn Moss. WOMAN Did you go up to his trailer? CHIGURH Yes I did. WOMAN Well I'd say he's at work. Do you want to leave a message? CHIGURH Where does he work? WOMAN I can't say. CHIGURH Where does he work? WOMAN Sir I ain't at liberty to give o ut no information about our residents. Chigurh looks around the office. He looks at the woman. CHIGURH Where does he work? WOMAN Did you not hear me? We can't give out no information. A toilet flushes somewhere. A door unlatches. Footsteps in back. Chigurh reacts to t he noise. He looks at the woman. He turns and opens the door and leaves. 34",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TRAILWAYS BUS - DAY Some of the passengers are getting out. Moss is up in the aisle reaching a bag down from the o verhead rack. He lifts the document case from the floor where Carla Jean still sits next to the window. CARLA JEAN Why all the way to Del Rio? MOSS I'm gonna borrow a car. From Eldon. Carla Jean nods at the document case. CARLA JEAN You can't afford one? MOSS Don't wanna register it. I'll call you in a couple days. CARLA JEAN Promise? MOSS Yes I do. CARLA JEAN I got a bad feelin', Llewelyn. MOSS Well I got a good one. So they ought to even out. Quit worrying about everthing. CARLA JEAN Mama's gonna raise hell. MOSS Uh-huh. CARLA JEAN She is just gonna cuss you up'n down. MOSS You should be used to that. CARLA JEAN I'm used to lots of things, I work at Wal -Mart. 35 MOSS Not any more, Carla Jean. You're retired. CARLA JEAN Llewelyn? MOSS Yes ma'am? CARLA JEAN You are comin back, ain't y a? MOSS I shall return.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. MOSS'S TRAILER - DAY Wendell is knocking at its door. Sheriff Bell stands one step behind him. WENDELL Sheriff's Department! No answer. BELL Look at the lock. They both look. A beat. WENDELL We goin' in? BELL Gun out and up. Wendell unholsters his gun but hesitates. WENDELL What about yours? BELL I'm hidin' behind you. Wendell eases the door open. WENDELL Sheriff's Departme nt!,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MOSS' TRAILER - DAY The men cautiously enter, Wendell leading. 36 WENDELL ...Nobody here. He lowers his gun and starts to holster it. BELL No reason not to stay safe. Wendell keeps the gun out. WENDELL No sir. He goes to the bedroom door as Sheriff Bell, seeing the lock cylinder on the floor, stoops and hefts it. He looks up at the wall opposite the door: the small dent. Wendell pulls his head out of the bedroom. WENDELL ...I believe they've done lit a shuck. BELL Believe you're right. WENDELL That from th e lock? Sheriff Bell stands and wanders, looking around. BELL Probably must be. WENDELL So when was he here? BELL I don't know. Oh. He is at the counter staring at something. BELL ...Now that's aggravating. WENDELL Sheriff? Sheriff Bell points at the carton of milk. BELL Still sweating. Wendell is agitated. 37 WENDELL Whoa! Sheriff! Sheriff Bell unhurriedly opens a cabinet. He looks closes it, opens another. WENDELL ...S heriff, we just missed him! We gotta circulate this! On the radio! Sheriff Bell takes a glass from the cabinet. BELL Well, okay... He p ours milk into the glass. BELL ...What do we circulate? He sits on the sofa and takes a sip from the milk. BELL .. .Lookin' for a man who has recently drunk milk? Wendell stares at him. WENDELL Sheriff, that's aggravating. BELL I'm ahead of you there. Wendell gazes around the trailer, shaking his head. WENDELL You think this boy Moss has got any notion of the sorts of sons of bitches that are huntin' him? BELL I don't know. He ought to... Sheriff Bell takes another sip. BELL ...He seen the same things I seen and it made an impression on me.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. BUS STATION CAB STAND - DEL RIO - DAY Moss emerges from the station and goes to a cab. 38 As he sits in: MOSS Take me to a motel. CABBIE You got one in mind? MOSS Just someplace cheap.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. DEL RIO MOTEL LOBBY - DAY RATE CARD The rates for Charlie Goodnight's Del Rio Motor Court are under its address of Highway 84 East and an ovall ed AAA logo: Single Person $24.00 Double Bed/Couple $27.00 2 Double Bed/Couple $28.00 2 Double Bed/3 People $32.00 Voices play off: WOMAN You tell me the option. MOSS The what? WOMAN The option. Wider shows that we are in a motel lobby. A woman faces Moss across a Formica counter top She has handed him the framed rate card. WOMAN ...You pick the option with the applicable rate. MOSS I'm just one person. Don't matter the size of the bed.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. M OTEL ROOM - DAY 39 Wide on the room. Twin -bed headboards are fixed to the wall but only the far one has a bed parked beneath it. Moss sits on the bed, phone to his ear. It rings a couple times. H e gives up, hangs up, rises.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BATHROOM - DAY Moss stands in front of the mirror, twisted around to examine the buckshot wound. He shrugs his shirt back on. Holding on the mirror we see him walk back into the main room and stop, looking around. He looks slowly up to the ceiling.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MOTEL ROOM - DAY CLOSE ON A SCREW Being unscrewed. Wider shows us Moss, standing on the bed, unscrewing the vent on an overhead airduct. He gets down off the bed, unzips his duffle bag and takes the document case out of it. He opens the case, takes out a packet of bills, counts out some money and puts it in his pocket. He refastens the case. He goes to the window and cuts off a length of the curtain cord. He ties the curtain cord to the handle of the document case. He goes to the closet, leaving the case on the bed. He reaches into the empty closet, lifts the coat rail off its supports and lets the hangers slide off onto the floor.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LOOKING DOWN THE AIRDUCT - DAY The duct hums with a low, airy compressor sound. The galvanized metal stretches away to a distant elbow. The document case is plunked down in the foreground and then gently pushed down the length of the tube by the coat pole. The free end of the cord trails off the handle for retrieval.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MOTEL ROOM - DAY THE DUFFLE Moss unzips it and pulls out the machine pistol and the .45 that he took off the dead man. He lifts the mattress and stashes the machine pistol underneath. He checks the chamber of the .45 and stuffs it in his belt. 40,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MOTEL ROOM/,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PARKING LOT - DAY THE WINDOW Moss pulls back one curtain to look out at the lot. Nothing there disturbs him. He closes the curtains, crossing one over the other. He goes out the door, shutti ng it softly behind him.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROADSIDE DINER - DAY PHONE BILL A pencil taps at a Del Rio number that repeats on the bill. We hear phone -filtered rings. The rings are cut off by the clatter of a hang -up. The pencil moves to an Odessa number, the only other repeat on the short list of toll calls. We cut up to Chigurh as he finishes dialing, in the booth of a roadside diner. Dusk. Phone -filtered rings. Connection; a woman's voice: WOMAN Hello? CHIGURH Is Llewelyn there? WOMAN Llewelyn?! No he ain't. CHIGURH You expect him? The woman's voice is old, querulous: WOMAN Now why would I expect him? Who is this? Chigurh stares for a short beat, then prongs the phone.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. A SMALL GENERAL STORE - DAY Moss is stand ing in front of a rack of cowboy boots at the back of the store. He looks up at an approaching salesman, a bow -legged old man in a white shirt. 41 SALESMAN Hep you? MOSS I need the Larry Mahan's in black, size 11. SALESMAN Okay. MOSS You sell socks? SALESMAN Just white. He gathers up a brown paper bag from a pharmacy. MOSS White is all I wear. You got a bathroom?",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. BATHROOM - DAY Moss is sitting on the toilet taking off socks with bloody soles. Sneakers sit on the floor. The pharmacy bag sit s next to them. He sprays disinfectant on his feet. He takes out bandages.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. SHOE STORE - DAY Moss is returning. The bowlegged salesman stands in the aisle holding aloft a p air of boots. SALESMAN Ain't got Larries in black but I got 'em in osta -rich. Break in easy.,SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. CAB/,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DEL RIO MOTEL - NIGHT It is rolling to a stop in front of Charlie Goodnight's Del Rio Motor Hotel. Moss fishes for his wallet but stops, looking. Parked in the street in front of the motel is an offroad truck with roof l ights. MOSS Don't stop. Just ride me up past the rooms. 42 DRIVER What room? MOSS Just drive me around. I want to see if someone's here. The cab rolls slowly up the lot. MOSS ...Keep going. His pivoting point -of-view of his room. The window shows a part between the curtains. MOSS ...Keep going. Don't stop. DRIVER I don't want to get in some kind of a jackpot here, buddy. MOSS It's all right. DRIVER Why don't I set you down here and we won't argue about it. MOSS I want you to take me to another motel. DRIVER Let's just call it square. Moss reaches a hundred -dollar bill up to the driver. MOSS You're already in a jackpot. I'm trying to get you out of it. Now take me to a motel. The driver reaches up for the bill then turns the cab out of the parking lot onto the hiway. Moss turns to look at the re ceding lights of the motel.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. THROUGHWAY INTERCHANGE - NIGHT PAVEMENT Rushing under the lens, lit by headlights. 43 From high up we see a throughway interchange as Chigurh's Ra mcharger takes the right fork of the highway under a green sign for Del Rio.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. THE RAMCHARGER - NIGHT Chigurh looks down at the passenger seat. On it lies the transponder, powered on but si lent. Next to it is a machine pistol with a can -shaped silencer sweated onto the barrel. The transponder beeps once. Chigurh looks up. We are approaching a steel bridge. The headlights pick u p a large black bird perched on the aluminum bridge rail. The passenger window hums down. Chigurh picks up the pistol and levels the barrel across the window frame. The truck b umps onto the bridge, its tires skipping over the seams in the asphalt. As it draws even the bird spreads its wings and Chigurh fires -a muted thump like a whoosh of air. From high overhead: the bullet hits t he guardrail making it hum as the Ramcharger recedes and the bird lifts into the darkness, heavily flapping its wings.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAFE - MORNING Morning. Bell sits drinking coffee. Wendell stands in the aisle handing something over. WENDELL He labs from Austin on the man by the highway. Bell takes the papers and starts to look at t hem. BELL What was the bullet? WENDELL Wasn't no bullet. This brings Bell's look up. BELL Wasn't no bullet? WENDELL Yessir. Wasn't none. 44 BELL Well, Wendell, with all due respect, that don't make a whole lot of sense. WENDELL No sir. BELL You said entrance wound in the forehead, no exit wound. WENDELL Yes sir. BELL Are you telling me he shot this boy in the he ad and then went fishin' around in there with a pocket knife? WENDELL Sir, I don't want to picture that. BELL Well I don't either! A beat during which both men picture it, ended by an arriving waitress. WAITRESS Can I freshen that there for you Sheriff? The Sheriff's distressed look swings on to her. BELL Yes Noreen you better had. Thank you. WEND ELL The Rangers and DEA are heading out to the desert this morning. You gonna join 'em? BELL I don't know. Any new bodies accumulated out there? WENDELL No sir. BELL Well then I guess I can skip it. Heavens to Betsy, Wendell, you already put me off my breakfast. 45",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. SPORTING GOODS STORE - DAY Moss pushes off from the wall he was leaning against: someone inside the glass double doors is stooping to unlock them.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SPORTING GOODS STORE - GUN COUNTER - DAY The clerk is handing a shotgun across the counter. CLERK Twelve gauge. You need shells? Moss looks the gun over. MOSS Uh -huh. Double ought. CLERK They'll give you a wallop. He pushes the shells across. MOSS You have camping supplies? ANOTHER COUNTER A clerk stares at Moss. CLERK Tent poles. MOSS Uh -huh. CLERK You already have the tent? MOSS Somethin' like that. CLERK Well you give me the model number of the tent I can order you the poles. MOSS Never mind. I want a tent. CLERK What kind of tent? MOSS The kind with the most poles. 46 CLERK Well I guess that'd be our ten -foot backyard Per -Gola. You can stand up in it. Well, some people could stand up in it. Six foot clea rance at the ridge. You might just could. MOSS Let me have that one. Where's the nearest hardware store?",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MOSS' NEW MOTEL ROOM - DAY He has the shotgun wedged in an open drawer and is sawing off its barrel with a hacksaw. MINUTES LATER Moss sits on the bed dressing the barrel with a file. He puts down the file, looks at the barrel. He slides the forearm back and forward again and lets the hammer down with his thumb. He looks the gun over, appraising, and then opens the box of shells and starts feedin g in the heavy waxed loads.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FIRST MOTEL LOBBY - DAY Moss enters carrying a new duffle bag. The same woman is behind the counter. MOSS Could I get another room. WOMAN You want to change rooms? MOSS No, I want to keep my room, and get another on e. WOMAN Another additional. MOSS Uh -huh.You got a map of the rooms? She inclines her head to look under the coun ter. WOMAN Yeah we had a sorta one. She finds a brochure and hands it across. It shows a car from the fifties parked in front of the hotel in hard sunlight. 47 Moss unfolds the brochure and studies. MOSS What about one forty -two. WOMAN You can have the one next to yours if you want. One twenty. It ain't took. MOSS No, one forty -two. WOMAN That's got two double beds.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MOTEL PARKING LOT - DAY An arcing point of view on the window of Moss's old room. The curtain still slightly open. A reverse shows Moss crossing the lot from the office carrying his long nylon duffle bag, studying the room. He looks further down the street. The truck with the roof lights is still parked there.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. 2ND MOTEL ROOM Two double beds. Moss is listening at the wall. He goes to the bed and unzips the duffle bag and pulls out the sawed - off shotgun. He lays it on the bed. He pulls the tent poles and some duct tape out of the d uffle.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. CHIGURH'S TRUCK/TWO LANE HIGHWAY - LATE DAY CHIGURH Driving slowly down the street with frequent glances down at the receiver on the seat next to him. The receiver lights ups and bleeps one time. Chigurh slows and looks around at the buildings that line the two -lane highway.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. 2ND MOTEL ROOM - LATE DAY Moss is standing on a desk chair unscrewing the p late from the overhead airduct. He lays it aside and raises a flashlight and peers into the airduct. 48,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MOTEL DUCT - LATE DAY Down the length of the duct we see an elbow junction ten feet away. The end of the document case is just visible sticking out into the elbow. CHIGURH The receiver is bleeping slowly as the car creeps along. Up at a distant intersection is C harlie Goodnight's Del Rio Motel.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. 2ND MOTEL ROOM Moss rips off a length of duct tape. He wraps it around two tent poles placed end -to-end but an inch apart, not butting. H e gives the tape several winds.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MOTEL PARKING LOT - LATE DAY CHIGURH He is slowly driving the parking lot, the receiver now in his lap. The beeping frequency peaks and the n starts to fall off. Chigurh puts the truck in reverse and eases back to the peak. His point -of-view: window with parted curtains.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. 2ND MOTEL ROOM - LATE DAY Moss experiments with the ta pe-joint, angling then straightening the two poles. Satisfied, he starts taping on a third length of pole.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MOTEL LOBBY - NIGHT Chigurh stands across the counter from the clerk who looks at him, waiting. He is frowning at the rate card.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CHIGURH'S MOTEL ROOM - NIGHT DOOR It swings slowly in toward us. Chigurh stands in the doorway. The room -number bangle hangs off the key in the knob. He stares in for a beat. 49 He enters slowly and reaches up for the light switch. He doesn't turn it on. He drops his hand. He reaches up again, feeli ng it. He looks around the room. He takes the key and closes the door behind him. MOSS Moss pulls three wire hangers off the closet rack. He takes them to the bureau and picks up a sidecutter. CHIGURH He walks over to the bathroom. He turns on its light, looks. He leaves the door open. He goes to a closet, opens it, looks. He goes to the door of the room but doesn't open it. He stands with his back against it and looks at the room. The bathroom door. The closet door. Chigurh goes to the bed and sits to take off his boots. MOSS Moss snips the last of the wire hangers' hooks off with the sidecutter. He wraps the three hooks with duct tape to make a sturdier one. He wraps more tape to attach this hook to the end of the three -link pole. CHIGURH From a bag he withdraws a twelve -gauge automatic shotgun fitted with a silencer big around as a beer can. He checks the loads. He picks up the regularly beeping receiver, turns it off, and slips it into his pocket. He hoists the air tank. 50 MOSS He is standing on the chair below the airduct, stooping to pick up the jury -rigged pole leaning nearby. He straightens and feeds the length of the pole into the duct, using the joints to angle it in.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MOTEL DUCT - NIGHT Inside the duct: he watches the pole play in, illuminated by the flashlight he has left resting inside.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. MOTEL WALKWAY - NIGHT STOCKINGED FEET We track on the feet padding down the exterior walkway.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MOTEL DUCT - NIGHT MOSS Peering along the airduct, both hands up next to one ear awkwardly maneuvering the pole. He lays the far, hooked end over the protruding corner of the document case. He pulls. The pole slides off the case.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT./,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. 1ST MOTEL ROOM - NIGHT CHIGURH He stands at the door of Moss's first room. He eases an ear against it. He steps back. He punches out the lock cylinder with the airgun and kicks in the door, raising the shotgun. A Mexican in a guyabera reclines on one of the two double beds. He is scrabbling for a machine pistol on the nightstand. Chigurh fires three times quickly. The damped blasts have the low resonance of chugs into a bottle. MOSS Head still in the air duct, frozen, listening. 51",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT./,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. 1ST MOTEL ROOM - NIGHT CHIGURH Also frozen, back against the wall outside the room, to one side of the open door. After a beat he steps back into the open doorway leveling the gun. Inside the room: no movement. Much of the man on the bed is spattered against the chewed -up headboard. The bathroom door is ajar, its light on. A long beat. Movement in the wedge of light. Immediately, chugs from the shotgun chew up bathroom door and nearby wallboard. A cry from inside. A brief chatter of machine pistol.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MOTEL DUCT - NIGHT MOSS'S POV Along the air vent. The machine -pistol chatter crosses the cut. We hear bullets snap through metal. The sound brings on indirect l ight as holes are punched in the duct somewhere around the bend. Moss holds still as the galvanized metal faintly thunders. The flashlight resting on it wobbles.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT./,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. 1ST MOTEL ROOM - NIGHT CHIGURH Gun leveled, at the open door. Again, no movement. He advances into the room, gun pointing at the bathroom door. As he advances he swings the gun briefly over at the closet door and fires. The splintered -in door reveals no occupant. Chigurh angles around the double bed to get a view of that wedge of bathroom floor visible through its door. Blood is pooli ng out from the right. 52 Chigurh fires at the baseboard to the right of the door.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MOTEL DUCT - NIGHT Moss makes another attempt to hook the bag. The hook takes. Moss drags the case inches out into the duct's bend before the hook slides off again.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. 1ST MOTEL ROOM BATHROOM - NIGHT CHIGURH He uses the shotgun barrel to push open what's left of the bathroom door . The mirror over the facing sink gives a view of most of the hidden side of the bedroom/ bathroom party wall. Partial view of a man pressed against the wall, standing in the tub in the corner . From his posture and the one visible hand he seems unarmed. Chigurh enters the bathroom. The cornered man is unhurt but terrified. He holds up his hands. MAN No me mate. The man on the floor is quite dead. A machine pistol lies in one out -flung hand. Chigurh looks back up at the survivor. CHIGU RH How'd you find it? MAN No me mate. Chigurh walks unhurriedly to the tub. The man watches him, hands up, vibrating. C higurh reaches with his free hand and pulls the shower curtain most of the way round, hiding the man. He angles the nose of the shotgun in and fires. MOSS The hook again snags a strap on the c ase. Moss pulls, carefully. 53",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. 1ST MOTEL ROOM - MAIN ROOM - NIGHT Chigurh emerges from the bathroom. His socks are sodden with gore. He sits on the bed and peels them off. He rubs the bottom of each foot with the ankle of each sock and drops the socks to the floor. He rises and opens three bureau drawers, which are empty, and leaves them open. He pulls open what remains of the closet door. Empty. He looks under the bed. He stands, looks around. He looks up. His look lingers. Close on the airduct grille: it is dusty. Rub -marks have made four dark bands across the dusty slats. Chigurh's fingers rise into frame and meet the grille, roughly aligning with the finger marks in the dust. Close on a screwhead: a dime enters and engages the screw and starts turning it.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MOTEL DUCT - NIGHT From inside the duct: fingers reach through the grille and Chigurh's hand pushes it up into the duct, then angles it and withdraws it. Faintly, under the distant airy drone of the compressor, we hear the grate clatter to the floor. The back of Chigurh's head appears. He aims a flashlight away down the far length of the duct. A beat. He pivots to face us. His point -of-view: the length of the duct, empty, with a drag -mark through the middle of the dust. Back to Chigurh. His look holds. He ducks out.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. 1ST MOTEL ROOM - NIGHT In the room: Chigurh steps down from the chair and pulls the receiver from his pocket and turns it on. It beeps once. Silence. 54 Frowning, looking down at the receiver, Chigurh makes a slow sweep with it. The silence holds -snapped off by car steady as we cut to:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. STATION WAGON - NIGHT Moss, with his duffle bag and document case, sit s in the passenger seat of an old station wagon. The driver is an elderly man in a yoked shirt. After a beat, eyes fixed on the road, the old man shakes his head. OLD MAN Shouldn't be doin' that. Even a young man like you. Moss gives him a look. A beat. MOSS Doin' what. The old m an gazes at the road. OLD MAN Hitchhikin'. He shakes his head again. Silent driving. The old man murmurs: OLD MAN Dangerous.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DOWNTOWN HOUSTON - DAY BOOMING UP We are looking out as a foreground building slips by and we rise to get an ever -higher perspective on downtown Houst on, hazy under a noon sun.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. OFFICE - DAY A man standing behind a large desk -behind him, floor -to- ceiling windows -has no small talk for Carson Wells, the man entering. MAN You know Anton Chigurh by sight, is that correct? Carson Wells sits in front of the desk, his manner affable. He rests a booted foot ac ross one knee. 55 WELLS Yessir, that's correct. I know 'em when I see 'em. MAN When did you last see him. WELLS November the 28th, last year. MAN You seem pretty sure of the date. Did I ask you to sit? WELLS No sir but you struck me as a man who wouldn't want to waste a chair. I remember dates. Names. Numbers. I saw him on N ovember 28th. The man gazes. He nods. MAN We got a loose cannon here. And we're out a bunch of money, and the other party is out his product. WELLS Yessir. I understand that. The man looks at him, appraising. He nods again and slides a bank card across the table. MAN This account will only give up twelve hundred dollars in any twenty -four hour period. That's up from a thousand. Well s rises to take the card and then reseats himself. WELLS Yessir. MAN If your expenses run higher I hope you'll trust us for it. WELLS Okay. MAN How well do you know Chigurh. 56 WELLS Well enough. MAN That's not an answer. WELLS What do you want to know? MAN I'd just like to know your opinion of him. In general. Just how dangerous is he? Wells shrugs. WELLS Comp ared to what? The bubonic plague? He's bad enough that you called me. He's a psychopathic killer but so what? There's plenty of them around. A beat. MAN He killed three men in a motel in Del Rio yesterday. And two others at that colossal goatfuck out in the desert. WELLS Okay. We can stop that. MAN You seem pretty sure of yourself. You've led something of a charmed life haven't you Mr. Wells? Wells rises. WELLS In all honesty I can't say that charm has had a whole lot to do with it. H e thumps once at his chest. WELLS ...I'm wondering... MAN Yes? WELLS Can I get my parking ticket validated? 57 The man gazes. MAN ...An attempt at humor, I suppose. WELLS I'm sorry. MAN Goodbye, Mr. Wells.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. EAGLE PASS TOWN SQUARE - DUSK Moss is getting out of the station wagon with his duffle and document case. It is a town square. Among the old buildings is the Hotel Eagle, identified by a neon above the front door.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOTEL EAGLE LOBBY - NIGHT Moss enters. Behind the front desk an older man sits reading Ring magazine. He has a hand -rolled cigarette. MOSS One room, one night. CLERK That's twenty -six dollars. MOSS You on all night? CLERK Yessir, be here til ten tomorrow morning. Moss pushes a hundred alon g with smaller bills across the desk. MOSS For you. I ain't asking you to do anything illegal. The clerk looks at the hundred -dollar bi ll without reaching. CLERK I'm waitin' to hear your description of that. 58 MOSS There's somebody lookin' for me. Not police. Just call me if anyone else checks in tonight.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. SECOND -FLOOR HALLWAY - NIGHT Moss is mounting the stairs from the lobby. The carpeted hallway is lined by transom -topped doors. Moss goes to a door halfway down on his left.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOTEL ROOM - NIGHT Moss enters a room with old oak furniture and high ceilings. He sets the docum ent case next to the bed. He unzips the duffel and takes out the shotgun which he lays on the bed, and then goes to the window. He parts the curtain to look down. The street is empty. Mexican music floats up faintly from a bar somewhere not far away.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOTEL ROOM - LATER The room is dark. The music is gone. We are looking straight down on Moss lying, clothed, on the bed. We are booming straight down toward him. After a beat he shakes his head. He opens his eyes, grimacing. MOSS There just ain't no way. H e sits up and turns on the bedside lamp. The shot gun and document case are on the floor by the bed. Moss swings the document case onto the bed and unclasps it and upends the money onto the bed. He feels the bottom of the case, squeezing it with one hand inside and one hand out, looking for a false bottom. He eyeballs the case, turning it over and around. He starts riffling money packets. He finds one that binds. It has hundreds on the outside but ones inside with the centers cut out. In the hollow is a sending unit the size of a Zippo lighter. He holds the sender, staring at it. A long beat. 59 From somewhere, a dull chug. The sound is hard to read -a compressor going on, a door thud, maybe something else. The sound has brought Moss's look up. He sits listening. No further sound. Moss reaches to uncradle the rotary phone by the bed. He dials 0. We hear ringing filtered through the handset. Also, faintly, offset, we hear the ring direct from downstai rs. After five rings Moss cradles the phone. He goes to the door, reaches for the knob, but hesitates. He gets down on his hands and knees and listens at the crack under the door. An open airy sound like a seashell put to your ear. Moss rises and turns to the bed. He piles money back into the document case but freezes suddenly -for no reason we can see. A long beat o n his motionless back. We gradually become aware of a faint high -frequency beeping, barely audible. Its source is indeterminate. Moss clasps the document case, picks up his shotgun and eases h imself to a sitting position on the bed, facing the door. He looks at the line of light under it. The beeps approach, though still not loud. A long wait. At length a soft shadow appears in the line of light below the door. It lingers there. The beeping -stops. A beat. Now the soft shadow becomes more focused. It resolves into two columns of dark: feet planted before the door. Moss raises his shotg un toward the door. A long beat. Moss adjusts his grip on the shotgun and his finger tightens on the trigger. The shadow moves, unhurriedly, rightward. The band of light beneat h the door is once again unshadowed. Quiet. Moss stares. 60 The band of light under the door. Moss stares. Silently, the light goes out. Something for Moss to think about. He star es. The hallway behind the door is now dark. The door is defined only from his side, by streetlight -spill through the window. Moss stares. He shifts, starts to rise, doesn't. A beat. A report -- not a gunshot, but a stamping sound, followed by a pneumatic hiss. It brings a dull impact and Moss recoils, hit. He winces, feeling his chest. The door is shuddering creakily in. It is all strange. Moss gropes in his lap and picks something up. The lock cylinder. The creaking door comes to rest, ajar. Moss fires. The shotgun blast roars in the confined space an d for an instant turns the room orange. The chewed -up door wobbles back against the jamb and creakily bounces in again. Moss has already risen and is hoisting the document case. FROM OUTSIDE HIS WINDOW Moss finishes draping his shotgun by its strap across his back and climbs out onto the ledge with the document case. He swings the document case out and drops it. The bracketing for the hotel's sign gives Moss a handhold. He grabs it as inside the room the door is kicked open. Moss swings down as, with a muted thump, orange muzzleflash strobes the room. Moss drops.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. H OTEL EAGLE SIDEWALK - NIGHT Moss lands and grabs the document case and straightens. He is at the hotel entrance, standing in the light coming through the etched glass of the double doors. 61 He l ooks at his own shadow thrown onto the street. He plunges through the doors into the lobby as a gun thumps and crackling shot chews the sidewalk.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LOBBY - NIGHT Moss hurries across the lob by. A glance to one side: A booted foot sticks out from behind the front desk. Moss slows approaching the stairway. He risks a look around the stairway wall. Ascending balusters fade off into the blackness of the second - story hallway. Moss sags. He looks back across the lobby at the front door. He unhitches his shotgun. He remains still for a moment holding the shotgun, back again st the protected side of the wall. He quickly swings out and with shotgun aimed up the stairs he crosses to the back lobby. He quietly pushes open the back door.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SERVICE A LLEY - NIGHT OUTSIDE Moss emerges into a shallow service alley, dark and dirty. He is at a run when we hear soft tock and a garbage can in front of him snaps and wobbles. He t urns looking up, backpedaling. Another tock accompanies a muzzleflash in a dark second -story window. Moss fires his shotgun: loud. Chips fly off the brickface and the window shatters. Moss rou nds the alley corner. He stops and squats.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DOWNTOWN EAGLE PASS STREET - NIGHT Wide: dark, deserted downtown Eagle Pass, Moss a lone figure resting at a corner. Close on Moss panting. He t akes stock, painfully feeling at his upper chest where the lock hit, then touching gingerly at his side, beneath the ribs, newly bloody. He sighs. 62 He listens. No noise. He gets to his feet with the document case in one hand and shotgun in the other. He waits a beat, back against the wall. He swings out and fires the shotgun into the alley and then spins back and runs a short block and rounds the n ext corner and stops to rest.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. EAGLE PASS STREET - NIGHT He waits for his breath to slow. He brings up the shotgun and readies himself. He swings out to look back around th e corner. The street is empty. He waits, at the ready for whatever might emerge from the alley mouth a short block away. Long beat. Stillness. A panicky thought brings his look and the shotgun swinging back around: the man could round the block the other way. Empty street. Two empty streets: Moss doesn't know which way to cover, which way to go. He stands looking each way, trying to devise a plan. No basis for a plan. Quiet hesitation. Now, a sound: engine noise. An old pickup rounds a corner two blocks up. It rattles toward him. Moss lowers the shotgun. He keeps it to the hidden side of his body. The pickup dutifully stops at a flashing red traffic light. It comes on through the intersection. Moss strides out into the street. He swings the shotgun up and gives the driver a raised palm to halt.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. PICKUP/,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. EAGLE PASS STREET - NIGHT The truck stops and Moss opens the passenger door and swings the case in and climbs in after. 63 The driver, an older man, gapes at him, frightened. MOSS I'm not going to hurt you. I need you to -- The windshield stars. A quick second round pushes part of the windshield in. Rounds come in without pause, cracking sheet metal, blowing the cab's rear window into the truckbed, twisting the r ear- view. A round seems to have caught the driver in the throat: a gurgling scream as he claws at his windpipe, blowing out blood. Moss, quicker to react, has already ducked be low the dash. A snap of the driver's head and a new freshet of blood from a shot to the head. The screams turn to low gurgles. Moss, jammed almost in to the driver's lap, frantically gropes fo r the shift. He throws the pickup into drive and stamps at the accelerator, driving blind as bullets continue to pour in. He raises his head enough to see his side -view. It shows sluing, bounc ing, empty street, rough guide for steering. A tremendous jounce up onto the curb then off it, the driver's body swaying in its restra",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int. The passenger side window shatters: we are passing the gunman. Now Moss sits up to steer looking out front. Behind him through the shot -out back window the dark street is suddenly punctured by muzzleflash. It comes, for the first time, with a report: the low c hug of the muted shotgun. Rattle of shot against sheet metal. Moss floors the gas to roar into a turn. The street sweeping out of view behind him produces one more chugging muzzleflash.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. E AGLE PASS STREET - NIGHT The pickup bounces but Moss, sitting fully up, can now steer. 64 He goes half the length of the block and then yanks the wheel hard, braking. The pickup smashes a parked car and jacks around to a halt. Moss emerges from the pickup with his shotgun and goes to the sidewalk and backtracks. He covers behind a parked car. He sits leaning back against the car, waiting. His point -of-view: his own reflection in the facing storefront, a lot of the driver's blood on him. He sinks lower. A long beat. Footsteps. They approach without hurry. A gritty boot turn at the corner. The footsteps come closer still. They pass and recede toward the pickup. We cut to Chigurh approaching the pickup, shotgun held at ease across his body. He slows. Moss: he hears the slowing steps. He tightens his grip on his shotgun and tenses. Chigurh: slowing further, he sees: Bloody boot prints outside the passenger door. Moss rises. Chigurh is turning. He dives as, behind him, Moss fires. Shot peppers two parked cars -- the one Moss rammed and the one behind. Chigurh dived between them : hit or not? Moss advances down the middle of the street. He angles his head: anything under the cars? He fires twice. Buckshot claws up the pavement and the car bodies and tires, and the c ars sink hissing to their rims. Moss crosses to the far curb, still advancing. No one behind the cars. 65 He looks up and down the street. Nothing to see. He goes to the pickup tr uck, driver's side. He opens the door and reaches over the driver's corpse for his lap belt.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. EAGLE PASS BORDER AREA - NIGHT Deserted. The pickup truck rattles into frame. Moss emerges. He hoists out the case. He leaves the shotgun. It is very quiet. He looks around. The Rio Grande bridge. Moss walks unsteadily toward it, pressing his free hand to his side. A thought stops him. He turns. His bloody boot prints point at him like comic book clues. His shoulders sag.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. RIO GRANDE BRIDGE - NIGHT Minutes later. Moss he ads down the right -hand walkway in stockinged feet, boots tucked into his belt. He turns and looks back toward the U.S. side. Empty walkway. He proceeds on. Three youths are approaching from t he Mexican side. Fart types, they are laughing and walking unsteadily. As they approach they gape at Moss, covered with blood. The lead boy, holding a beer, wears a light coat. MOSS I'll give you five hundred bucks for your shirt and your coat. The three boys stare at him. At length: 66 YOUTH Let's see the money. Moss unpeels bills from a moist wad. The top one is bloody. SECOND YOUTH ...Were you in a car accident? MOSS Yeah. YOUTH Okay, lemme have the money. MOSS It's right here. Give me the coat. YOUTH Lemme hold the money. Moss does. MOSS Gimme the clothes. The youth starts to peel them. MOSS ...And let me have your beer. YOUTH ...How much? SECOND YOUTH Brian. Give him the bee r. MINUTES LATER The boys are receding. Moss pours the beer over his head, rubbing blood away. He opens his shirt. He inspects the wounds in his midriff, entrance and exit. Pul sing blood laps weakly out. He shrugs off his shirt, wraps it around his waist and knots it. He starts to put on the new shirt. Something stops him. He pauses. He vomits into the roadbed. He straightens slowly and puts on the new shirt. He looks out. 67 He is not yet over the river: wind stirs the cane on the bank. He looks up: Chain -link fence encloses the walkway to a height of about twelve feet, curling inward at the top. He looks down the walkway. The three boys are distant figures. He looks up the walkway. A few paces up a light pole stanchion stands flush to the guardrail that separates road and walkway. He goes to the stanchion and uses it to hoist himself onto the guardrail, his free hand holding the case. Standing on top of the curved metal rail and holding the post for balance, he kneebends down and up and heaves the case. It sails clear of the chain -link fence. A short beat and we hear a thump. Moss pants for a moment, recovering from the strain of the toss. He eases himself off the guardrail and goes to the fence and looks at the bank below. One gnarled tree stands out in the cane. The case, wherever it lande d, is not visible.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. GUARDSHACK MEXICAN SIDE - NIGHT There is a lighted guardshack at the end of the walkway. Inside, a uniformed guard. Moss walks unsteadily up. He tilts the beer bottle i n salute at the guard. The guard impassively lets him proceed.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MEXICAN SQUARE - DAWN BLACK In black, an insanely cheerful mariachi song. Fade in on the mar iachis. We are looking steeply up at them, dutch -angled. They beam down at us, energetically thumping their oversized guitars and bajo sextos. We boom woozily up and start to un -dutch. Revers e on Moss struggling to a sitting position on the park bench where he'd been lying. A public square. 68 Back to the mariachis. Beaming, singing. Their smiles gradually fade. The playing falls off to silence. In the silence, birds chirp. The musicians are looking quizzically down. Moss's arm swings up in the foreground, extending a bloody hundred -dollar bill. On Moss. H is coat has swung open to expose his bloody midriff. His look up is glazed. MOSS Doctor. The mariachis stare. Moss waggles the bill. MOSS ...Medico. Por favor.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. RAMCHARGER/,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. WAL -MART - DAY We are close on a patch of its front seat. Day. The pickup is parked. The piece of upholstery we are looking at has blood soaked into it. On the sound of the door opening we cut wider. We are in the parking lot of a Wal -Mart. Chigurh, climbing in, tosses a brown paper bag onto the passenger side. He has a dark towel wrapped around one leg. As he slides behind the wheel the wrapped part of his leg slides over the bloodstain.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. RAMCHARGER/,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PHARMACY - DAY TRAVELING POINT OF VIEW A small -town main street. We are driving past a pharmacy. Chigurh, looking. He parks. He takes a scissors from the Wal -Mart bag and a box of cotton. He opens the box and cuts a li ttle disc out of the cardboard. He takes a new shirt out of the bag and begins to cut through one sleeve. 69",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PHARMACY - DAY SHOOTING PAST A PARKED CAR Chigurh limps toward u s. He holds a coat hanger bent straight with the balled -up shirtsleeve hooked at one end. Chigurh arrives, looks up and down the street. He unscrews the gas cap, feeds the coat hanger in to soak the shirt, pulls it back out. He tapes the cardboard disc over the open gas tank. He unhooks the wet shirtsleeve and jams it up over the disk. He lights it and exits. INSIDE THE PHARMACY - DAY A beat pulling Chigurh limping up the aisle, and then the car explodes out front. The plate glass storefront blows in. The few people inside rush out; Chigurh doesn't react. The pharmacy counter in back is deserted. Chigurh lifts a hinged piece of counter to enter and starts looking through the stock. He pulls out a packet of syringes, Hydrocodone tablets, penicillin.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. SMA LL TOWN MOTEL ROOM - DAY Chigurh dumps the pharmaceuticals into the bathroom sink. In the room outside he sits on the bed and takes off his boots. He unknots the towel from around his leg and stands and unbuttons his pants and starts cutting from the crotch down with a heavy scissors. One thigh is a mess of clotted blood and torn fabric.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MOTEL BATHROOM - DAY BATH Chigurh lowers himself into bath water that quickly turns pink. He laves water over his bloody thigh. There is a dark red hole, one half inch across, pulsing blood into the bath water Torn pieces of fabric from his pants are embedded in the bleeding skin. A SHAVING MIRROR We are looking at the wound in a magnifying mirror. Forceps enter and pluck a tiny piece of blood -soaked fabric from the skin. 70 RUNNING WATER A bathroom tap. The forceps enter. They are rinsed, shaken off. Wider: Chigurh sits on the closed toilet with the mirror sitting on the edge of the tub, angled toward the wound. Chigurh works on cleaning it.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. SMALL TOWN MOTEL ROOM - DAY The main room. The TV is on now. Chigurh enters from the bathroom with his leg bandaged. He si ts on the bed and tears open the packaging of a syringe. He plunges it into an ampule of penicillin. He injects himself.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SHERIFF'S OFFICE - DAY Sheriff Bell sits writing in a large leatherette checkbook. He projects: BELL Anything on those vehicles yet? A raised female voice from the front office: VOICE Sheriff I found out everything there was to find. Those vehicles are titled and registered to deceased people. Molly, the secretary, appears at the do orway. VOICE ...The owner of that Blazer died twenty years ago. Did you want me to see what I could find out about the Mexican ones? BELL No. Lord no. He holds out the checkbook. BELL ...This month's checks. MOLLY That DEA agent called again. You don't want to talk to him? 71 BELL I'm goin' to try and keep from it as much as I can. MOLLY He's goin' back out there and he wanted to know if you wanted to go with him. Sheriff Bell is putting things away. BELL Well that's cordial of him. I guess he can go wherever he wants. He's a certified agent of the United States Government. He rises. BELL ...Could I get you to call Loretta and tell her I've gone to Odessa? goin' t o visit with Carla Jean Moss. MOLLY Yes Sheriff. BELL I'll call Loretta when I get there. I'd call now b ut she'll want me to come home and I just might. MOLLY You want me to wait til you've quit the building? BELL Yes I do. You don't want to lie without what it's absolutely necessary. Molly trails him into the front office. BELL ...What is it that Torbert says? About truth and justice? MOLLY We dedicate ourselves daily anew. Something like tha t. 72 BELL I think I'm goin' to commence dedicatin' myself twice daily. It may come to three times before it's over.. . A loud truck -by from the street outside. Sheriff Bell's eyes track the passing vehicle. BELL ...What the hell?",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. STREET - DAY Sanderson outskirts. Sheriff Bell passes a flatbed truck with a flapping tarp and briefly blurps his siren to pull it over. He parks on the shoulder in front of the truck and then walks back to the driver who watches his approach, chewing gum with blithe unconcern. DRIVER Sheriff. BELL Have you looked a t your load lately? A MINUTE LATER Both men are at the back of the truck. BELL That's a damned outrage. DRIVER Oh. One of the tiedowns worked lose. Bell whips the tarp back to expose eight corpses wrapped blue sheeting bound with tape. BELL How many did you l eave with? The driver is still smiling. DRIVER I ain't lost none of 'em, Sheriff. BELL Couldn't you all of took a van out there? 73 DRIVER Didn't have no van with four -wheel drive. Sheriff Bell pulls the tarp down and ties it. The driver watches without helping. DRIVER ...You going to write me up for improperly secured load? Sheriff Bell cinches the knot tight. BELL You get your ass out of here.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOSPITAL ROOM - DAY Moss, in bed, stirs at an off screen voice: VOICE I'm guessin'... this is not the future you pictured for yourself when you first clapped eyes on that money. Moss blearily focuses on: A fancy crocodile boot. His look rises from the boot, crossed on his visitor's knee, up to the man's face. Carson Wells smiles at him from the bedside chair. WELLS ...Don't worry. I' m not the man that's after you. MOSS I know, I've seen him. Sort of. Wells is surprised. WELLS You've seen him. And you're not dead. He nods, impressed. WELLS ...But that won't last. MOSS What is he su pposed to be, the ultimate bad -ass? 74 WELLS I don't think that's how I would describe him. MOSS How would you describe him? WELLS I guess I'd say... that he doesn't have a sense of humor. His name is Chigurh. MOSS Sugar? WELLS Chigurh. Anton Chigurh. You know how he found you? MOSS I know how he found me. WELLS It's called a transponder. MOSS I know what it is. He won't find me again. WELLS Not that way. MOSS Not any way. WELLS Took me about three hours. MOSS I been immobile. WELLS No. You don't understand. Wells sits back and studies Mo ss. WELLS ...What do you do? MOSS I'm retired. 75 WELLS What did you d o? MOSS I'm a welder. WELLS Acetylene? Mig? Tig? MOSS Any of it. If it can be welded I can weld it. WELLS Cast iron? MOSS Yes. WEL LS I don't mean braze. MOSS I didn't say braze. WELLS Pot metal? M OSS What did I say? WELLS Were you in Nam? MOSS Yeah. I was in Nam. WELLS So was I. MOSS So what does that make me? Your buddy? Wells sits smiling at him. A beat. WELLS Look. You need to give me the money. I've got no other reason to protect you. 76 MOSS Too late. I spent it -- about a million and a half on whores and whiskey and the rest of it I just sort of blew it in. Wells' smile stays in place. W ELLS How do you know he's not on his way to Odessa? Moss stares at him. A beat. MOSS Why would he go to Odessa? WELLS To kill your wife. Another beat. MOSS Maybe he should be worried. About me. WELLS He isn't. You're not cut out for this. You're just a guy that happened to find those vehicles. Moss doesn't respond. WELLS ...You didn't take the product, did you? MOSS What product. WELLS The heroin. You don't have it. MOSS No I don't have it. WELLS No. You don't. He rises. 77 WELLS ...I'm across the river. At the Hotel Eagle. Carson Wells. Call me when you've had enough. I can even let you keep a little of the money. MOSS If I was cuttin' deals, why wouldn't I go deal with this guy Chigurh? WELLS No no. N o. You don't understand. You can't make a deal with him. Even if you gave him the money he'd still kill you. He's a peculiar man. You could even say tha t he has principles. Principles that transcend money or drugs or anything like that. He's not like you. He's not even like me. MOSS He don't talk as much as you, I give him points for that.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COFFEE SHOP - ODESSA - DAY Sheriff Bell rises from a booth, taking off his hat. BELL Carla Jean, I thank you for comin'. She sits. He sits. CARLA JEAN Don't know why I did. I told you, I don't know where h e is. BELL You ain't heard from him? CARLA JEAN No I ain't. BELL Nothin'? CARLA JEAN Not word one. BELL Would you tell me if you had? 78 CARLA JEAN Well, I don't know. He don't need any trouble from you. BELL It's not me he's in trouble with. CARLA JEAN Who's he in trouble with then? BELL Some pretty bad people. CARLA JEAN Llewelyn can take care of hisself. BELL These people will kill him, Carla Jean. They won't quit. CARLA JEAN He won't neither. He never has. BELL I wish I could say that was in his favor. But I have to say I don't think it is. CARLA JEAN He can take all comers. Bell looks at her. After a beat: BELL You know Charlie Walser? Has the place east of Sanderson? She shakes her head, shrugs. BELL ...Well you know how they used to slaughter beeves, hit 'em with a maul right here to stun 'em... Indicates between his own eyes. 79 BELL ...and then truss 'em up and slit their throats? Well here Charlie has one trussed up and all se t to drain him and the beef comes to. It starts thrashing around, six hundred pounds of very pissed -off livestock if you'll pardon my... Charlie grabs h is gun there to shoot the damn thing in the head but what with the swingin' and twistin' it's a glance -shot and ricochets around and comes back hits Charlie in the shoulder. You go see Charlie, he still can't reach up with his right hand for his hat... Point bein', even in the contest between man and cow the issue is not certain. He takes a sip of coffee, leaving room for Carla Jean to argue if inclined. She does not. Sheriff Bell hands a c ard across. BELL ...When Llewelyn calls, just tell him I can make him safe. She takes the card. Sheriff Bell sips. BELL ...Course, they slaughter beeves different now. Use a air gun. Shoots out a rod, about this far into the brain... He holds thumb a nd forefinger a couple inches apart. BELL ...Sucks back in. Animal never knows what hit him. Another beat. Carla Jean stares at him. CARLA JEAN Why you tellin' me that, Sheriff? BELL I don't know. My mind wanders. 80",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. RIO GRANDE BRIDGE - AFTERNOON Late Day. Carson Wells grabs a light pole stanchion to hoist himself onto the guardrail. He stands atop it, eyeing the chain -link fence across the walkway. He climbs down and crosses to the fence and looks down: The brown, sluggish water of the Rio Grande. LOOKING DOWN THE WALKWAY Carson Wells enters frame and recedes down the walkway. When he draws even with the next stanchion he looks down through the fence: Cane on the riverbank, and one gnarled tree.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HOTEL EAGLE LOBBY - NIGHT Twilight. Carson Wells enters the hotel and crosses the lobby.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. STAIRWAY - NIGHT Carson Wells appears around the corner and we pull him as he mounts the stairs. When he is about halfway up a figure -- focus does not hold him -- rounds the corner behind and silently follows, holding a fat -barreled shotgun loosely at his side. After a few steps Carson Wells stops, frowning, cued by we don't know what. Focus drops back as he turns. Chigurh raises the shotgun. CHIGURH Hello Carson. Let's go to your room. 2ND HOTEL EAGLE ROOM - NIGHT Chigurh sits into a chair drawn up to face the armchair where Carson Wells sits. WELLS We don't have to do this. I'm a daytrader. I could just go home. CHIGURH Why would I let you do that? WELLS I know where the money is. 81 CHIGURH If you knew, you would have it with you. WELLS I need dark. To get it. I know where it is. CHIGURH I know something better. WELLS What's that. CHIGURH I know where it's going to be. WELLS And where is tha t. CHIGURH It will be brought to me and placed at my feet. Wells wipes his mouth with his hand. WELLS You don't know to a certainty. Twenty minutes it could be here. CHIGURH I do know to a certainty. And you know what's going to happen now. You should admit your situation. There would be more dignity in it. WELLS You go to hell. A beat. CHIGURH Let me ask you something. If the rule you followed brought you to this, of what use was the rule? Another beat. WELLS Do you have any idea how goddamn crazy you are? 82 CHIGURH You mean the nature of this convers ation? WELLS I mean the nature of you. Chigurh looks at him equably. Wells holds his look. WELLS ...You can have the money. Anton. The phone rings. Wells looks at the phone. Chigurh hasn't moved. Wells looks at Chigurh, waiting for a decision. The low chug of the shotgun. Aside from his f inger on the trigger, Chigurh hasn't moved. He sits staring at Wells's remains for a beat. Now his look swings onto the phone. He watches it ring twice more. He picks it up and listens without speaking. After a beat: MOSS'S VOICE ...Hello? CHIGURH Yes? Another beat. MOSS'S VOICE Is Carson Wells there. A longer beat. CHIGURH Not in the sense that you mean. Moss doesn't answer. Chigurh gives him a beat, and then: CHIGURH ...You need to come see me. 83 MEXICAN HOSPITAL WARD - NIGHT We intercut Moss, in his hospital robe, at a public phone on the ward. He stands tensed with the phone to his ear. Finally: MOSS Who is this. CHIGURH You know who it is. A beat. CHIGURH ...You need to talk to me. MOSS I don't need to talk to you. CHIGURH I think that you do. Do you know where I'm going? MOSS Why would I care where you're going. CHIGURH Do you know where I'm going? No answer.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. 2ND HOTEL EAGLE ROOM - NIGHT Chigurh cocks his head, noticing something on the floor. He adjusts to sit back and raise his boo ts onto the bed. On the floor where his feet were, blood is pooling out from Wells's chair. CHIGURH ...I know where you are. MOSS Yeah? Where am I? CHIGURH You're in the hospital across the river. But that's not where I'm going. Do you kn ow where I'm going? MOSS Yeah. I know where you're going. 84 CHIGURH All right. MOSS You know she won't be there. CHIGURH It doesn't make any difference where she is. MOSS S o what're you goin' up there for. A beat. CHIGURH You know how this is going to turn out, don't you? MOSS No. Do you? CHIGURH Yes, I do. I think you do too. So this is what I'll offer. You bring me the money and I'll let her go . Otherwise she's accountable. The same as you. That's the best deal you're going to get. I won't tell you you can save yourself because you can't. MOSS Yeah I'm goin' to bring you somethin' all right. I've decided to make you a special project of mine. You ain't goin' to have to look for me at all. Moss slams the phone onto its hook, then slams it twice more for good measure. Chigurh, in the hotel room, cradles his phone.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. C OFFEE SHOP - DAY Sheriff Bell sits at his usual booth, but with an unaccustomed look: reading glasses. He has been looking at a newspaper but is now peering over his glasses up at Wendell who apparently interrupted his reading. BELL The motel in Del Rio? Wendell nods. 85 WENDELL Yessir. None of the three ha d ID on 'em but they're tellin' me all three is Mexicans. Was Mexicans. BELL There's a question. Whether they stopp ed bein'. And when. WENDELL Yessir. BELL Now, Wendell, did you inquire about the cylinder lock? WENDELL Yessir. It was punched out. BELL Okay. WENDELL You gonna drive out there? BELL No, that's the only thing I would've looked for. And it sounds like these boys died of natural causes. WENDELL How's that, Sheriff? BELL Natural to the line of work they was in. WENDELL Yessir. BELL My lord, Wendell, it's just all -out war. I don't know any other word for it. Who are these folks? I don't know... He rattles the paper. 86 BELL ...Here last week they found this couple out in California they would rent out rooms to old people and then kill em and bury em in the yard and cash their social security checks. They'd torture em first, I don't know wh y. Maybe their television set was broke. And this went on until, and here I quote... He looks through his glasses at the paper. BELL ...""Neighbors were alerted when a man ran from the premises wearing only a dog collar."" You can't make up such a thing as that. I dare you to ev en try. He peers over his glasses at Wendell who respectfully shakes his head and tsks. Sheriff Bell rattles the paper again. BELL ...But that's what it took, you'll notice. Get someone's attention. Diggin graves in the back yard didn't bring any. Wendell bites back a smile. Sheriff Bell gazes at him over his glasses for a long beat, deadpan. BELL ...That's all right. I laugh myself sometimes. He goes back to the paper. BELL ...There ain't a whole lot else you can do.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BORDER SHACK - DAY Moss, a coat thrown over his hospital robe, is standing before a uniformed INS official on the Rio Grande bridge. The official, who looks like a marine drill instructor, is chewing. He chews for a long beat, staring at Moss. He finally spits tobacco juice and pats his low er lip with a handkerchief. 87 OFFICIAL Who do you think gets through this gate into the United States of America? MOSS I don't know. American citizens. OFFICIAL Some American citizens. Who do you think decides? MOSS You do, I reckon. OFFICIAL That is correct. And how do I decide? MOSS I don't k now. OFFICIAL I ask questions. If I get sensible answers then they get to go to America. If I don't get sensible an swers they don't. Is there anything about that that you don't understand? MOSS No sir. OFFICIAL Then I ask you again how you come to be out here with no clothes. MOSS I got an overcoat on. OFFICIAL Are you j ackin' with me? MOSS No sir. OFFICIAL Don't jack with me. MOSS Yes sir. OFFICIAL Are you in the service? 88 MOSS No sir. I'm a veteran. OFFICIAL Nam? MOSS Yes sir. Two tours. OFFICIAL What outfit. MOSS Twelfth Infantry Batallion. August seventh nineteen and sixty -six to July second nineteen and sixty -eight. The official stares at him, chewing, sour. OFFICIAL Wilson! GUARD Yessir. OFFICIAL Get someone to help this man. He needs to get into town.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GENERAL STORE - DAY The clerk who earlier sold him the boots: CLERK How those Larries holdin' up? Moss is walking up in his boots and overcoat and hospital robe. MOSS Good. I need everything else. CLERK Okay. MOSS You get a lot of people come in here with no clothes on? CLERK No sir, it's unusual. 89",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. RIVER BANK - DAY We are looking across the Rio Grande. Moss appears over the near edge of the river bank, newly clothed, and holding the document case. As he reaches the top of the bank he frowns and twists his neck, responding to an irritation. He feels around with his free hand inside the back of the shirt collar. A sharp yank. His hand comes away with a small tag.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GREYHOUND STATION - DEL RIO - DAY The document case is resting on a small foreground counter. Moss is at a pay phone, one hand holding the phone to his ear, the other resting on the case. The voice on the phone is old, female, and querulous: VOICE She don't want to talk to you. MOSS Yes she does. Put her on. VOICE Do you know what time it is? MOSS I don't care what time it is. Don't you hang up this phone. VOI CE I told her what was going to happen, didn't I. Chapter and verse. I said: This is what will come to pass. And now it has come to pass -- Scuffing sounds, a sharp ""Mama!"", and then, into the phone: CARLA JEAN Llewelyn? MOSS Hey. CARLA JEAN What should I do? MOSS You know what's goin' on? 90 CARLA JEAN I don't know, I had the sheri ff here from Terrell County -- MOSS What did you tell him? CARLA JEAN What did I know to tell him. You' re hurt, ain't you? MOSS What makes you say that? CARLA JEAN I can hear it in your voice. MOTHER (distant) There is falseness in his voice! MOSS Meet me at the Heart of Texas motel in El Paso. I'm gonna give you the money and put you on a plane. CARLA JEAN Llewelyn, I ain't gonna leave you in the lurch. MOSS No. This works better. With you gone and I don't have the money, he can't touch me. But I can sure touch him. After I find him I'll come and join you. CARLA JEAN Find who? What am I supposed to do with Mother? MOSS She'll be all right. CARLA JEAN She'll be all right? MOTHER (distant) Be all right! I've got the cancer! MOSS I don't think anybody'll bother her. 91 OFFICE HALLWAY - DAY A LOCK CYLINDER It blows in. The hole shows a brightly lit ci nderblock wall behind. The door swings open and the air tank is swung in and deposited on carpet. Wider: Chigurh enters the carpeted hallway from the cinderblock stairwell, hol ding the tricked -out shotgun. The hallway is white wallboard, doors opening off it at long intervals. Chigurh stands still and listens. Nothing but the hum of ventilation. He walks quietly to the one open door twenty feet away.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. OFFICE - DAY He enters. The man who hired Carson Wells is behind his desk, in front of the floor -to-ceiling windows. He looks up from papers, slipping off his reading glasses. On seeing the shotgun he opens a desk drawer and starts to rise. Chung -- the shotgun blast knocks him back. Shot pits but doesn't break the window. A man in a suit rises and turns from the chair opposite the desk, very slowly, as if to advertise that he is not a threat. Chigurh ignores him and rounds the desk to look at the man gurgling on the floor. After a beat, still looking down at the man he has shot: CHIGURH Who are you? A long beat. MAN AT CHAIR ...Me? CHIGURH Yes. MAN AT CHAIR Nobody. Accounting. Chigurh finally looks up at him. 92 CHIGURH He gave Acosta's people a receiver. MAN AT CHAIR He feels... he felt... the more people looking... CHIGURH That's foolish. You pick the one right tool. Chigurh inclines his head toward the pocked glass of the picture window. CHIGURH ...For instance. I used birshot. So as not to blow the window. MAN AT CHAIR I see. He still has not moved, one hand still touching the armrest. MAN AT CHAIR ...Are you going to shoot me? Chigurh looks at him. CHIGURH That de pends. Do you see me? The man stares at him for a beat. MAN AT CHAIR No.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CAB - ODESSA - DAY EYES IN A REAR -VIEW MIRROR Eyes in a weathered face shift back and forth between road and mirror, where they give nodding acknowledgment to the passenger. MOTHER'S VOICE And I always seen this is what it would come to. Three years ago I pre - visioned it. Wider shows Carla Jean and her mother in the back of the moving cab. 93 CAR LA JEAN It ain't even three years we been married. MOTHER Three years ago I said them very words. No and Good. DRIVER Yes ma'am. MOTHER Now here we are. Ninety degree heat. I got the cancer. And look at this. Not even a home to go to. DRIVER Yes ma'am. MOTHER We're goin' to El Paso Texas. You know how many people I know in El Paso Texas? DRIVER No ma'am. She holds up thumb and forefinger curled to make an 0. MOTHER That's how many. Ninety degree heat.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BUS STATION - ODESSA - DAY The cab is stopped outside the depot. Carla Jean and her mother and the driver are at the trunk strugglin g over bags. CARLA JEAN I got it Mama. MOTHER I didn't see my Prednizone. CARLA JEAN I put it in, Mama. MOTHER Well I didn't see it. CARLA JEAN Well I put it in. That one. You just set there. I'll get tickets and a cart for the bags. 94 As Carla Jean goes to the station a man emerges from a car pulled up behind. He is a well -dressed Mexican of early middle age. MEXICAN Do you need help with the bags, madam? MOTHER Well thank god there's one gentleman lef t in West Texas. Yes thank you. I am old and I am not well. MEXICAN Which bus are you taking? MOTHER We' re going to El Paso, don't ask me why. Discombobulated by a no -account son -in-law. Thank you. You don't often see a Mexican in a suit. MEXIC AN You go to El Paso? I know it. Where are you staying?",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BUS STATION - DAY Carla Jean is at a phone booth. After a short wait, a pickup and a filtered: SHERIFF BELL Carla Jean, how are you. CARLA JEAN Sheriff, was that a true story about Charlie Walser? BELL Who's Charlie Walser. Oh! Well, I, uh... True story? I couldn't swear to ever detail but... it's certainly true that it is a story. CARLA JEAN Yeah, right. Sheriff, can you give me your word on somethin'? SHERIFF BELL'S OFFICE - DAY We intercut Sh eriff Bell in his office. BELL Yes ma'am? 95 CARLA JEAN If I tell you where Llewelyn's headed, you promise it'll be just you goes and talks with him -- you and nobody else? BELL Yes ma'am, I do. CARLA JEAN Llewelyn would never ask for help. He never thinks he needs any. BELL Carla Jean, I will not harm your man. And he nee ds help, whether he knows it or not.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ROAD - DAY CHIGURH A driving point -of-view approaching Chigurh, who leans against his Ramcharger, its hood up, stopped on th e shoulder on the opposite side of the road. Reverse shows a man in an El Camino. Chickens in stacked cages squawk and flutter in the bed. The man slows and rolls his window down to lean out. MAN What's the problem there, neighbor. MINUTES LATER The man has pulled his vehicle over nose -to-nose with Chigurh's. He is rummaging in the car behind the seat. His voice comes out muffled: MAN Yeah, that'll suck some power. Over time. CHIGURH You from around here? The man emerges with jumper cables. MAN Alpine. Born 'n bred. Here ya go. He hands one pair of leads to Chigurh. 96 CHIGURH What airport would you use. MAN Huh? Airport or airstrip? CHIGURH Airp ort. MAN Well -- where ya goin'? CHIGURH I don't know. MAN Just li ghtin' out for the territories, huh. Brother, I been there... Well... He takes off his hat and draws a sleeve across his brow, thinking. MAN ...There's airstrips. He turns with his pair of leads to clamp them onto his battery. On his back: MAN ...The airport is El Paso. You want some place specific you might could be better off just drivin' to Dallas. Not have to connect. He turns back around to face Chigurh who stands there, still holdin g his pair of leads. MAN ...You gonna clamp them, buddy? Chigurh is looking at him blandly. CHIGURH Can you get th ose chicken crates out of the bed. The man stares at him. MAN What're you talkin' about? 97",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. CAR WASH - DAY COIN SLOT Quarters are fed in. Wider as Chigurh unholsters the wand at a self -service car wash. He sprays the spatter -pattern rust -colored stain off the roof of the cab of the El Camino. Water drums as he sprays chicken feathers out of the bed.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MOTEL - EL PASO - DAY Moss is turning the key in his room door, a new vinyl gun bag slung over his shoulder. At the cut the roar of a plane climbing overhead recedes. Out of it, a voice: WOMAN Hey Mr. Sporting Goods. Moss looks. A woman sunbathes at the central court swimm ing pool. A lot of hard light. MOSS Hey yourself. The woman is pretty in a roadhouse -veteran sort of way. Her voice carries a flat echo, slapping off the surface of the pool. WOMAN You a sport? Moss slings the bag into the room onto the bed and then turn and leans against a veranda post. MOSS That's me. WOMAN I got beers in my room. Moss holds up his left hand to show the ring. MOSS Waitin' for my wife. 98 WOMAN Oh. That's who you keep lookin' out the window for? MOS S Half. WOMAN What else then? MOSS Lookin' for what's comin'. WOMA N Yeah but no one ever sees that. I like a man that'll tell you he's married. MOSS Then you'll like me. WOMAN I do like you. A beat. Lapping water. WOMAN ...Beer. That's what's comin', I'll bring the ice chest out here. You can stay married. Building jet roar from another climbing plane. MOSS Ma'am I know what beer leads to. The woman la ughs. Before the plane overwhelms it: WOMAN Beer leads to more beer.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SHERIFF BELL'S CRUISER - DAY SHERIFF BELL Driving. As h e drives he refers to one side of the road, a commercial strip, looking for something. We hear the fading roar of a large airplane. The tock tock of distant gunfire brings his look around. A b eat. Another tock. The chatter of machine -gun fire. Another single shot. 99 Sheriff Bell stamps the accelerator and hits his siren.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MOTEL STREET - DAY Point -of-view racing toward the motel: a pickup with a rack of roof lights roars out. Tire squeals, machine -gun chatter and dog barks. The truck turns toward us, then slews around and speeds away, fishtailing.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MOTEL COURTYARD - DAY Point -of-view turning into the central court: a man is crawling on his belly along the veranda toward the street. Sheriff Bell skids to a halt and gets out. We hear screams, a child cry ing. Sheriff Bell jogs toward the crawling man, one hand on his holstered gun. Behind the man on the veranda is his abandoned machine pistol. He is a Mexican in a guyabera. Sh eriff Bell yells at a scared face in a cracked door: BELL Call police. He is still jogging. A glance to the side: Rough point -of-view of a woman's body, belly -down at the lip of the pool, head and upper torso in the water. Rough point -of-view forward: an open room door. Booted feet stick out. Sheriff Bell arrives. Moss is face -up, mostly inside the room. The new gun bag is next to him. The gun is in hand. He is still. Voices. Sheriff Bell glances off. BELL ...Call your local law enforcement. I'm not on their radio.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MOTEL - NIGHT Night. The entrance is blocked by police vehicles. People stand around in knots. Sheriff Bell is talking to the local sheri ff. A door slam attracts his look. 100 Carla Jean has gotten out of the far side of a cab. On the near side the driver is leaning in to help her mother out. After a couple of rocking attempts she has enough inert ia to come to her feet outside the vehicle. Carla Jean is advancing slowly toward Sheriff Bell, taking in the scene. Sheriff Bell steps toward her. Her eyes track his hand as h e raises it to his hat. He takes it off. BELL Carla Jean... CARLA JEAN No.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOSPITAL/MORGUE - NIGHT Looking down a long corridor flanked by a wall of stainless steel drawers. At the far end stands Bell, hat in hand, staring down into an open drawer just in front of him. A long beat.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HOSPITAL / MORGUE - NIGHT The local sheriff, Roscoe Giddins, stands smoking under the port cochere in front of the hospital. Sheriff Bell emerges from the building. A long b eat. BELL I don't know who she is. He puts his hat back on. ROSCOE I thought maybe she was with your boy there. BELL No ID in her room? ROSCOE Not hardly nothin' in her room. And that establis hment was no stickler on registration. Well... The two men start walking. 101 ROSCOE ...County'll bury her. Here Lies Female, Unk nown. Her Number Was Up. A walking beat. ROSCOE ...Buy you a cup of coffee before you drive home? COFFEE SHOP - EL PASO - NIGHT Roscoe and Sheriff Bell face each other over coffee. BELL No money in his room there? ROSCOE Couple hundred on his perso n. Those hombres would've taken the stash. BELL I suppose. Though they was leavin' in a hurry. ROSCOE It's all the goddamned money, Ed Tom. The money and the drugs. It's just goddamned beyond everything. What is it mean? What is it leading to? BELL Yes. ROSCOE If you'd a told me twenty years ago I'd see children walkin' the street s of our Texas towns with green hair and bones in their noses I just flat out wouldn't of believed you. BELL Signs and wonders. But I think once you stop hearin' sir and madam the rest is soon to follow. ROSCOE It's the tide. It's the dismal tide. It is not the one thing. 102 BELL Not the one thing. I used to think I could at least some way put things right. I don't feel t hat way no more. A beat. BELL ...I don't know what I do feel like. ROSCOE Try ""old"" on for size. BELL Yessir. It may be that. In a nutshell.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. COFFEE SHOP PARKING LOT - NIGHT The two men are walking out. ROSCOE None of that explains your man though. BELL Uh -huh. ROSCOE He is just a goddamn homicidal lunatic, Ed Tom. BELL I'm not sure he's a lunatic. ROSCOE Well what would you call him. BELL I don't know. Sometimes I think he's pretty much a ghost. ROSCOE He's real all right. BELL Oh yes. ROSCOE All that at the Eagle Hotel. It's beyond everything. BELL Yes, he has some hard bark on him. 103 ROSCOE That don't hardly say it. He shoots the desk clerk one day, and walks right back in the next and shoots a retired army colonel. They have reached Sheriff Bell's cruiser and he sits in. BELL Hard to believe. ROSCOE S trolls right back into a crime scene. Who would do such a thing? How do you defend against it? Roscoe closes the door for Sheriff Bell. ROSCOE ...Good trip Ed Tom. I'm sorry we couldn't help your boy. He is walking away. Sheriff Bell sits thinking in the cruiser. He makes no move for the ignition. A long beat.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MOTEL Now very late, empty of onlookers and emergency vehicles. Sheriff Bell's cruiser pulls up just inside the courtyard. He cuts his engine. Sher iff Bell sits looking at the motel. Very quiet. After a long beat he gets out of the car. He pushes its door shut quietly, with two hands. He looks up the veranda. The one door, most of the wa y up, has yellow tape across it. Its loose ends wave in a light breeze. Sheriff Bell looks up the street. Nothing much to attract his attention.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MOTEL VERANDA Sheriff Bell steps up onto the veranda. He takes slow, quiet steps. 104 We intercut his point -of-view, nearing the door marked by police tape. As he draws close to the door he slows. The yello w tape is about chest high. Above it is the lock cylinder. It has been punched hollow. Sheriff Bell stands staring at the lock. Very quiet. The chick, chick, of the tape -ends against the door frame. Still.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MOTEL ROOM INSIDE Chigurh is still also. Just on the other side of the door, he stands holding his shotgun. From inside, the tap of the bree ze-blown tape is dulled but perceptible. It counts out beats. Chigurh is also looking at the lock cylinder. The curved brass of its hollow interior holds a reflection of the motel room exterio r. Lights and shapes. The curvature distorts to unrecognizability what is reflected, but we see the color of Sheriff Bell's uniform. The reflection is very still. Then, slow movement. OUTSIDE Sheriff Bell finishes bringing his hand to his holstered gun. It rests there. Still once again. His point -of-view of the lock. The reflection from here, darker, is hard to read . INSIDE Chigurh, still. OUTSIDE Sheriff Bell, his hand on his holstered gun. A long beat. His hand drops. 105 He extends one booted toe. He nudges the door inward . As the lock cylinder slowly recedes, reflected shapes scramble inside it and slide up its curve. Before the door is fully open we cut around: FROM INSIDE The door finishes cr eaking open. Sheriff Bell is a silhouette in the doorway. A still beat. At length Sheriff Bell ducks under the chest -high police tape to enter. The worn carpet has a large dar k stain that glistens near the door. Sheriff Bell steps over it, advancing slowly. The room is dimly lit shapes. There is a bathroom door in the depth of the room. Sheriff Bell advances toward it. He stops in front of it. He toes the door. It creaks slowly open.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MOTEL BATHROOM The bathroom, with no spill light from outside, is pitch black. Sheriff Bell reaches slowly up with one hand. He gropes at the inside wall. The light goes on: bright. White tile. Sheriff Bell squints. A beat. He takes a step in. He looks at the small window. He looks at the window's swivel -catch, locked.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MAIN ROOM Sheriff Bell emerges from the bathroom. He sits heavily onto the bed. He looks around, not for anything in particul ar. His look catches on something low, just in front of him: A ventilation duct near the baseboard. Its opening is exposed; its grille lies on the floor before it. 106 Sheriff Bell stares. At length he leans forward. He nudges the grille aside. On the floor, a couple of screws. A coin.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. WEST TEXAS CABIN - DAY A CAT Licking itself on a plank floor, stiffened leg poin ting out. It suddenly stops and looks up, ears perked. A frozen beat, and then it bolts. The camera booms up to frame the barren west Texas landscape outside the window of this isolated cabin . A pickup truck is approaching, trailing dust. The cat reenters frame outside, running across the rutted gravel in front of the house as the pickup slows.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. WEST TEXAS CABIN - KITCHEN - DAY Ellis, an old man in a wheelchair, has one clouded eye. ELLIS Min back! Sheriff Bell enters. BELL How'd you know I was here. ELLIS Who else'd be in your truck. BELL You heard it? ELLIS How's that? BELL You heard my -- you havin' fun with me? ELLIS What give you t hat idea. I seen one of the cats heard it. BELL But -- how'd you know it was mine? 107 ELLIS I deduced it. Once you walked in. Sheriff Bell stares at him. BELL How many a those things you got now? ELLIS Cats? Several. Wa l. Depends what you mean by got. Some are half -wild, and some are just outlaws. BELL How you been, Ellis? ELLIS You lookin' at it. I got to say you look older. BELL I am older. ELLIS Got a letter from your wife. She writes pretty regular, tells me the family news. BELL Didn't know there was any. ELLIS She just told me you was quittin'. Sit down. Sheriff Bell lifts an electric percolator off the counter. BELL Want a cup? ELLIS 'Predate it. BELL How fresh is this coffee? ELLIS I generally make a fresh pot ever week even if there's some left over. Sheriff Bell pours some. BELL That man that shot you died in prison. 108 ELLIS In Angola. Yeah. BELL What would you a done if he'd been released? ELLIS I don't know. Nothin'. Wouldn't be no point to it. BELL I'm kindly surprised to hear you say that. ELLIS All the time you spend tryin' to get back what's been took from you there's more goin' out the door. After a while you just try and get a tourniquet on it. He taps a cigarette ash into a mason jar lid on the table in front of him. ELLIS ...Your granddad never asked me to sign on as deputy. I done that my own self. Loretta says you're quittin'. BELL Yes, you've circl ed round. ELLIS How come're you doin that? BELL I don't know. I feel overmatched. A beat. BELL ...I always thought when I got older God would sort of come into my life in some way. He didn't. I don't blame him. If I was him I'd h ave the same opinion about me that he does. ELLIS You don't know what he thinks. 109 BELL Yes I do. A beat. ELLIS I sent Uncle Mac's badge and his old thumbbuster to the Rangers. For their museum there. Your daddy ever tell you how Uncle Mac come to his reward? Sheriff Bell shrugs. ELLIS ...Shot down on his own porch there in Hudspeth County. There was sev en or eight of 'em come to the house. Wantin' this and wantin' that. Mac went back in and got his shotgun but they was way ahead of him. Shot him down in his own doorway. Aunt Ella run out and tried to stop the bleedin'. Him tryin to get hold of the shotgun again. They just set there on their horses watchin' him die. Finally one of 'em says somethin' in Injun and they all turned and left out. Well Mac knew the score even if A unt Ella didn't. Shot through the left lung and that was that. As they say. BELL When did he die? ELLI S Nineteen zero and nine. BELL No, I mean was it right away or in the night or when was it. ELLIS Believe it was that night. She buried him the next mornin'. Diggin' in that hard caliche. A beat. 110 ELLIS ...What you got ain't nothin' new. This country is hard on people. Hard and crazy. Got the devil in it yet folks never seem to hold it to account. BELL Most don't. ELLIS You're discouraged. BELL I'm... discouraged. ELLIS You can't stop what's comin. Ain't all waitin' on you. The two men look at each other. Ellis shakes his head. E LLIS ...That's vanity. After a beat, a fast fade.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. GRAVESITE - ODESSA - DAY In black we hear the chink -chink-chink of chain being played out and the hum of a motor . We cut to a dark foreground shape being lowered in sync with the clinking sound. As it drops it clears a tombstone Progressively revealed: The name, Agnes Kracik. Her dates: 1922-1980. The inscription: Beloved Mother. Off that we cut to Carla Jean, standing by in a black dress and dark veil.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. A SMALL SUBURBAN HOUSE - DAY A parched square of gra ss in front of the house. A rusty station wagon pulls into the driveway and stops. Carla Jean gets out. 111,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. KITCHEN Carla Jean enters and puts on the kettle. She opens the cup board looking for something. KITCHEN - LATER Carla Jean sits at the kitchen table drinking tea. She looks out the window. Across the street kids are running through a sprinkler that chugs in the yard.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BEDROOM BEDROOM DOOR The door opens and Carla Jean enters holding her hat and veil. She throws the light switch and stops, hand frozen, looking in to the room. After a beat: CARLA JEAN I knew this wasn't done with. Chigurh sits at the far end of the room in the late -afternoon shadows. CHIGURH No. CARLA JEAN I ain't got the money. CHIGURH No. CARLA JEAN What little I had is long gone and they's bill aplenty to pay yet. I buried my mother today. I ain't paid for that neit her. CHIGURH I wouldn't worry about it. CARLA JEAN ...I need to sit down. Chigurh nods at the bed and Carla Jean s its down, hugging her hat and veil. 112 CARLA JEAN ...You got no cause to hurt me. CHIGURH No. But I gave my word. CARLA JEAN You gave your word? CHIGURH To your husband. CARLA JEAN Th at don't make sense. You gave your word to my husband to kill me? CHIGURH Your husband had the opportunity to remove you from harm's way. In stead, he used you to try to save himself. CARLA JEAN Not like that. Not like you say. CHIGURH I don't s ay anything. Except it was foreseen. A beat. CARLA JEAN I knowed you was crazy when I saw you settin' there. I knowed exactly what was in store for me. CHIGURH Yes. Things fall into place.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. HOUSE Minutes later. A beat. The f ront door swings open and Chigurh emerges. He pauses with one hand on the jamb and looks at the sole of each boot in turn. He goes to the pickup in the driveway. 113,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. PICKUP/,FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. INTERSECTION - A MINUTE LATER He is driving. His point -of-view: coming upon an empty intersection, his light green. Back to Chigurh. He just starts to turn his head to the right. A huge crash.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. INTERSECTION Chigurh's pickup has been T -boned by an old crate of a pickup. Both vehicles slide to a halt amid broken glass in the middle of the intersection. The windshield of the truck that ran the light is mostly gone. The driver is draped dead on the wheel. After a beat the door of Chigurh's truck is pushed open. He staggers out, heavily favoring one l eg where the jeans are shredded and bloody at the thigh. One arm is also bloody and hangs limp. Blood runs down his face from a scalp wound. He staggers to a lawn and sits. He looks up. Two teenage boys have come out of somewhere. They goggle at him. BOY 1 Mister there's a bone stickin' out of your arm. CHIGURH I'm all right. Let me just sit here a minute. BOY 2 There's an ambulance comin. Man over yon der went to call. CHIGURH All right. BOY 1 Are you all right? You got a bone stickin' out of your arm. 114 CHIGURH What will you take for that shirt? The two boys look at each other. They look back. BOY 2 What shirt? CHIGURH Any damn shirt. I need something to wrap around my head and I need a sling for this arm. Boy 2 unbuttons his shirt. BOY 2 Hell mister, I'll give you my shirt. Chigurh uses his teeth to clamp the shirt and rips it and wraps a swatch around his head. He twists the rest of the shirt into a sling and puts the limp arm in. BOY 1 Look at that fuckin' bone. CHIGURH Tie this for me. The two boys look at each other. CHIGURH ...Just tie it. Boy 2, the one now wearing a T -shirt, ties it. Chigurh pulls a bill clip from his pocket and draws a bi ll out with his teeth. He holds it out to the boy. BOY 2 Hell mister, I don't mind helpin' somebody out. That's a lot of money. CHIGURH Take it. Take it and you didn't see me. I was already gone. BOY 2 Yessir. Wide on Chigurh limping off. We can just hear the boys, small: 115 BOY 1 Part of that's mine. BOY 2 You still got your damn shirt. BOY 1 That ain't what it was for. BOY 2 Maybe, but I'm still out a shirt.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BELL'S KITCHEN - DAY Loretta pours Sheriff Bell and then herself morning coffee. BELL Maybe I'll go ridin. LORETTA Okay. BELL What do you think. LORETTA I can't plan your day. BELL I mean, would you care to join me. LORETTA Lord no. I'm not retired. A beat. Sheriff Bell sips his coffee. BELL Maybe I'll help here then. A beat. Loretta takes a sip. LORETTA Better not. They both sip. LORETTA ...How'd you sleep ? 116 BELL I don't know. Had dreams. LORETTA Well you got time for 'em now. Anything interesting? BELL Well they always is to the party concerned. LORETTA Ed Tom, I'll be polite. BELL Okay. Two of 'em. Both had my father. It's peculiar. I'm older now'n he ever was by twenty years. So in a sense he's the younger man. Anyway, first one I don't remember so well but it was about meetin' him in town somewheres and he give me some money and I think I lost it. The second one, it was like we was both back in older times and I was on horseback goin' through the mountains of a night.",FLASHBACK +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SNOWY MOUNTAIN PASS - NIGHT We cut to night, and snow. It is the image that the movie began with. Continuing in voice over: VOICE OVER ...goin' through this pass in the mountains. It was cold and snowin', hard ridin'. Hard country. He rode past me and kept on goin'. Never said nothin' goin' by. He just rode on pas t and he had his blanket wrapped around him and his head down... The rider passes as described, horses' hooves drumming and scattering divots of earth and snow. 117 VOICE OVER ...and when he rode past I seen he was carryin' fire in a horn the way people used to do and I could see the horn from the light inside of it. About the color of the moon. And in the dream I knew that he was goin' on ahead and that he was fixin' to make a fire somewhere out there in all that dark and all that cold, and I knew that whenever I got there he would be there. Out there up ahead. The rider recedes and the image fades, the horn bearing fire going last. THE END",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT./,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. TRAIN, ARDSLEY-ON-HUDSON, NEW YORK - MORNING We hear a train’s mournful clatter as trees flash by and then the train itself passes in a silvery streak. A woman draws an “x” on her foggy window-- looking out through it directly at us: This isRACHELand she is THE GIRL ON THE TRAIN . RACHEL (SOFT V.O.) ...My husband used to tell me I have an overactive imagination. I can’t help it. I mean, haven’t you ever been on a train and wondered about the lives of the people who live near the tracks? The lives you’ve never lived. RACHEL’S POV:Out the window: A series of backyards slowly passes: A MAN walks towards his front yard. An OLDER MAN works on a vintage car in his yard. CHILDREN slide down playground equipment. A LONE BOY throws a ball. His dog chases after it . CUT TO: TITLE:RACHEL RACHEL (V.O.) These are things I want to know. Rachel sits alone, sketching in a small notebook. CLOSE ON: Rachel’s expectant eyes as the train begins to slow. RACHEL (V.O.) ... Twice a day I sit in the third car from the front where I have the perfect view into my favorite house: Number 15 Beckett Road... RACHEL’S POV:Standing on the upstairs deck of a house, a gorgeous blonde, MEGAN, wears a light opened robe with only white underwear and bra underneath. She stretches her back like a cat. Her curved silhouette is intoxicating. The train comes to a brief stop at the station and, outside the other window, Rachel can see work crews fixing the tracks. And beyond them, the Hudson River. (CONTINUED) 1. RACHEL (V.O.) ...I don’t know when exactly. I suppose I started noticing her about a year ago and, gradually, as the months went past, she became important to me... As the train creeps forward RACHEL SPOTS-- A BLUE HOUSE WITH A WHITE PICKET FENCE... ...She quickly averts her eyes from the view of the house-- repressing an inner pain. Focusing on her sketch book. Rachel’s eyes land on a MAN IN A SUIT, red hair, 50, pasty and plain-- typing on a laptop. He looks up at Rachel. There is something disconcerting about the exchange. RACHEL (V.O.) I’m not the girl I used to be. I think people can see it on my face.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TRAIN - NIGHT Rachel’s profile has flipped: she now rides in the opposite direction, on the EVENING TRAIN. She watches the familiar houses glide past. RACHEL’S POV:This evening, Megan sits with her equally beautiful husband, SCOTT next to a backyard fire pit. Each holds a glass of wine. The roaring fire glows on their faces as they watch the passing train. SCOTT spins Megan around and begins to kiss her. RACHEL (V.O.) She’s what I lost. She’s everything I want to be... Rachel returns to her sketchbook.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TRAIN - NEXT MORNING Headed back to New York, Rachel POV:Rachel stares at the burnt out fire pit behind 15 Beckett Road. Megan is on the balcony in her robe while Scott rakes leaves. CLOSE ON: Scott as he looks up from raking and seems to look directly at Rachel.CONTINUED: 2.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GRAND CENTRAL TERMINAL - MORNING Rachel’s train arrives and she wades through a sea of commuters in the Grand Hall. She wears a plain dress and carries a work satchel. STATION ANNOUNCER (O.S.) ...nowdeparting track nineteen, upper level.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. GRAND CENTRAL TERMINAL - MOMENTS LATER Rachel sits in a row of chairs getting her shoes shined. She’s the only woman among eight male customers. Rachel sketches in her sketch book and sips from a squirt bottle. RACHEL (V.O.) ...I imagine she’s a painter... She’s creative. CLOSE ON SKETCH PAD: We see Rachel’s hand at work as she produces a beautiful images of Megan and Scott. RACHEL (V.O.) He’s a doctor or an architect.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GRAND CENTRAL - OYSTER BAR - LATER THAT DAY - HAPPY HOUR Rachel sits at the counter continuing to draw in her sketch book. The restaurant is bustling with tourists and locals. RACHEL (V.O.) He has a good laugh. She can’t cook. WAITRESS (to customer) Do you need anything else right now? CUSTOMER No. I think we’re pretty good, thanks. Rachel is lost in her imagination. All sounds of the bustling bar fade away. Rachel eats an olive from her martini. RACHEL (V.O.) I wonder what they say to each other before they go to sleep. 3.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. CITY - NIGHT The cityscape slowly spins below us as we find the train on the tracks.,SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TRAIN - NIGHT Rachel’s profile has flipped again: she rides the EVENING TRAIN and watches as she passes the urban landscape of Harlem. RACHEL (V.O.) Today her name is “Jess,” tomorrow it could be “Lisa” or “Amber.” It all depends on the day, it depends on my mood. Later that night, as the train slows, Rachel nears the blue house (23 Beckett Road). She looks to her lap, letting it pass. She raises her head and looks at Number 15 Beckett Road. ...NOW, Megan and Scott can be seen kissing through the window of their house. RACHEL The truth is, I don’t know her name. I don’t know if she paints or whether he has a good laugh. I just know they know love... RACHEL’S POV:Megan and Scott begin to make love. RACHEL (V.O.) Sometimes I catch myself trying to remember the last time I had meaningful contact with another person... Rachel stays on the couple then an irresistible urge pulls her gaze back to the blue house two doors down. This time, when the Blue House (23 Beckett Road) appears, Rachel refuses to turn her gaze away. RACHEL’S POV:The upstairs window of the Blue House. In it, Rachel sees herself! Standing in the window in the light of day. RACHEL (V.O.) I used to live two doors down... number 13 Beckett Road. It was my first home. We bought it together. It was ours. 4. RACHEL’S MEMORY: Rachel, in the Blue House, turns from the window to come face to face with a handsome man, TOM. They smile and laugh as Rachel grabs him. He kisses her passionately as they enjoy their empty, NEWLY-PURCHASED HOME. BACK ON THE TRAIN: Rachel blinks: she is still looking at the blue house. RACHEL (V.O.) Every day, I tell myself not to look. RACHEL’S POV:NOW, in reality, a woman, ANNA, stands in the window holding a BABY, EVIE. RACHEL (V.O.) But then I look... Rachel watches as Anna becomes a tiny dot that vanishes in the distance. WOMAN (O.S.) Are you alone? Rachel looks up to see a Woman holding a one-year-old little boy. And now the moment of truth for Rachel: RACHEL (polite) Yeah. She pats the seat next to her and takes her bag from it. RACHEL No, come. It’s all yours. Rachel smiles at the child. RACHEL Your baby’s so cute. (to boy) Hi, baby. WOMAN Thank you. RACHEL Is it... Is it a boy? WOMAN Yeah. (CONTINUED) 5. RACHEL So sweet. How...how old is he? WOMAN Six months. RACHEL Six months. Rachel softly squeezes the boy’s hand and giggles. The Woman begins to pick up on Rachel’s slurred speech and notices two little empty vodka bottles at the mouth of Rachel’s purse. RACHEL So sweet. Rachel realizes the Woman knows she is drunk. The Woman repositions her child away from Rachel. CLOSE ON: Rachel’s eyes, bleary, blink in slow motion. Rachel, now seated alone, drinks from her squirt bottle. CUT TO: Title: MEGAN",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PILATESSTUDIO - MORNING A Living Portrait: MEGAN,the woman Rachel watches from the train-- up close and drop-dead gorgeous. OVERHEAD SHOT: Megan lies face up on a Pilatesmachine. She grips the hand straps, and with precision and grace, she begins a series of exercises, stretching her body like a ballerina’s. MEGAN (pre-lap) A teacher once told me I was a mistress of self-reinvention... We widen to see she is lined up with ten other suburban women. With both admiration and defeat, a FRUSTRATED WOMAN observes Megan’s flexibility and strength. MEGAN (pre-lap) ...I wasn’t really sure what it meant at the time. But since moving here I’ve come to understand it... CUT TO:CONTINUED: (CONTINUED) 6. Title: 6 MONTHS AGO",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PILATESSTUDIO - MORNING On the sidewalk, the women from class have congregated, all chatting happily, occasionally cutting looks towards Megan, who takes no notice as she starts to jog away. We see her running down our quaint ArdsleyVillage street. MEGAN (pre-lap) Ardsley-on-Hudson is boring and routine. It’s a fucking baby factory.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. UNDERPASS/BECKETT ROAD - LATER Megan jogs into a long dark underpass linking the outside world to Beckett. MEGAN (V.O.) (pre-lap) I want to start my life over again. So far, I’ve been: rebellious teenager, lover, waitress...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. BECKETT ROAD - MORNING Megan continues down Beckett Road and jogs up her driveway.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MEGAN’S HOUSE - LATER THAT MORNING Megan stands in front of an open closet. Her ivory hand darts between silk blouses and skirts. MEGAN (V.O.) ...gallery director, nanny, and... a whore... (a moment) And not necessarily in that order. Scott approaches, slides his hands down Megan’s side, then up her skirt to remove her panties. They begin to have sex against the open closet. MEGAN (pre-lap) I can’t just be a wife anymore. She is disconnected, disinterested. Scott doesn’t notice. MEGAN (pre-lap) That’s why I stay awake at night, staring at the ceiling.CONTINUED: 7.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DR. ABDIC’S OFFICE - DAY CLOSE ON: MEGAN’S FACE AS SHE TALKS TO SOMEONE: MEGAN ...In fact, the only time I feel like myself is when I’m running. DR. ABDIC (O.S.) You always felt that way? MEGAN Maybe since I was about seventeen. With Mac. DR. ABDIC (O.S.) Mac? Who’s Mac? MEGAN My brother’s best friend. My brother who died... We finally see the extremely handsome, dark-haired man who sits across from Megan. This is DR. KAMAL ABDIC . He’s foreign with a quiet command. She has been speaking to him the whole time. She smiles. She covers her mouth with her hand. MEGAN I tend to smile when I’m nervous. Sometimes, I laugh. She moves from her chair to a couch across the room. A moment passes. Finally, the Doctor’s inviting silence elicits Megan’s confession: MEGAN For a year, Mac and I lived in this hunting cabin. We started fucking. We were the saddest people we knew. But in a way, that cabin made us happy. No one could find us. (a moment) Everyone thought we were dead. DR. ABDIC And if you were to run away today, right now, where would you go? Megan glances outside, where she can see the train passing. The Doctor notices. Megan moves again, to sit much closer to him. (CONTINUED) 8. MEGAN I read once that when a train hits, it can rip the clothes right off of you. After a moment: MEGAN I’m pretty sure Scott thinks the nanny job is gonnamake me less restless-- make me wanna get pregnant... DR. ABDIC And that’s not the case? MEGAN When I finish work every night, I run home, and I get in the shower and wash the smell of that baby off me as fast as I can. Megan stares at Abdic. He waits for her to continue, but she just looks at him with great intensity. PRE-LAP: A gentle lullaby, and the sound of splashing water. A baby’s giggle. CUT TO: Title: ANNA CUT TO: Title: TODAY",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TOM AND ANNA’S HOUSE - BATHROOM - DUSK A living portrait: ANNA, pure and sweet, with dimples for days, looks down into the camera with absolute love. ANNA ...When you woke up this morning I went and I brought you back to bed with me... Anna kneels on the tiled floor, leaning over the bathtub, gently washing her baby, EVIE. ANNA ...And when I was feeding you. We heard daddy singing from the kitchen, didn’t we? (sung to her baby) “Happy Birthday to you, Happy Birthday to you, Happy Birthday dear Anna, Happy Birthday to you!”CONTINUED: (CONTINUED) 9. Megan, her nanny, steps out of the dark shadow, holding a towel for Anna to place her baby into. ANNA Daddy came upstairs with a beautiful breakfast that he made for Mommy, didn’t he? Yes he did. (noticing Megan) Thank you, Megan. Anna places her baby into Megan’s arms. ANNA There you go.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TOM AND ANNA’S BEDROOM - MOMENTS LATER Megan hands the swaddled baby to Anna who now lays in her bed. Anna sits Evieon her stomach. ANNA (to Evie) Oh, hello. Anna laughs as she tickles Evieand turns to Megan. ANNA I swear I sometimes feel like my heart is gonnaexplode. I mean, look at her. (laughing) Look at her! The phone rings. Megan goes to answer it. ANNA (to Evie, playful) You’re not sleeping! You’re not sleeping... MEGAN (O.S.) (on phone) Hello? Hello? Anita’s interest is piqued. She takes Evieinto the--",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HALLWAY - CONTINUOUS She finds Megan on the hallway phone. MEGAN Hello...? Megan pushes the END button on the phone. Anna steps into the hall.CONTINUED: (CONTINUED) 10. ANNA Is that another hang-up? MEGAN ...Mm-hmm. Anna, visibly shaken, tries not to get upset.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FAMILY ROOM - MOMENTS LATER Anna has Megan help her fold a fitted sheet. ANNA ...andgrab the corners. And straighten. MEGAN I got another job. Anna is blindsided . ANNA ...You what? MEGAN I’m really sorry, Anna. ANNA (confused) I thought you were happy here. I mean, you seemed happy here... MEGAN I am. It’s just this isn’t what I “do.” ANNA ...Take care of children...? Megan drops the folded sheet onto a pile. MEGAN Or laundry. (beat) Another gallery head-hunted me. ANNA (trying to be positive) ...That's great. MEGAN The thing is, it starts tomorrow. CONTINUED: (CONTINUED) 11. ANNA I’m out all day tomorrow. That is so uncool. MEGAN I hate to leave you like this, without childcare, but...you don’t have a job. Anna turns away, insulted. MEGAN Ok, that sounded wrong. I know that you’re busy volunteering... ANNA It’s not the volunteering. It’s all the shopping, it’s spending hours in the farmer’s market, it’s finding the right foods for her, it’s pureeing sweet potatoes. And I do all of this at the same time as I’m nursing. Megan looks at Anna carefully. Anna is exhausted. MEGAN Maybe you should go back to work, too. Mothers need to work, it’s actually better for the kid... ANNA How would you know? That was a low blow. Megan absorbs it, hurt, then gently puts her set of keys down on the counter. MEGAN Your key. ANNA There is no job more important than raising a child... Megan heads out of the kitchen towards the front door. ANNA (defeated) Megan, please... Megan exits without turning.CONTINUED: 12.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. FAMILY ROOM - LATER Anna stirs from a nap on the couch to the sound of Evie crying...coming from outside. She races to the open front door in a panic.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. TOM AND ANNA’S HOUSE - MOMENTS LATER Anna emerges from the house, frightened, and rushes forward. ANNA Rachel? What are you doing? Give me my baby. We see Rachel standing in the middle of the yard, cradling Evie. ANNA Rachel, what are you doing?!",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TOM AND ANNA’S HOUSE - MOMENTS LATER Close on Anna, reliving what we realize was a memory. TOM (O.S.) Hello? Tom enters. We recognize him as the Man from Rachel’s memory on the train. He hands Anna some flowers and groceries and kisses her sweetly on the lips. ANNA (re: flowers) Thank you... Beautiful. She notices that he’s on his phone. ANNA How many times has she textedyou today? TOM (frustrated) I don’t know. ANNA (unable to relax) She called the landline three times. TOM Wow. (CONTINUED) 13. ANNA You have to have a talk with her. TOM I know. ANNA It’s getting crazy. TOM I will. I know I know I know. ANNA Okay. Tom cups Anna’s face gently in his hands. TOM It’s going to be fine. Isn’t it always fine? Don’t I always make everything fine?... Anna won’t smile. He playfully pokes at her lips until she laughs. They kiss. TOM Who gives a shit? It’s your birthday. You sure you don’t want me to take you out tonight? ANNA No, I like it at home. He opens a beer and sets the magnetic corkscrew/bottle opener on the fridge door before hopping onto the counter. TOM Call Megan. Ask her to come back. ANNA She just quit. TOM She what? ANNA ...She just told me she got another job. TOM ...Shame. I thought you guys were kind of a good team together... ANNA So did I.CONTINUED: 14.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. TRAIN - SAME NIGHT The cars of the train slowly pass-- the glow of the windows lighting up the commuters in their seats. And here is Rachel-- looking out.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ANNA’S FAMILY ROOM - SAME NIGHT The camera hovers outside the window, looking in at Anna who eats a candlelit takeout birthday dinner with Tom and Evie. Tom pulls out his phone and snaps a picture.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MEGAN’S BATHROOM - SAME NIGHT Megan stands at the plate glass window that lines her shower stall. She looks out at the moonlight that casts itself across the Hudson River. Water beats down on her.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. RACHEL’S STREET - SAME NIGHT Exiting the train station, Rachel walks towards her home, wide eyes sighing as they take in the bleak Croton landscape.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ANNA’S BEDROOM - SAME NIGHT OVERHEAD WIDE SHOT: Anna and Tom are in bed. Tom is sound asleep, but Anna is wide-awake.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MEGAN’S BATHROOM - SAME NIGHT The camera floats behind Megan as a naked Scott steps into the stall and kisses her.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. RACHEL’S STREET - SAME NIGHT Rachel enters a liquor store.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. MEGAN’S BATHROOM - SAME NIGHT Scott has Megan pressed against the glass shower door as he has sex with her from behind.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RACHEL’S BEDROOM - SAME NIGHT Rachel sits in bed. She finds TOM’S FACEBOOK PAGEon her laptop. She stares at the photo Tom took earlier that night of he and Anna laying next to Evie. The caption reads: I’VE NEVER KNOWN LOVE LIKE THIS! ME AND MY GIRLS! HAPPY BIRTHDAY, MOMMA! 15.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. ANNA’S BEDROOM - SAME NIGHT Tom’s phone buzzes. Anna sits up in bed and can see the caller ID reads: “RACHEL”. She angrily shoves the phone off the dresser and slumps back into bed.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RACHEL’S APARTMENT - SAME NIGHT CLOSE ON: A cellphone sits on the counter, dialing on speaker. Rachel pours a glass of white wine. VERY DRUNK. Tom’s voicemail picks up: TOM (outgoing message) Hey, it’s Tom. Sorry I missed you. I’ll get right back to ya! RACHEL (into phone) Hey, Tom, it's me. I just wanted to wish Momma a happy birthday. ""Happy birthday, Momma--” CATHY, Rachel’s roommate, appears, grabs Rachel’s phone and presses END. CATHY Rachel! Jesus... Cathy pours the wine down the sink. Rachel grabs at the bottle. RACHEL No no no. No, don’t, Cathy. Please stop it! Cathy, come on! But Cathy easily fends her off. CATHY Relax, relax. Unsteady, Rachel nods and softens. RACHEL I just need something to go to sleep. I just need a little bit to go to sleep. Cathy gently guides Rachel towards her room. CATHY What brought this on? (CONTINUED) 16. RACHEL He posted another picture of the baby. It was a cute picture. CATHY Yeah? Facebook and drunk ex-wives do not make good friends. Offended by the implication, Rachel pulls away from Cathy. RACHEL I got it. I got it. CATHY Alright. I’ll just get you to your room. They’ve arrived at Rachel’s room.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RACHEL’S BEDROOM - CONTINUOUS Rachel crawls into the bed looking around her small room. CATHY Rachel, you have to stop calling them. Okay? Rachel nods. She reaches up to pull Cathy to sit beside her. RACHEL I really appreciate this room. I do. I thought that I would just be here for a couple of weeks or a month. CATHY (abrupt) Yeah. That was two years ago. But she shakes her head and smiles. CATHY Get some sleep. Cathy switches off the light and leaves. Rachel looks at her phone. INSERT: Rachel’s outgoing call log screen reads: TOM (11). Rachel looks over the times: 11:02, 11:12, 11:54, 12:09. She lets out a sigh.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DOCTOR’S OFFICE - DAY - RACHEL’S MEMORY Rachel and Tom sit in a DOCTOR’s office, distraught.CONTINUED: (CONTINUED) 17. DOCTOR IVFrarely works the first time. Would you like a moment? Tom takes Rachel’s hand. TOM It’s okay, sweetie. We’re gonnatry again. RACHEL We can’t afford to do it again. TOM Well, when we can, we will. She rests her head on his shoulder. He kisses it.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. RACHEL’S BEDROOM - CONTINUOUS Rachel stirs in her bad and a new memory intrudes.,FLASHBACK +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SCOTT AND MEGAN’S HOUSE - NIGHT Rachel remembers Scott and Megan snuggling outside by their fire pit, kissing.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. RACHEL’S BEDROOM - CONTINUOUS Rachel finally sleeps.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. TRAIN TRACKS - MORNING The train surges by along the tracks.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TRAIN - NEXT MORNING Rachel rides the train as it barrels past homes and buildings. Rachel reaches into her purse and pulls out a tube of lipstick. She brings it to her lips, but quickly realizes that she can’t steady her hands enough to put it on. So, almost by rote, she puts it away. Rachel catches eyes with the MAN IN THE SUIT. The Man shakes his head in judgement and raises a magazine to his face.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. TRAIN TRACKS - CONTINUOUS From high above, the train crawls along the riverside.CONTINUED: 18.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TRAIN - CONTINUOUS RACHEL’S POVOUT THE WINDOW: Rachel sees Megan alone on her porch, looking out at the train... RACHEL (V.O.) I wonder what she’s looking at... Or if she even sees this train at all. ...Rachel gives a little smile. A moment of reprieve from her troubled mind... NOW, SOMETHING PECULIAR HAPPENS... ...a DARK-HAIRED MAN steps onto the porch, and embraces Megan. CLOSE ON: Rachel blinks. The train stops at the station, allowing Rachel a closer look. The Dark-Haired Man’s face is obscured in the shadows, BUT IT IS NOT SCOTT... RACHEL (V.O.) Who is that man? AND THEN THEY KISS. The train begins moving again and Rachel quickly jumps to her feet... CONDUCTOR (O.S.) The next station is: Ardsley-on- Hudson. ...Rachel pushes her way up the aisle, blocked by a few people who have just boarded the train. With every few steps Rachel takes, she manages to see another sliver of the view of Megan and the Dark-Haired Man. Rachel enters the next car, running to keep her view as the train departs. BOOM!Another train barrels by in the opposite direction, totally obscuring Rachel’s view. A familiar ache fills Rachel’s chest. She bends over, feeling sick. RACHEL (V.O.) What is she doing? 19.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GRAND CENTRAL TERMINAL - MOMENTS LATER Rachel exits her train with scores of other commuters, looking numb. She’s bombarded by images, fast cuts of: - Megan and the man kissing. We recognizes him as Dr. Abdic. - Glimpses of a laptop, displaying an emailwith the subject: XXXXXXXX BACK IN GRAND CENTRAL TERMINAL: Devastated, Rachel walks toward the Grand Hall. She passes the window of a liquor store. She slows. RACHEL (V.O.) She’s throwing it all away. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. GRAND CENTRAL TERMINAL - SAME DAY Rachel pours a bottle of vodka into her empty squirt bottle and throws the vodka bottle into the garbage. It shatters.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CENTRAL PARK, UNTERMYER FOUNTAIN - SAME DAY Rachel sits before a beautiful bronze sculpture of three dancing maidens holding hands and joyfully dancing in a circle. Nearby, a BOY drums on a plastic bucket. Rachel sips from her squirt bottle. She flashes to Megan and Abdic kissing... then to her resting her head on Tom’s shoulder at the clinic. And then to the email. We get a cleaner view. It’s a chain between Tom and Anna.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TOM AND ANNA’S HOUSE - DAY RACHEL’S MEMORY: Rachel sits in front of an open laptop staring at the emailas Tom’s voice reads it . TOM (V.O.) Anna, I fell asleep last night thinking of you. I dreamed about kissing the inside of your thighs. Holding your breasts. God, I wish I was fucking you right now. (CONTINUED) 20. Rachel slams the laptop closed and hurls it against the bedroom wall.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CENTRAL PARK, UNTERMYER FOUNTAIN - SAME DAY Anna walks alone, overcome by tears, trying to banish the memories. TOM (V.O.) Anna, I love you. I love you so much. RACHEL (pre-lap) When it happened to me, I found dozens of emails. Tom told her that he’d never felt like this before. He said it wouldn’t be that much longer until they were together.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. OYSTER BAR - GRAND CENTRAL - LATER THAT DAY Rachel sits at the lunch counter drinking a martini. She speaks to another patron. A WOMAN, 70, who is drinking alone as well. RACHEL I know what they say: “You shouldn’t check his email.” I was stupid. But when I saw it was from the realtor I thought that it was just spam. And then I realized that they were kisses not Xsand my husband was fucking a Century 21 Agent. She laughs at the absurdity. WOMAN That sucks. RACHEL It does. Her name was Anna Boyd and he was in love with her. SLAM CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. OYSTER BAR - BATHROOM CLOSE-ON: Rachel runs lipstick over a mirror, creating a big X X X X X . She turns from the mirror where the woman is standing and watching her. Rachel raises her phone in front of them.CONTINUED: (CONTINUED) 21. RACHEL (drunk whisper to woman) Come here for one second. Say ""fuck you, Anna Boyd"", but just yell it. The woman nods. Rachel turns on the phone's video. Together they shout into the camera. RACHEL/WOMAN Fuck you, Anna Boyd! Rachel sets the phone down on the edge of the sink. The phone still recording video as she continues her rant. RACHEL That bitch is living in my house. I picked everything in that house. I picked everything. I picked the dining table, the kitchen table. I wonder if she knows that I fucked Tom on the same table that her baby eats at. I just want to tell her. I wish I could tell her. I picked everything in that house. I fucking picked everything in that house! Rachel turns back to the mirror. Her energy has shifted, there's an anger rising within her. RACHEL ...I could never find the words to describe how I felt when I read that e-mail, but this morning, I did. I did. When I saw that woman kissing someone else, betraying her husband, I felt it. I felt... Pure. Rage. Slowly the Camera pushes into Rachel’s naked face as the sound of the bar vanish. RACHEL ...Like something has been taken from ME again. If I could... If I could, I’d just go to her house. And I’d go in and find her sitting at the kitchen table. I’d wrap my hand in her long blonde hair and jerk her head back. Just jerk it back! And then I’d pull her down to the ground and I would just smash her head all over the floor ! Rachel smears the lipstick Xsinto oblivion in her rage.CONTINUED: (CONTINUED) 22. Hold. Rachel stands alone in the middle of the bathroom, nobody listening, in total SILENCE. SLAM CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TRAIN - LATER THAT DAY Rachel, her eyes alive with a drunken mission, stands on a packed train, her body sways with the train’s rhythms. She sucks down vodka from her squirt bottle. SIXTY SCHOOL CHILDREN DRESSED IN UNIFORM fill the car. Rambunctious and loud, their noise consumes the train. One YOUNG GIRL catches Rachel’s eye, regarding her frankly. Rachel looks around and it seems like everyone is staring at her. Rachel’s gaze careens out the window trying to see into Megan’s house. The image of Megan kissing Abdic flashes in her vision over and over. The train slows to a stop. Rachel suddenly pushes her way through the crowd to get off the train, pushing through the kids and other commuters who block her way. RACHEL Move! Get out of my way! Move! Rachel runs down the aisle and gets off the train.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ARDSLEY-ON-HUDSON TRAIN STATION - CONTINUOUS Rachel’s feet HIT the platform and she stumbles forward, oblivious to conversations going on around her. She quickly picks herself up and runs down the side of the train as the engine screams past her. CLOSE ON: Rachel’s face is pale. THE MAN IN THE SUIT stares at Rachel from across the platform. She opens her mouth to say something to him, but the words keep evaporating off her tongue.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. UNDERPASS - MOMENTS LATER Rachel leaves the station and looks ahead through the ARCH OF THE UNDERPASS -- the dark tunnel. She is driven onward by the Man, who seems to be following her. She drunkenly cuts off the road into the woods, but continues towards the underpass. Something inexplicable pulls her forward. CONTINUED: (CONTINUED) 23. In a mad trance, Rachel hears the click-click-click of high heels, and sees a BLONDE WOMAN striding purposefully into the underpass. Is it Anna? RACHEL Hey! Hey!!! She chases the woman into the dark underpass, sees the woman’s red jacket moving further away, and bellows out: RACHEL You whore ! She is suddenly swallowed by the SCREAM OF BLACKNESS .",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RACHEL’S BEDROOM - SAME MOMENT RACHEL’S POV:Details come slowly into focus. An empty vodka bottle. The overturned squirt bottle. Rachel’s hand, with dirt under the fingernails. Her sweater, matted with blood at the shoulder. Her phone, also flecked with blood. Rachel stirs painfully and we see her hair matted with blood as well. She reaches for the phone. A voicemail from Tom plays over the speaker. TOM (on speaker phone) Jesus Christ, Rachel! What the hell is wrong with you? I’ve spent the past hour driving around looking for you! You scared the shit out of Anna, do you know that? CLOSE ON: Rachel’s fingers run across her scalp. She tries to separate some of the bloody strands. TOM (on speaker phone) She thought you were going to...she wanted to call the police. So just leave us alone! Rachel sits up in bed. She looks to the floor and sees her open purse with its contents strewn on the shag rug. Blood droplets stain the rug next to her jeans and panties. TOM (on speaker phone) You can ruin your own life if you want to, but you’re not gonna destroy ours. I’m not gonnaprotect you any more.CONTINUED: (CONTINUED) 24. She catches a horrific sight in the mirror across the room. It’s a woman with large streaks of dried blood smeared down her face-- staring back at her! Rachel realizes that she is looking at HERSELF. SMASH CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RACHEL’S BATHROOM - SECONDS LATER Rachel frantically washes the blood from her face. RACHEL Oh my god... CLOSE ON: Rachel digs the dirt out from her fingernails. She looks at herself in the mirror. With the blood gone, she can see the bruises that mottle her arms and legs. KNOCK. KNOCK. KNOCK! CATHY (O.S.) Rachel, open the door. RACHEL Cathy, I just need a sec. CATHY Are you ok? Rachel, openthe door. Rachel abruptly opens the door. RACHEL I have a stomach flu, okay? CATHY You don’t have a flu. What the fuck, Rachel? I’m not stupid-- Cathy slams the door and returns to the mirror. Cathy KNOCKS. CATHY Rachel! RACHEL Cathy, just go away!",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RACHEL’S BATHROOM - SAME DAY The camera hovers behind Rachel’s back as she sits naked on the edge of the bathtub, holding herself and watching the video of her drunken rant.CONTINUED: (CONTINUED) 25. RACHEL (on phone) ...Fuck you, Anna Boyd! RACHEL TRIES TO REMEMBER - FLASH - The Man in the Suit races towards us. FLASH -Rachel screams out to the woman. RACHEL You whore ! FLASH - A blonde woman falls to a kitchen floor. FLASH- Rachel runs through the underpass. FLASH - TEENS blow smoke into Rachel’s face. FLASH - Rachel lies halfway in a drainage ditch flowing by the underpass. BACK IN BATHROOM: Rachel slowly lowers herself into the tub.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TRAIN - DAY Close on Rachel during her morning commute, eyes closed, trying to remember.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. KITCHEN - NIGHT MEMORY: Rachel steals up behind a Blonde Woman sitting at a kitchen island. Suddenly, Rachel grabs her hair and throws her to the floor. FLASH - A silhouette runs through the underpass.",FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TRAIN - DAY Rachel’s eyes snap open, startled. She tries to focus on her sketch book. She’s been drawing the underpass.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. CITY - DAY The train disappears into a tunnel under the city streets.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CHURCH OF ST. LUKE’S, NYC - MONDAY MORNING A group of about fifty people meet. Rachel is among them. DAVIDis the facilitator. CONTINUED: (CONTINUED) 26. DAVID (O.S.) Anyone counting days one to ninety who would like to share a day count? JASON (O.S.) Hey, I’m Jason, I’m an alcoholic. GROUP Hey, Jason. / Welcome, Jason. JASON (O.S.) I’ve got twenty-two days back. The group applauds warmly. MODERATOR (O.S.) Anyone else? Rachel reluctantly raises her hand. She stands. RACHEL Hi, I’m Rachel, and... GROUP Welcome, Rachel. RACHEL This is day one, I suppose. I’m here because I... (there’s no easy way to put this) Because I woke up this morning covered in blood. And I had bruises all over my arm and... It’s usually from when I’ve fallen and someone has helped me up. My husband... He used to tell me what I’d done the night before... And I learned that when you wake up like that, you just say you're sorry. You just say you’re sorry for what you did and you're sorry for who you are and you're never gonnado it again. But you do. You do it again. Rachel swallows back tears. RACHEL And there's... time missing. I need to remember. I need to remember . Rachel sits back down. On her face as David moves on.CONTINUED: (CONTINUED) 27. DAVID (O.S.) Okay. Thank you, Rachel.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GRAND CENTRAL TERMINAL PLATFORM/TRAIN - LATER THAT EVENING Rachel is in her seat. She notices a woman, MARTHA, boarding with some FEMALE FRIENDS. They’re laughing and gossiping. Rachel catches snippets. MARTHA ...It was that homeless thing. I don’t remember what it was called. FRIEND Oh, Safe Shelter... That was a tube top, right?... Flustered, Rachel turns away in her seat before Martha can see her. She remembers... RACHEL (pre-lap) Do you like Devil’s Eggs, Martha?",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MARTHA’S HOUSE - DAY RACHEL’S MEMORY: Rachel is drunk at a barbecue, helping Martha arrange the food. Tom talks to his colleagues in the background. Martha notes Rachel’s drunkenness, disapproving. MARTHA DeviledEggs? Yeah, I do. RACHEL DeviledEggs. Rachel playfully, but clumsily, walks a plate of deviled eggs up to Tom and his colleagues. RACHEL The classics. Do you want to try one, anybody? MARTHA (correcting) Those go outside.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MARTHA’S HOUSE - CONTINUOUS Rachel puts the eggs down next to the desserts-- a little too hard. MARTHA I don’t want the eggs with the--CONTINUED: (CONTINUED) 28. RACHEL It doesn’t fucking matter where they go, okay? So do you want to put them here? She starts tossing individual eggs around the table. RACHEL Do you want them with your hot dogs? Or you can put a couple with your quinoa if you want. Or do you want to put them with your other salad and your corn, and a couple on the wall! MARTHA Rachel-- Rachel grabs the whole ceramic platter of eggs and shatters it against the wall! Martha GASPS. TOM Rachel! Come on. He grabs Rachel and hustles her away from the party. RACHEL I’m fine, Tom. Stop it! You didn’t back me up. You never have my back.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. STREET - CONTINUOUS RACHEL’S MEMORY: Tom escorts Rachel by the arm towards Grand Central. Rachel can barely walk. She shrugs him off and points accusingly. RACHEL You neverhave my back. TOM That’s my boss’s wife. You probably got me fired back there. RACHEL I don’t give a fuck. I’m yourwife. She shoves him away, hard. RACHEL I’m your wife and you never... you never fucking support me-- Tom staggers back, but tries to settle Rachel, taking her by the arms.CONTINUED: (CONTINUED) 29. TOM Rachel, please stop. Hey, come on. (smiling) I need you to focus here. She slaps him. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RACHEL AND TOM’S HOUSE - NIGHT RACHEL’S FLASH MEMORY: Rachel, now in pajamas, charges at Tom with a golf club, her eyes filled with fury. RACHEL Don’t fucking talk to me like that! TOM Relax! He ducks. The club smashes into a mirror. Glass rains down.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CROTON-HARMON STATION - SAME EVENING Rachel gets off the train, deliberately walking past the Liquor Store.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. RACHEL’S APARTMENT - LATER THAT EVENING Rachel walks up the stairs of her apartment.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RACHEL’S LIVING ROOM - SAME EVENING Rachel enters the apartment. Cathy runs to greet her. She’s surprisingly cheery. CATHY Rachel, there you are. RACHEL Cathy, I’m sorry. I need to get my shit together. I’m... Cathy raises a finger to her lips, indicating that Rachel needs to be quiet. In the living room stands a female cop, DETECTIVE RILEY, and her partner, DETECTIVE GASKILL , both staring back at Rachel. RILEY You must be Ms. Watson. I’m Detective Riley. This is Detective Gaskill. We need to ask you a few questions.CONTINUED: (CONTINUED) 30. Rachel nods, unsure of what she’s just walked into. RACHEL What’s this about? RILEY Want to sit down? Rachel sits, wary, as Riley settles in across from her. RILEY Can you tell me where you were Friday night? A beat. Rachel, sweaty, searches for an answer. RACHEL I was at work in the city. And then... (beat) ...And then I went to visit my husband. RILEY You mean your EX-husband? RACHEL (trying to keep her head together) ...Yes. So I got off the train at Ardsley-on-Hudson . But then I decided that it was a bad idea. RILEY Around what time did you reach that conclusion? Unsure of what else to say, Rachel quickly comes up with: RACHEL I was back here by 11:00. Rachel catches Cathy’s eye. Cathy knows Rachel is lying, but she backs her. CATHY Yeah. Yeah. RILEY On your way back here, did you stop anywhere? RACHEL No. CONTINUED: (CONTINUED) 31. RILEY And what time did you take the train there? RACHEL (panicking to keep up) Um, 6:00. RILEY So...what did you do during those hours in Ardsleyif you weren’t seeing your ex-husband? Rachel, flustered, has no answers. The silence drags on. Detective Riley shows Rachel a PHOTO OF MEGAN. RILEY Do you remember seeing this woman? Rachel is shocked to see the photo of Megan. RILEY She worked for your ex-husband. She’s gone missing. RACHEL What do you mean she’s missing? RILEY Well, her husband said she never came back home the same night you got off the train in Ardsley-on- Hudson. RACHEL I was just...I was-- RILEY Do you know Megan Hipwell? RACHEL (trapped) ...No. RILEY Did you see her? RACHEL (rattled) No. I don’t think so. RILEY Is that because you were inebriated? CONTINUED: (CONTINUED) 32. Rachel shakes her head with little confidence. RILEY Just to clarify, you said you were at work Friday? Are you referring to your job in Public Relations? RACHEL (weakly) Right. RILEY It’s my understanding you were fired from that job over a year ago because of your drinking problem? A long silence. Gaskill nods to Riley: Let’s go. RILEY Ok. That’s enough for now. Cathy follows the detectives to the door. Rachel remains on the couch, her mind racing. RILEY If you’re able to remember anything else, give us a call. Rachel doesn’t speak. Cathy shuts the door and spins around. CATHY Did you really get fired? Rachel’s face is pale. Cathy is more curious than mad. RACHEL Look, I didn’t want you to worry that I couldn’t pay the rent... CATHY If you don’t have a job, then what do you do everyday? RACHEL I... I ride the train. CATHY You what? RACHEL I ride the train to New York and back. Cathy is now in complete disbelief.CONTINUED: (CONTINUED) 33. CATHY That’s what your alimony’s paying for? Tickets to nowhere? ... That's really fucking weird, Rachel! RACHEL Okay. Okay. Rachel tries to focus. RACHEL I got on the train. And then...I got off the train. I don’t know! It’s very unclear... CATHY You don’t remember anything, do you? Rachel’s face is molested with the realization that she has no idea what happened. CATHY You know, I read about this man in Long Island who blacked out. He left a bar and drove to the house that he’d grown up in...stabbed its occupants to death. Her voice starts to distort and fade as Rachel closes her eyes, trying to remember. FLASHBACK: Megan and Abdic on the balcony together. CATHY He woke up the next morning oblivious to what he did until the police came to get him. FLASHBACK: Megan’s lips brush against the Dark-Haired Man’s lips, then she kisses him deeply. BACK IN APARTMENT: Rachel’s eyes shoot open. CATHY (off Rachel’s non- response) Rachel! RACHEL ...What? What?CONTINUED: (CONTINUED) 34. CATHY You have to leave. I can’t do this anymore. I’ll give you a few weeks to-- ON RACHEL: Her mind racing. RACHEL (distracted) Hold on... Rachel darts out of the apartment: CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CROTON STREET - MOMENTS LATER Rachel runs out of the apartment, approaches Detective Riley, who stands at her car talking to her partner. RILEY (to Gaskill) ...yeah, I agree with you, but-- RACHEL Detective Riley! Riley turns and walks towards Rachel. They meet in the street. RACHEL I saw someone with Megan Hipwell, but not on Friday night. Riley gives an almost imperceptible shake of her head. RACHEL She was having an affair. She had a lover. That’s what I’m trying to tell you. RILEY I thought you didn’t know her. RACHEL No. But I saw her. RILEY You saw her where? RACHEL I saw her from the train. She was standing on the deck with this man.CONTINUED: (CONTINUED) 35. RILEY With her husband, Scott Hipwell? RACHEL No. It wasn’t him. This man was different. And they were kissing. RILEY Wow. That’s pretty coincidental, isn’t it? You just happen to be on a train at the same exact moment that a woman you don’t know-- but somehow recognize -- is cheating on her husband? Rachel just stands there. RACHEL I know it sounds crazy, but-- RILEY Neighbors saw a drunk woman in the vicinity of her house Friday night. Megan Hipwell doesbear a resemblance to Anna Watson. Rachel braces herself for the accusation. RILEY Mrs. Watson reported that you go to their house sometimes uninvited. And that on one occasion, you actually broke in and took their child. Rachel is shocked at the thinly-veiled accusation. RILEY Let me give you some advice. Don’t go back to Beckett Road. Don’t contact your ex-husband. Don’t go anywhere near Anna Watson or her baby. Rachel’s mind is racing, trying to replay Friday night, but she can’t find the memories. RILEY Are you listening to me? RACHEL Yes.CONTINUED: (CONTINUED) 36. RILEY You don’t live there anymore. Stay away. Riley walks away. ON RACHEL: Reeling. MEGAN (pre-lap) You know, I lie all the time. CUT TO: Title: 4 MONTHS AGO",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DR. ABDIC’S OFFICE - DAY Close on Megan as Dr. Abdic listens intently in the background. MEGAN I lie to Scott. I lie to you. I mean I know that’s not the point of therapy, but I have to keep things vague. Jumble up all the men, the Exes, the lovers. It doesn't matter who they are. It matters how they make me feel. Megan looks straight at Dr. Abdic. MEGAN Lying is like taking a trip. It’s like having a secret. It’s like touching yourself and no one else knows... Dr. Abdic watches as Megan slides up her skirt and runs her hand over her panties. She hangs her head back in bliss. MEGAN’S MEMORY: Our Megan of today is having sex in a hotel room. She thrusts atop a man who is lying on his back in the bed. We can’t see his face. BACK IN SESSION: A moment passes. Megan smiles. MEGAN Except you. DR. ABDIC But you’re just pretending. You’re just pretending to touch yourself. Diffused by Abdic, Megan moves on.CONTINUED: (CONTINUED) 37. MEGAN Scott’s possessive. Jealous. He likes to own me. He figures out all my passwords. Which is kindasexy. Megan avoids Dr. Abdic’s penetrating stare. MEGAN So, when I came home last night, Scott was on my laptop wondering why-- DR. ABDIC Scott’s behavior is not normal. It’s a form of emotional abuse. Are you ever afraid of Scott? MEGAN It’s not abuse. Not if you don’t care. And I don’t. DR. ABDIC Maybe it’s become a normal state for you. MEGAN Is it normal I think about you all the time? Abdic doesn’t answer, just stands and walks away. RACHEL (V.O.) (reading the news, pre- lap) “Almost exactly a week ago, Megan Hipwellwalked out of Number 15 Beckett Road and disappeared...”",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. TRAIN - THE NEXT DAY Rachel nervously scours the internet for details on Megan. CLOSE ON I-PAD: Next to an article we see a photo of Megan standing in front of a large painting in the gallery where she once worked. RACHEL (V.O.) (reading the news) “...No one has seen her since. Neither her phone nor her bank cards have been used since Friday...” Rachel looks back to the seat where the Man In The Suit usually sits. An older bald man stares back blankly.CONTINUED: 38.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ART GALLERY - DAY Rachel now stands in front of the same painting we saw Megan standing in front of. It is a painting of a woman standing suspiciously on a train platform. ( The Subway by George Tooker.) RACHEL (V.O.) (reading) “...A wonderful woman. An intensely private person with a warm heart. She lost a brother when she was sixteen, and both her parents died a few years ago...” Rachel focuses intently on the painting, pushing in closer and closer. RACHEL (V.O.) (reading) “Scott Hipwellurges anyone with information to please come forward.”",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BECKETT ROAD - NIGHT Rachel walks along the road. As she passes Anna’s house, she sees: Anna in her window, watching her pass. ANNA’S POV:Rachel quickens her pace as she closes in on Number 15 Beckett Road. PRE-LAP: A door opens.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT./,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MEGAN AND SCOTT’S HOUSE - SAME MOMENT The door swings open, revealing Scott. He is the type of guy who, despite his distress, seems even sexier when disheveled. SCOTT You’re Megan’s friend? RACHEL Yes. Rachel. SCOTT Come in. Scott briskly enters the house. Rachel’s eyes drink in every detail of the home. SCOTT Do you want a coffee? (CONTINUED) 39. RACHEL Sure. Thank you. Scott guides Rachel to the kitchen table, covered in papers. SCOTT Sorry it’s a mess. I’ve been hunting for her social, birth certificate. The cops need a lot. Rachel takes a seat at the kitchen table. Scott stands by the counter. SCOTT Have we met somewhere before? RACHEL I don’t think so. SCOTT And you know Megan from? RACHEL Uh...from the gallery. SCOTT Are you an artist? RACHEL Well, I like to think so. Rachel notices that there is a slight residue of lipstick on the lip of the cup-- presumably Megan’s. Rachel turns the lipstick mark away from her, then steadies her nerves before taking a sip. SCOTT (no time to spare) So you said on the phone...you wanted to tell me something about Megan. Rachel hesitates. SCOTT What did you want to tell me? RACHEL I saw your wife with someone...on Friday morning. SCOTT With who?CONTINUED: (CONTINUED) 40. RACHEL She was up there on your porch. (pointing) I saw her from the train because I commute to Manhattan everyday and I go straight past here. Scott represses his reaction. RACHEL (hard to say) She kissed him. (a moment) They were kissing. This lands very hard on Scott. He lowers his head trying his best to keep it together. RACHEL I’m sorry. I know this is a terrible thing to hear. I know how it feels. Scott turns toward her, measured. SCOTT What did he look like? RACHEL He was average height. He had dark- hair. Scott stiffens. SCOTT And they were out there on the porch? RACHEL Yes. A moment. SCOTT Fuck. Fuck. Scott opens the fridge and grabs a beer. He extends one to Rachel. She hesitates a moment: she really wants it. RACHEL No no no. Thank you. (changing her mind) Ok. Sure. Scott hands her a beer. She takes a long pull.CONTINUED: (CONTINUED) 41. SCOTT It could, I don’t know. Maybe it’s a good thing? It could mean she’s all right. (laughing, despite himself) She just ran off with someone. RACHEL Right. Scott takes a swig from his beer. SCOTT (directly to Rachel) She talked to you? RACHEL (flustered) Oh no. I haven’t heard anything. SCOTT You know her well enough to know where we live. Megan doesn’t have many friends. RACHEL Well, I used to live nearby... She and I, we took yoga... we took pilatestogether. I think I should go, I feel like I’ve taken up too much of your time. So sorry to have had to tell you that in that way. Rachel pushes the beer away and starts to get up, but Scott places his hand on her wrist. She is immediately thrown off- guard by being so close to him. SCOTT Do you think you’d recognize him again? If you saw him? RACHEL I don’t know. NOW, Scott grabs his iPadand starts Googling . SCOTT There was a guy, a therapist. His name’s Abdic? Abdic. Um, Kamal Abdic. Scott angles the iPadtowards Rachel. INSERT iPADSCREEN: A picture of Dr. Kamal Abdic . CONTINUED: (CONTINUED) 42. SCOTT Is that who you saw? Rachel stares at the image, trying to remember. RACHEL I don’t know. I really can’t tell. SCOTT She spends a lot of fucking time with her shrink. Rachel scrolls through different images of Dr. Abdic on the internet. She pauses on a portrait-like photo of him. FLASHBACK: Megan and the Dark-Haired Man kiss. Up close. It’s the same man. RACHEL (distorted, dream-like) I remember... BACK IN SCOTT’S KITCHEN: RACHEL That’s him. Rachel turns to Scott, her face filled with a strange new excitement. There’s something intimate for her about helping Scott: RACHEL I’m sorry. CUT TO: Title: 2 MONTHS AGO MEGAN (pre-lap) Where are you? Where are you? Where are you?",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOTEL ROOM - DAY Megan sits alone in a hotel room with two different cell phones on the bed. She dials one of the phones while speaking into the other. No answer. She leaves a message. Her voice is strangely hopeful and broken at once, almost childlike, as she repeats a strange mantra. MEGAN Where are you...?CONTINUED: 43.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. WOODS - DAY Deep in the forest, Megan has sex with a Man against a tree. The trunk of the tree covers the Man’s face as he climaxes.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SCOTT AND MEGAN’S KITCHEN - LATER SAME DAY Megan, in the same clothes, enters the house and finds Scott waiting at the kitchen table-- a stand-off and a portrait of a troubled marriage. After a moment, she walks away. Scott springs up angrily and follows, knocking over his chair. MEGAN Stay away from me.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. OFFICE OF DR. KAMAL ABDIC - DAY Megan is totally out of breath, trying to calm down. MEGAN (starting to cry) This is so stupid... He makes every conversation about getting pregnant. And every time we go there... Megan can’t bring herself to talk. DR. ABDIC Where? MEGAN To that subject. Dr. Abdic stands behind her and puts a hand on her shoulder. DR. ABDIC What subject? Megan doesn’t respond. DR. ABDIC Megan. What subject? She looks up at him, vulnerable. Then she wraps her arms around his waist to embrace him. DR. ABDIC (comforting) It’s okay. FLASH -A rustic cabin. Water drips from the ceiling. Megan startles awake in a bathtub. (CONTINUED) 44. DR. ABDIC Megan. FLASH -Megan screams and crawls naked from the tub. She tightens her embrace on Abdic. DR. ABDIC Megan. All right, Megan. Dr. Abdic wraps his fingers around Megan’s wrists, trying to remove her hands from his body. DR. ABDIC We shouldn’t... Megan kisses Dr. Abdic’s hand, then she sucks his finger. DR. ABDIC No... Megan... Don’t make it impossible for us to work together. She stands and pulls him into a kiss. He resists. DR. ABDIC Megan, I could lose my practice. She angrily shoves him away. MEGAN I don’t give a fuck. I don’t give a fuckabout your fucking practice! He surges forward and grabs her tightly, starts berating her in Spanish. She struggles and slaps at him, until he grabs her face to look eye to eye. A moment as both of them absorb the weird intimacy of his rage at her. She smiles.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BAR - MIDDLE OF THE DAY Rachel takes a brief break from shooting pool-- on the television there is news footage of Dr. Abdic peacefully being escorted from his home and getting into a detective's car. NEWCASTER Dr. Kamal Abdic has been... RACHEL (overlapping) ...Dr. CONTINUED: (MORE) (CONTINUED) 45. Kamal Abdic has been brought in for questioning on the disappearance of Ardsley-on-Hudson resident, Megan Hipwell. He was, according to sources, Mrs. Hipwell’s psychiatrist... Rachel leans over a pool table, taking aim with a cue. A DRUNKEN GUY hangs behind her. RACHEL (V.O.) For the first time in ages I have purpose. Rachel hits the ball into the pocket and celebrates with the guy. RACHEL (V.O.) ...Or at least, I have a distraction... She continues to play and flirt with her opponent. RACHEL (V.O.) ...I want Megan to show up safe and sound. I do. BING. Rachel looks down at her phone to find a TEXT FROM SCOTT: “ WE NEED TO MEET ASAP” RACHEL (V.O.) ...Just not quite yet... Rachel rushes out.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT./,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SCOTT’S HOUSE - DAY Scott opens his door. RACHEL Hi. He turns and she follows him inside to the living room. RACHEL What’s wrong? SCOTT Abdic’s been released. RACHEL What?!CONTINUED: RACHEL (CONT'D) (CONTINUED) 46. SCOTT There wasn’t enough evidence. And because I’mthe one that got him arrested, he talked. A lot. RACHEL They’ll build a case against him, it’ll just take some time. SCOTT Are you totally sure he’s the guy you saw Megan with? RACHEL ...Yes. SCOTT You sure as fuck better be. RACHEL I don’t understand. SCOTT The police think I did it. RACHEL Yeah, but he’s... SCOTT He told them Megan’s miserable...that I’m a jealous, controlling husband. RACHEL I’m sure that they’re just trying to rule you out before-- SCOTT Abdic told them I’m abusive. A new realization sets in. Scott leans against the wall. His voice begins to crack. SCOTT When she walked out, I didn't go after her. I never called to check on her. I went to a sports bar, for fuck’s sake, and got drunk. RACHEL No. We just need to find more evidence on Abdic. CONTINUED: (CONTINUED) 47. SCOTT I’ve spent the whole day going through her stuff. There’s no e- mails, there’s nothing, no letters, no emails. Nothing. For a second, I thought about contacting Abdic myself... The phone rings. SCOTT Fucking phone won’t stop! Rachel is startled by his rage. Scott answers it. SCOTT This is Scott... Yeah. Hold on. Hold on. (to Rachel) Do you mind?",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SCOTT’S HOUSE - CONTINUOUS Rachel walks from Scott’s house and sees Tom and Anna in their driveway getting out of the car. Rachel watches as Anna goes to the backseat to retrieve Evie... She gets the baby out and SLAMS the car door. FLASHBACK: Rachel’s head SLAMS up against the wall of the underpass. BACK OUTSIDE TOM & ANNA’S HOUSE: Back in real time, Anna heads to the house. ANNA (to Evie, playful) Oh, you’re heavy. You’re a fatty. You’re a little fatty. Tom turns and sees Rachel. He starts towards her, furious. TOM Rachel? No. (to Anna) Anna, Get in the house. Rachel fixates on Anna. As Anna turns-- FLASHBACK: In the underpass, Anna, wearing a red jacket, turns towards Rachel aggressively and strikes her.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BECKETT ROAD - MOMENTS LATER As Tom reaches Rachel, she points towards Anna.CONTINUED: (CONTINUED) 48. RACHEL Your wife hit me on Friday night! TOM What are you talking about? RACHEL Yes. Yes she did. Rachel clocks Anna staring out the front door glass watching them. RACHEL (to Anna) Yes you did! (to Tom) And then she got in your car. TOM No. She said you yelled at her that night. RACHEL No. That is not what happened! She was in the tunnel. And she hitme. TOM I won’t argue in the street. The middle of the day...and you’re drunk. Tom starts to walk away. RACHEL (straightening up) I’m not drunk, Tom! TOM (turning back to Rachel) My wife is scared of you. Hearing the word “Wife” is like being punched in the gut. RACHEL Of what? TOM I don’t even know if that’s a joke or not. Let’s start with child abduction. RACHEL That’s bullshit. You know that’s not... how it happened. CONTINUED: (CONTINUED) 49. TOM You and I both know what you’re capable of. Pause. They look at one another. TOM You were just at Scott Hipwell’s house? Rachel searches for a lie she doesn’t have. TOM Whyare you at Scott Hipwell’s house?! RACHEL Because I’m helping him. TOM How? RACHEL To try and find Megan. TOM You don't even know Megan! Beat. He softens. TOM Rach. I don’t think you’re helping anybody.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DR. KAMAL ABDIC’S OFFICE - THE NEXT DAY Dr. Abdic talks to a patient. There’s a newfound sadness to him. After a night of questioning, he’s frustrated and doesn’t at all seem like the same man who sat across from Megan. Finally he speaks. DR. ABDIC So you’re here because you want to uncover lost memories. Is that correct? Now, we see that it’s RACHEL SITTING ACROSS FROM HIM. Though she has circles under her eyes, she’s tried to clean herself up for her first session with Abdic. RACHEL (his accent) You have an accent?CONTINUED: (CONTINUED) 50. DR. ABDIC Pardon? She studies Dr. Abdic’s every move. RACHEL Sorry. I wasn’t expecting you to have an accent. DR. ABDIC Well, you have an accent. RACHEL (laughs) Where are you from? DR. ABDIC (losing patience) I’m an American citizen. But I guess you’re not here to talk about me. Unless, you are... RACHEL No. I’m sorry. I was just trying to make conversation. DR. ABDIC (cutting her off) The blackouts. You’re experiencing blackouts. Dr. Abdic moves forward in his seat. Rachel’s blood goes cold. RACHEL Mm-hmm. DR. ABDIC Do you want to tell me about them? She shifts awkwardly in her seat. RACHEL Well, when I wake up, and when someone tells me what I’ve done, it just doesn’t feel like me or like something that I would do. I feel bad about it. But it’s like it’s so far removed that I have a... I just don’t feel bad enough. CONTINUED: (CONTINUED) 51. DR. ABDIC You want to take personal responsibility for what you’ve done, but you find it difficult to feel accountable because you can’t even remember it. Yeah? Rachel, dumbstruck, feels understood for the first time. RACHEL ...yeah. DR. ABDIC So, Rachel, besides drinking-- because you clearly drink. You’ve been drinking today, haven’t you? She smiles awkwardly, caught. DR. ABDIC What else do you enjoy? Do you have any hobbies? RACHEL I like to draw. Art, I guess. DR. ABDIC Good. We can try to regain some of your memories by drawing them-- RACHEL I’ve tried it. It doesn’t work. DR. ABDIC Have you ever tracked all the way back to when you started drinking heavily? When was that? Rachel is reluctant to actually delve into therapy. RACHEL ...It was with Tom. When I couldn’t get pregnant. DR. ABDIC Who’s “Tom?” RACHEL He’s my ex-husband. DR. ABDIC Do you want to talk about that? RACHEL (CONT’D) I really wanted a baby. CONTINUED: (CONTINUED) 52. Dr. Abdic’s arresting stare forces Rachel to continue: RACHEL We tried everything and nothing worked. And it just absolutely... She starts crying. RACHEL It just broke my heart. So I got really sad and then the booze just broke us... Rachel is gutted. DR. ABDIC Okay. Tell me more. RACHEL I used to watch this perfect couple. And they were just the embodiment of true love. It’s like the kind of love you always want. And then, she betrayed him. And it’s sparked something in me... Rachel has just placed her head into the lion’s mouth. A moment. Abdic senses an agenda. DR. ABDIC (no bullshit) Why are you really here, Rachel? Her true emotions take over. RACHEL Because I’m afraid of myself.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BECKETT ROAD/UNDERPASS - DAY Anna pushes Eviein a stroller toward the Beckett Road underpass. ANNA (V.O.) (pre-lap) July 5th: 1:33, 1:34, 1:37... Anna and Evieemerge from inside underpass.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. POLICE STATION, RILEY’S DESK - DAY Anna sits across from Riley with Eviein her stroller. Riley peruses a stapled phone bill covered in red underlines. CONTINUED: (CONTINUED) 53. ANNA She calls again 1:38 and then she calls again at 1:44, 1:45, 2:15 PM. And then July 6th... You get the po",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int. She sometimes textedhim dozens of times a day. RILEY (looking at the bill) But these are all from an unknown number. ANNA Unknown is Rachel. RILEY You have a log of the calls. You don’t have a log of what they’re saying to each other. On Anna, thrown off by the implication. RILEY Look, has she been back to the house since the incident with your child? ANNA Not that I know. RILEY Well, then you might have a case for harassment in the second degree, but these are texts, they’re not threats, so... ANNA (interrupting) She’s been hanging around Scott Hipwell’s house. A lot. RILEY (encouraging her) I’m aware. There are a lot of loose ends here that suggest something, but they don’t add up to much. If you can bring me something more solid... ANNA What more do you need? Riley scoffs at the phone bills laid out before her.CONTINUED: (CONTINUED) 54. RILEY Evidence. Real evidence? After a moment. RILEY You sure your husband doesn’t want to stay in touch with his ex-wife? ANNA What? No. She’s harassing us. RILEY Is that what he calls it? On Anna, insulted by the implication.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TOM AND ANNA’S FAMILY ROOM - LATER THAT DAY Anna sits at a table with a glass of red wine. She takes a gulp, pensive for a beat. The log-in screen appears on a desktop computer, with Tom’s photo. Anna stares at the blank space next to the PASSWORD header. She lets out a deep breath, thinks for a second-- --She types “ EVIE,” and then ENTER. A message POPS UP: “PASSWORD INCORRECT.” Anna tries again: “ ANNA,” and presses ENTER. The same “PASSWORD INCORRECT” message pops up. Something occurs to Anna. She downs the remaining wine. She takes a deep breath to calm her nerves, then... ...She types “ RACHEL.” She hesitates a beat. She sighs, then hits ENTER. This time, she’s relieved when she is met with the “PASSWORD INCORRECT” message. Tom’s keys RATTLE outside. Shit. Anna takes her wine, moves to the kitchen table and pretends to be engrossed in a magazine... ...Just as Tom enters. ANNA Hi. TOM Hey. ANNA Hey.CONTINUED: (CONTINUED) 55. They kiss. When he leaves, Anna lets her worry show.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. RACHEL’S ROOM - EVENING The news is playing loudly on the television. Rachel is surrounded by drawings of the underpass and the blonde woman. There’s a BANGING!,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RACHEL’S APARTMENT - MOMENTS LATER Rachel opens the door, surprised. RACHEL Hi. It’s Scott. He’s very troubled. Completely caught off guard, Rachel just stands there. SCOTT Reporters are in my yard. Everywhere. I didn’t know where else to go. RACHEL Come in. LATER: Rachel and Scott sit in the living room, holding steaming coffee mugs. Deep in thought, Scott shakes his head. SCOTT The detective just... The detective just told me something I’ve wanted to hear for a long time. It’s hard for Scott to continue. SCOTT She’s pregnant. She told her shrink but not me. Rachel takes a pained breath. SCOTT I wanted a family, but she fought me every step of the way. We always fought about it. An awkward moment. SCOTT ...Did Megan ever say anything about me to you?CONTINUED: (CONTINUED) 56. Rachel pauses. RACHEL (wide-eyed) She loved you. She loved you in ways that people only dream of being loved.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RACHEL’S ROOM - LATER THAT NIGHT LATER: Scott sleeps peacefully in Rachel’s bed. BOOM! The camera jumps back to reveal a wide shot: Rachel is standing above Scott, watching him sleep. Rachel slowly sits down next to him and hesitantly places her hand on his chest. CUT TO: Title:1 MONTH AGO",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SCOTT AND MEGAN’S HOUSE - NIGHT CLOSE ON: Scott’s sleeping face in profile. He turns to reveal Megan, awake. Mascara and tears stream down her cheeks. She quietly sneaks out of bed...",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HOUSE OF DR. KAMAL ABDIC - NIGHT The door swings open. Dr. Abdic stands there in a t-shirtand sweatpants, taken aback by Megan, who wears a coat over her nightgown. DR. ABDIC (looking around for neighbors) You shouldn’t be here. MEGAN (pushing her way in) I just... I need to tell someone, just once. Just say it out loud. I want to tell you. And then I’ll be gone, I swear.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOUSE OF DR. KAMAL ABDIC - CONTINUOUS Megan moves past Dr. Abdic, through his home, searching its dark corners, until she ends up in his living room. Dr. Abdic catches up with her. They stand across the room from one another, in the dark.CONTINUED: (CONTINUED) 57. MEGAN I got pregnant. I was seventeen. I had her by myself. She had dark eyes and blond hair. I expected it to be hard, but it wasn’t. It was easy. Because I loved her. I loved her. I called her Elizabeth. Libby. (a moment) ...Libby. (a moment) It was December. We’d gotten in a fight, me and Mac. He’d gone off and left. MEGAN’S MEMORY: Water seeps through the ceiling of a hunting cabin as it rains outside. The much younger Megan is asleep in the tub. MEGAN (V.O.) (in a trance) The roof was leaking. I was freezing cold, so I got in the tub. I brought Libby in with me, put her on my chest... BACK IN DR. ABDIC’S HOUSE: Megan continues her story. MEGAN ...herhead just under my chin. (a moment) I fell asleep. MEGAN’S MEMORY: Megan stirs awake in the tub. MEGAN (V.O.) I let her go. I let her go. Megan jumps out of the tub screaming. She runs from the bathroom and outside the cabin. BACK IN DR. ABDIC’S HOUSE: Megan breaks down. MEGAN I let her go. I let her go. MEGAN’S MEMORY: She scrambles out of the tub, across the floor, and out into the freezing rain. Naked and distraught. MEGAN (V.O.) I couldn’t look. I didn’t want to see it. I didn’t want to see her like that. BACK IN DR. ABDIC’S HOUSE: Megan tries to regain control.CONTINUED: (CONTINUED) 58. MEGAN I wrapped her in a blanket. And I buried her. MEGAN’S MEMORY: Megan hands the baby to MAC, 25, who places it in a shallow grave he’s just dug. BACK IN DR. ABDIC’S HOUSE: Megan embraces Dr. Abdic. MEGAN Then Mac went out that night. And he never came back. He never came back. They stand alone in his home, holding each other.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DR. ABDIC’S OFFICE - MORNING Rachel watches the train pass by outside the window, then tells her memory to Dr. Abdic who listens closely. RACHEL I missed our home.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TOM AND ANNA’S HOME - DAY - MEMORY Anna drifts through the house, taking in the framed photos of baby Evie. DR. ABDIC'S OFFICE - MORNING RACHEL So one day when I was drunk, I decided to go there.",FLASHBACK +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TOM AND ANNA’S FAMILY ROOM - DAY - MEMORY Rachel enters the house again. RACHEL (V.O.) The front door was open. It’s not like I broke in. She feels the staircase banister, remembering, then continues farther into the house. RACHEL (V.O.) And then I heard Evie. DR. ABDIC (V.O.) Who’s Evie? RACHEL (V.O.) Tom’s baby.CONTINUED: (CONTINUED) 59. Rachel stands in the hallway, looking at Anna nap. The baby sleeps in a bassinet. Rachel picks Evieup...",FLASHBACK +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. TOM AND ANNA’S BACKYARD - MOMENTS LATER - MEMORY Rachel walks into the yard, cradling Evie. RACHEL (V.O.) I know this sounds insane, but I just wanted to hold her.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. DR. ABDIC’S OFFICE - MORNING Rachel looks up at Dr. Abdic’s comforting face: RACHEL ...Just for a moment.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. TOM AND ANNA’S BACKYARD - MOMENTS LATER - MEMORY Rachel stops in the middle of the yard and turns. She sees Megan watching from her balcony. The screen door slams open. ANNA (V.O.) Rachel? What are you doing?! What are you doing? Anna pulls up short, terrified. Rachel is still and silent. ANNA Rachel... Give her to me. Slowly, Rachel places Evieon the ground. She runs away as Anna races to gather up the baby, who has started crying. Rachel staggers drunkenly through the tall weeds. Towards the tracks. The train passes. RACHEL (V.O.) I wasn’t going to hurt her. I would never hurt her.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. DR. ABDIC’S OFFICE - MORNING On Rachel: RACHEL I just wanted to hold her.CONTINUED: 60.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FOREST - DAY Rain falls. Water washes over the root ball of a tipped over tree. As the soil and debris is slowly swept away, parts of a body are exposed. INTERCUT WITH:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. TRAIN - DAY Rachel rides the train as buildings and landscapes whisk past her. Her profile against the window. Her gaze on someone’s iPad. RACHEL’S POV:On the iPadis a news report with an image of a woman’s profile inside white plastic. RACHEL (V.O.) “...partially decomposed body found... female body found...” Rachel’s gaze wanders away to another person’s iPadwhere she sees: RACHEL’S POV:A smiling photo of Megan. RACHEL (V.O.) “...death a result of blunt force trauma... partially decomposed... blunt force... Megan Hipwell... Investigation now being called a homicide...” ON RACHEL’S FACE: Molested with horror.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. TOM AND ANNA’S HOME - KITCHEN - DAY Tom and Anna stand in stunned silence above a sink of dirty dishes they have been washing. Their eyes are glued to a television where an anchor is reporting Megan’s death. RACHEL (V.O.) “...Sources say the partially decomposed body fund is missing Ardsleywoman Megan Hipwell...Death a result of blunt force trauma... Megan Hipwell’s investigation now being called a homicide.” Tom and Anna are in complete disbelief.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SCOTT AND MEGAN’S HOME - THAT NIGHT - DUSK A police car arrives and Scott exits the car, rushing into his home. (CONTINUED) 61. REPORTER Mr. Hipwell, can I ask you some questions? Mr. Hipwell? (to spokesperson) Is there anything that you can tell us at this time? Rachel watches from the street. Scott notices her before disappearing into his house. POLICE SPOKESPERSON This is an ongoing investigation. The police department will release a statement. Detectives determined that it was a homicide, but that’s as far as I’m willing to go at this po",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",int. REPORTER Do the residents need to be worried about violent crime in the area? POLICE SPOKESPERSON No no no...isolated incident... Rachel turns to head back to the station and sees ANNA PUSHING EVIEIN A STROLLER. Anna has frozen in place. Rachel rises and walks deliberately towards Anna. Anna doesn't move. Rachel clips Anna's shoulder and continues down the street. Anna turns. Anna's POV:Anna watches as Rachel runs toward the train station.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TOM AND ANNA'S BEDROOM - THAT NIGHT Tom is behind Anna trying to have sex. Upset and distracted, she lies perfectly still. TOM What’s wrong? ANNA I’m sorry. Frustrated, Tom jumps out of bed. Anna watches as he pulls up his pants. ANNA (flatly, trying to provoking him)CONTINUED: (MORE) (CONTINUED) 62. This reminds me of when I used to watch you getting dressed before going back to her.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. OPEN HOUSE - DAY ANNA’S MEMORY: She’s straightening her dress after a tryst with Tom. Her hair and makeup is different in a way which indicates a woman trying very hard to be someone she isn’t. Tom’s phone rings. It’s Rachel. Anna’s face drops. BACK IN ANNA’S BEDROOM: ON ANNA: Something dark crosses her eyes. ANNA Back to this house. (beat) I actually miss being the other woman. Did you enjoy cheating on Rachel? Tom pauses in getting dressed. TOM Seriously? Can we not fixate on her?! ANNA (pissed) I saw her again today. TOM Where? ANNA This afternoon when the police brought Scott back home. She was across the street. And when she saw me she got aggressive. TOM Aggressive how? ANNA What if Rachel killed Megan? TOM Rachel did not kill Megan.CONTINUED: ANNA (CONT'D) (CONTINUED) 63. ANNA Then why is she creeping around Scott’s house? She’s dangerous and you know it. Tom raises a quieting hand. TOM Anna, sweetheart, Rachel is a sad person. She’s completely harmless. Tom walks out of the bedroom. Off Anna’s face we... CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RACHEL’S HOUSE - LATE AFTERNOON Rachel enters her duplex. She hangs up her coat and scarf and pulls up short, startled. RACHEL What are you doing here? How did you get in? Reveal Scott sitting on her couch with a beer. SCOTT Come here. Have a beer with me. RACHEL I’m not drinking right now. Scott rises and crosses to Rachel. SCOTT Detective Riley came to see me last night. It turns out I’m not the father... Neither is the shrink. Scott gives Rachel a horrible smile. He is totally drunk. SCOTT Did my wife confide in you about a third man? Rachel has no answer. SCOTT Sit down. She hesitates. SCOTT Sit down!CONTINUED: (CONTINUED) 64. Rachel moves to a chair, wary. RACHEL Look, I don’t know what this is about, but-- SCOTT Come on! You and Megan were such good friends. You must have known. (softly) Admit it. Rachel’s stomach sinks. She’s been found out. He knows. RACHEL Admit what? SCOTT Admit that you never even fucking met my wife! Tears start to run down Rachel’s face. SCOTT The Detective said you didn’t even know Megan. She used other words too: Alcoholic. Maybe even mentally unstable? RACHEL I am sorry. I was honestly just trying to help. Scott’s had enough . He throws his beer bottle at the wall. It SHATTERS. Rachel jumps. SCOTT You’re Tom’s crazy ex! When the fuck were you going to tell me that? And now the detective is asking if you and I are in a relationship?! You?! I would never even get near someone like you! My wife is dead, and you’re lying to me!? What’s wrong with you?? Who does this?? Rachel backs into the kitchen. Scott follows. INSIDE KITCHEN:CONTINUED: (CONTINUED) 65. RACHEL ...I needed to tell you about Megan’s affair, and you wouldn’t have believed me if I was just Tom’s ex! SCOTT Oh, well thank you. For getting Abdic to point the finger at me! For getting the cops to say that you and I are fucking! Then a creepy change of tack: SCOTT How are they going, huh? You know? The sessions? He nods at the refrigerator. At an appointment card from Dr. Abdic’soffice, stuck to the door with a magnet. SCOTT With the doctor? RACHEL I wanted to know about Abdic and I went to him to help you-- Scott grabs Rachel by her head and covers her mouth. She YELPS. He violently pushes her into the hallway. SCOTT You’re just a sad liar with no life. You’re all liars. RACHEL (through his hand) Please don’t! Scott squeezes harder, then lets go and storms out, leaving Rachel terrified.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ARDSLEY-ON-HUDSON POLICE STATION - DUSK Rachel, out of breath, runs into the police station. She approaches the front desk. RACHEL I need to file a statement... DESK SERGEANT Name? RACHEL Rachel Watson.CONTINUED: (CONTINUED) 66. RILEY (O.S.) Pete? I got this. Rachel turns to see Riley.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. POLICE BATHROOM - MOMENTS LATER Riley opens the door of a police station bathroom and signals Rachel inside. Riley crosses to the sink and looks into the mirror above it for a long beat. Uneasy, Rachel walks towards Riley. RILEY You wanted to file a statement? I’m listening. RACHEL Scott Hipwelljust assaulted me. RILEY You mean your new boyfriend Scott Hipwell? RACHEL No. We were just friends. RILEY But that’s what you wanted, isn’t it? I mean, you got him to stay overnight at your apartment, right? RACHEL No. You need... You need the cont",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",ext. Riley turns from the mirror and approaches. RILEY I know the cont,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","ext. But what I’m trying to determine is when your obsession with Mr. Hipwellbegan. Was it before or after his pregnant wife was murdered? I mean, you were neighbors at one point? RACHEL I met him after...CONTINUED: (CONTINUED) 67. RILEY After being questioned by me, you befriend another even more obvious suspect than yourself, and then you manage to get him to incriminate himself all the while hoping he’ll fuck you. RACHEL I came here trying to help you. He just assaulted me in my own house ! RILEY Youwere seen in the area that night. There are several hours that you say you can’t account for. This is news to Rachel. Her resolve begins to unsettle. RACHEL It was Scott. Scott Hipwellkilled his wife. RILEY No. He didn’t. Surveillance footage from a sports bar accounts for Mr. Hipwell’s whereabouts that night. She moves in, quietly insistent. RILEY You’re lying. You’re lying. Rachel is terrified. Riley puts a comforting hand on her arm. RILEY Tell me what happened. It’s okay. Tell me. RACHEL I don’t know... Riley leans in close to Rachel’s face. She’s calm. RILEY Did you murder Megan Hipwell? A moment. Rachel realizes she doesn’t know the answer. She flees in a panic. CUT TO: Title: LAST FRIDAYCONTINUED: 68.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MEGAN AND SCOTT’S BATHROOM - EARLY MORNING Megan sits on the closed toilet seat, pregnancy test in hand, leaving a message on her phone. MEGAN (into phone) Hi. I need to see you. Can you please come over? She hangs up, drops the test, and puts her head in her hands. She looks up and finds herself in the mirror. MEGAN (V.O.) (pre-lap) I can still see her dark eyes. I can smell her skin.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MEGAN AND SCOTT’S PORCH - LATER THAT MORNING Megan stands alone on the balcony, tears in her eyes. MEGAN I can feel how cold she was. DR. ABDIC (O.S.) Forgive yourself. He steps out behind her and folds her into an embrace. In the distance behind them, the train passes. DR. ABDIC You don’t have to be afraid of being alone. You’re not alone. He kisses her forehead tenderly.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TRAIN - CONTINUOUS Rachel is on the train, watching Megan and Dr. Abdic on the balcony, and we realize: - WE ARE WITNESSING THE MOMENT THAT RACHEL SAW FROM THE TRAIN, BUT NOW FROM A NEW ANGLE. The train starts to pull away from the station. Rachel gets out of her seat, rushes down the aisle to try to keep them in view. CONDUCTOR (O.S.) The next station is Ardsley-on- Hudson. 69.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MEGAN AND SCOTT'S BACK PORCH - SAME As the train disappears, we remain with Megan and Dr. Abdic. DR. ABDIC You’ll be fine. You and your baby will be fine... ON MEGAN’S FACE: She has found a sense of peace.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BISTRO - NIGHT CLOSE ON: Rachel sits at the bar. The Bartender places a Martini down in front of her. She closes her eyes, brings the glass to her lips and sucks down half the glass, the liquor burning her and filling her with life. Rachel looks around at the uppity Ardsleycrowd. Down at the end of the bar, she notices The Man In The Suit. Fear and trepidation washes over her. Their eyes meet. He smirks. Rachel finishes her drink. She musters up all the courage inside her and walks over to him. The Man In The Suit turns towards her. RACHEL Why are you following me? Why are you here? The Man studies her for a second and laughs. MAN IN THE SUIT I could ask you the same question. RACHEL I saw you. I saw you that night in the tunnel. I saw you there. I know I saw you there! MAN IN THE SUIT Lady, I live here. I’m always in that tunnel. RACHEL But what did you see? What happened that night? What did you see? MAN IN THE SUIT You busted your ass. You fell. I felt sorry for you. (MORE) (CONTINUED) 70. I tried to help you up. You told me to fuck off. So, I fucked off. RACHEL (growing more anxious) Was I with anyone? Was I alone? What happened?! MAN IN THE SUIT I don’t know. You were wasted. You’re always wasted. That’s all I can tell you. Rachel grabs him by the lapels. MAN IN THE SUIT Whoa. Take it easy. RACHEL I need you to tell me the fucking truth. What did you see that night? What happened that night? Rachel can see he has no idea what she is talking about and her face goes pale. He stands. MAN IN THE SUIT I don’t know. I’m assuming it’s the worst. The Man In The Suit walks out the door. Rachel puts her head in her hands. She’s fucked. RACHEL God... CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RACHEL’S BEDROOM - NIGHT Rachel sits on the edge of her bed with a bottle of vodka and a glass. She stares at her phone. It’s the VIDEO CLIP from that Friday in the Oyster Bar bathroom. RACHEL’S POV:Rachel and the woman hold a pose for a Selfie with the X’s behind them. RACHEL (on video) Come here for one second. Just one second. Say “Fuck you, Anna Boyd.” RACHEL AND WOMAN (on phone) Fuck you, Anna Boyd!CONTINUED: MAN IN THE SUIT (CONT'D) (CONTINUED) 71. Then the camera is placed on the side of the sink. The Video is at a strange angle catching glimpses of Rachel’s animated rant as her body weaves in and out of frame. RACHEL (from phone) ...I wonder if she knows that I fucked Tom... When I saw that woman kissing someone else, betraying her husband. I felt it. FLASH INSERT: Megan on her back porch, stretching in her open robe. RACHEL (from phone) Pure. Rage. FLASH INSERT: A blonde woman lies prone on a kitchen floor. Rachel is in the room with her. RACHEL (from phone) ...If I could, I’d go to her house...find her sitting in the kitchen... FLASH INSERT: The blonde woman sitting at the kitchen counter screams as Rachel grabs her hair and hurls her to the floor. It’s Megan. RACHEL (from phone) ...thenI’d pull her down... FLASH INSERT: Rachel SMASHES Megan’s skull into the blue tiles, blood splashing everywhere. RACHEL (from phone) ...andI’d smash her head all over the floor !! NOW, Rachel hangs her head in tears, overcome by the memory. She pulls out a duffle bag and begins filling it with essential items. NOW, Rachel writes a note and puts it on her stripped bed with her gathered belongings. RACHEL (V.O.) (reading note) “Cathy-- Thank you for all you have done for me. CONTINUED: (MORE) (CONTINUED) 72. I’m sorry to leave this way. I’ll send for my things later. Love, Rachel.” CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. CROTON-HARMON TRAIN STATION - NIGHT Rachel walks down the empty street towards the train station.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TRAIN - SAME NIGHT Rachel boards the train and notices a group of partying women board. One of them is MARTHA, the woman she assaulted at the barbecue with Tom. CONDUCTOR (V.O.) The next station is Irvington. MARTHA (laughing) ...It’s so true. It’s the worst restaurant ever. Why do we keep going back? Rachel looks down. Then, breathing heavily, she slowly lifts her eyes and approaches. RACHEL Martha? Martha. Martha and the other women immediately turn to Rachel. MONICA Rachel? A moment of discomfort. MONICA I haven’t seen you in a million years... Rachel tries to find the words. RACHEL I wanted to call you, but Tom said I should just leave it alone. MARTHA Oh... RACHEL I’m so sorry... CONTINUED: RACHEL (V.O.) (CONT'D) (CONTINUED) 73. MARTHA For what? RACHEL For the barbecue. I just need you to know that I don't remember anything and I just completely blacked out... MARTHA (smiling awkwardly) Everyone had a little too much to drink, so... It’s okay. RACHEL I know, but with the eggs... And then I screamed at you... That I was that abusive. I just feel... I just feel so ashamed about it. Martha stands, offers a puzzled smile. MARTHA Um... I don’t...? RACHEL Tom... Tom said that I smashed your plate. I don’t... Tom was fired because of how I behaved. Martha looks shocked. MARTHA You felt sick and you took a nap in our guest bedroom.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MARTHA’S BARBECUE - DAY RACHEL’S MEMORY: At the barbecue, Martha takes her gently by the arm. MARTHA Do you want to lie down? Come with me. She guides Rachel inside while Tom watches. MARTHA Excuse us...",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MARTHA’S GUEST BEDROOM - LATERCONTINUED: 74. RACHEL’S MEMORY: Rachel opens her eyes to see Martha applying a wet rag to her face. Martha smiles sweetly at Rachel. MARTHA Rachel? Are you feeling better? She turns to Tom. MARTHA You guys can stay the night if you want. TOM No, no. That’s fine. Thanks. MONICA (V.O.) I think I’d remember if you caused a scene... Tom stares down at bleary-eyed Rachel. RACHEL I’m so sorry... TOM (cold) Get up.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. TRAIN - NIGHT NOW: This lands hard on Rachel. MARTHA And then Tom took you home.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. GRAND CENTRAL STATION - NIGHT RACHEL’S MEMORY: Rachel and Tom approach Grand Central Station after Monica’s party. RACHEL I’m sorry, Tom, I-- He angrily pushes her off. TOM Stop fucking saying that! I know you’re sorry. RACHEL I’m sorry. TOM What’s your fucking problem? You can’t even focus on me. (MORE) (CONTINUED) 75. You can’t even fucking stand up? What is wrong with you? Canyou stand? Tom pushes Rachel. She stumbles and falls. TOM Fucking disgusting. He walks off, abandoning her.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TRAIN - NIGHT Rachel tries to process this. RACHEL No... No... MARTHA Yeah. Tom got fired because he couldn’t keep his dickin his pants. Rachel’s face reddens. MONICA You did nothing wrong. Nothing. Rachel breathes heavily as she starts to remember her past in a new way. TOM (V.O.) (pre-lap) Wake the fuck up, Rachel! Wake the fuck up! RACHEL’S MEMORY: In the hallway at home with the mirror. Now we see the correct memory: it’s not Rachel trying to hit Tom with the golf club, it’s TOM trying to hit RACHEL! TOM Wake up! Rachel ducks. The golf club smashes into the mirror, raining glass onto a terrified Rachel. Tom gets in her face, menacing. TOM You can sleep out here.CONTINUED: TOM (CONT'D) 76. BACK ON THE TRAIN: MARTHA We all felt so bad for you. Such a bad guy. Oh god... Are you okay? Rachel goes pale. CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TOM AND ANNA'S BEDROOM - SAME NIGHT Anna sits on her bed with Tom’s laptop, trying more passwords. After a few more unsuccessful attempts, she places the laptop back into Tom’s bag. It bumps against something. An OLD CELLPHONE. The phone gives her pause. She inspects it a second, then holds down its POWER button. It doesn’t turn on. She thinks of something.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TOM AND ANNA'S KITCHEN - MOMENTS LATER Anna opens a drawer. Inside is a tangled web of cords and chargers. She finds one that’s a perfect fit for the phone. She plugs the charger into the wall, and a second later, the phone powers ON. Anna scrolls through its text history. We hear Tom reading them: TOM (V.O.) (texts) “I need to see you. Meet me at 3.” “I’m here, where are you?” “I can’t. Stuck watching Evie.” Starting to shake, Anna scrolls down through more messages. Anna hears the JANGLING of keys from outside. She quickly stands, stashing the phone and charger in a cookie tin. She shuts the cable drawer and pretends to be straightening up Evie’sdolls. Tom steps inside, slightly drunk. TOM What are you doing up? (CONTINUED) 77. ANNA Picking up after Evie. He laughs. She stands and gives him a quick peck, but he pulls her back, wanting more. He sits her on the counter and kisses down her neck while she stares into the distance.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ARDSLEY-ON-HUDSON TRAIN STATION - SAME NIGHT A speeding express train whizzes past us. Once gone, we see Rachel standing on the platform. She takes a breath of courage and walks from the station towards the underpass.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ROAD TO UNDERPASS - MOMENTS LATER Rachel walks briskly up the hill toward the underpass. FLASHBACK: A blonde woman in a red jacket whirls towards Rachel. FLASHBACK: Rachel shouting: RACHEL You whore!! Rachel begins to cry as she picks up her pace. FLASHBACK: Close on the woman’s mouth-- Anna’s mouth. ANNA Leave us alone. Rachel runs faster up the road towards the underpass FLASHBACK: Anna charges through the underpass towards Rachel. Rachel swipes at her, but Anna shoves her aside. Rachel slams her head against a cement wall. A flash of searing pain... Rachel is now in a full run. The memories come faster and faster to her. FLASHBACK: Anna slaps Rachel across the face, then sprints away through the underpass... Rachel crawls out of a drainage ditch and sets off after her.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TOM AND ANNA'S BEDROOM - LATER Anna stares at Tom, watching his sleepy chest rise and fall. When she is satisfied that he is completely asleep, Anna quietly slips out of bed.CONTINUED: 78.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TOM AND ANNA'S KITCHEN - MOMENTS LATER Anna, wearing a white silk robe, stands in the kitchen with the cell phone. She turns the phone over and over in her hand, debating what to do. Finally, she hits the CONTACTS icon, but the only contacts are EMERGENCY and VOICE-MAIL. She hits the VOICE-MAIL entry, then places the phone to her ear.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. TOM AND ANNA'S BACK GARDEN - CONTINUOUS Anna stands outside, listening to the phone. VOICE (from the phone) No new messages. No saved messages. To hear your current voice-mail greeting, please press TWO. Anna hits the number TWO, then returns it to her ear. MEGAN (on the phone) Hi, it’s Megan. Leave a message. Anna’s heart is in her throat. VOICE (from the phone) To replay this greeting, press ONE. Anna hits the number ONE again, pressing the phone against her ear, even harder this time. MEGAN (on the phone) Hi, it’s Megan. Leave a message. Above Anna, the upstairs bedroom light turns on. Then downstairs in the kitchen... Anna sees the lit-up window. Shit.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. TOM AND ANNA’S BACK YARD - SAME NIGHT Panicked, Anna hurls the cell phone over the back fence. Behind Anna, the screen door opens and Tom steps outside. TOM You okay? There’s a moment of silence between them. Anna’s unsure how to respond. (CONTINUED) 79. ANNA I thought I heard something. Neither makes the attempt to bridge the distance between them. TOM You should wake me up if you heard something. ANNA I just-- TOM Come back to bed. Anna doesn’t move for a moment. She’s unsure of what this all means-- what she’s walking into. She walks across the distance to Tom. Past him. Leaving him puzzled.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. TRAIN UNDERPASS - SAME TIME Rachel is hyperventilating as she arrives at the underpass. FLASHBACK: The woman in the red jacket walks through the underpass, headed for a car parked at the far end. Rachel follows her, remembering. FLASHBACK: Teens blow smoke into Rachel’s face. FLASHBACK: The Man in the Suit leans down over her. FLASHBACK: We hear heels clacking through the underpass. The woman in red keeps walking. RACHEL (V.O.) Whore! The woman in red turns back towards Rachel. NOW, Rachel stops as the memory snaps into focus.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. UNDERPASS - DAY AS THE FLASHBACK PLAYS OUT IN FULL: The woman turns. It is Megan, in a red jacket ! Rachel continues drunkenly through the overpass and hears Megan speak to the man in the car.CONTINUED: (CONTINUED) 80. MEGAN Rachel’s down there. And now the man is striding angrily towards Rachel while Megan waits by the car. It’s Tom. Tom charges through the underpass toward Rachel. TOM (to Rachel) What the hell are you doing? He grabs her roughly by the arm and leads her out of the underpass. Rachel lashes out with one arm, but misses. Tom shoves Rachel to the side of the underpass down into a drainage ditch. He throws her against the wall and she slumps to the ground. He stands over her with his keys dangling from a leather fob. He hits her with his keys and then runs back through the underpass. Rachel crawls out of the drainage ditch and back into the underpass. She watches as Megan gets in the car. Tom speeds the car away. Two smirking teens walk up to Megan, amused by her drunkenness. One squats down to blow smoke in her face. The Man in the Suit walks towards them. MAN IN THE SUIT (to the teens) Hey, get the fuck out of here. Get the fuck out of here ! He turns to help Rachel up. MAN IN THE SUIT You’re okay. You just need some help. RACHEL Don’t touch me... Don’t touch me... Just fuck off... FUCK OFF!! He leaves, heading off through the underpass. BACK TO PRESENT: Rachel sits against the wall of the underpass, processing what she has remembered.CONTINUED: 81.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. TRAIN TRACKS - DAY The tracks curve past the river with no train in sight. Wind rustles through the weeds and through the trees of Beckett Street.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. TOM AND ANNA'S HOUSE - NEXT DAY Birds chirp. Rachel stands in front of Tom and Anna’s house. She steps onto the lawn and walks towards the house. Rachel walks around the side of the house.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. TOM AND ANNA'S BACKYARD - SAME MOMENT Rachel steels herself as she enters the yard. ANNA (O.S.) (to Evie) Come on. You’re heavy. Hello. Aw, come here... Anna is playing with Eviein a sandbox. She looks like hell. Her face is pale and makeup-less, her eyes blood-shot red. Rachel appears from the side of the house. RACHEL Anna. ANNA No. No. No. Go away. Go. Anna rises. RACHEL Anna, please. Please. I’m just going to stand right here. I’m not gonnacome closer. I just need to talk to you. ANNA I don’t want to hear anything you have to say. RACHEL Where’s Tom? Anna stares back at Rachel, carefully watching the distance between them. She doesn’t answer. RACHEL He’s lying to you. He always does. He’s a good liar. (CONTINUED) 82. ANNA I know he’s a good liar. We went behind your back for months. Rachel absorbs this. Anna looks away from her. RACHEL He’s just done it to you-- ANNA (cutting Rachel off) I know he’s cheating... I know... Rachel wasn’t expecting this... Behind them, the train passes. Then. RACHEL Anna... He killed Megan. ANNA (furious) No, we don’t... We don’t know that. RACHEL He’s dangerous. ANNA We don’t know anything! RACHEL Anna, you need to leave. You need to leave. You need to take Evieand you need to leave. Get out of here. Anna shakes her head, trying to resist the solidarity growing between them. ANNA No... No... RACHEL It’s not safe. ANNA I’m not leaving him. It’s hardly the first time he’s had an affair. RACHEL It’s not about the affair. And you know that, deep down. Anna, please just come with me. ANNA I’m notleaving him.CONTINUED: (CONTINUED) 83. RACHEL Please come with me. The back door opens. Rachel and Anna turn to see Tom standing there. TOM (CONT’D) Come in the house, honey. Anna runs with Evietowards Tom. RACHEL Anna, don’t. Don’t! Please... Anna passes Tom and disappears inside. Tom shakes his head at Rachel and turns to go inside. Rachel rushes toward Tom. RACHEL I saw you, Tom. You motherfucker, I saw you! You murderer! Tom slams the door in Rachel’s face. She shouts at him through the glass. RACHEL You fucking murderer! You killed her! You fucking killed her, I know it! Tom opens the door and pulls Rachel inside.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TOM AND ANNA'S KITCHEN - CONTINUOUS Tom pushes Rachel into the kitchen. TOM You’re un-fucking-believable . Anna stands shocked in the corner holding Evietightly. RACHEL (to Anna) Now listen. Listen to me. Megan got into his car that night. (to Tom) You think I don’t remember. You thought I blacked out. I saw you. ANNA (to Tom) Why did Megan get in your car? Did Megan get in your car?CONTINUED: (CONTINUED) 84. TOM No! RACHEL Yes, she did. (beat) Tell her the truth. Just tell her the truth right now... You attacked me in that tunnel, because I saw her with you-- Anna interrupts. ANNA (hard to say) ...I found Megan’s phone. The room goes silent. Tom and Rachel turn to Anna. ANNA (CONT’D) I found it... (beat) So, all those phone calls... They weren’t from Rachel... Tom walks away from Rachel and out into the sitting area. ANNA So were you fucking her while she was here, working? While she was looking after our daughter?! TOM ...You were so tired all the time. He approaches Eviewho is sitting in a jumpy chair. He picks her up and she starts crying loudly. TOM It’s all about Evie... (to Evie) That’s right. It was all about you, wasn’t it? He glares at Anna, pulling Eviecloser to his chest. Anna panics. ANNA Tom, give her to me. TOM It’s all right. (to Evie) It was all about you, wasn’t it?CONTINUED: (CONTINUED) 85. ANNA Tom, give her to me. Please. Please give her to me. TOM She’s fine. Anna cautiously approaches, reaching out for Evie. Tom turns from her. ANNA I think she needs changing. Please? TOM It’s gonnabe fine. ANNA Please just give her to me. Anna gently takes Eviefrom Tom, but Tom clutches Evieby the arm. Not letting go. ANNA Let her go. You’re going to hurt her. TOM Change her here. ANNA Okay, I’ll change her. Let her go. You’re gonnahurt her. With Tom distracted, Rachel reaches into her pocket and withdraws her phone, shakily dials 911-- Rachel slowly leaves the kitchen, heading towards the hallway... Still clutching Evieby the arm, Tom guides the baby towards the kitchen table.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TOM AND ANNA'S HOUSE - HALLWAY- CONTINUOUS Rachel places the phone to her ear. OPERATOR (on phone) 911, what’s your--? Tom suddenly grabs Rachel and spins her around. He grabs the phone from Rachel’s hands. CONTINUED: (CONTINUED) 86. OPERATOR (on phone) What’s your emergency? He hangs up. Tom grabs Rachel by the back of her neck and forces her out of the living room and back toward the kitchen.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TOM AND ANNA'S KITCHEN - MOMENTS LATER Tom forces Rachel back into the kitchen and pushes her down to a stool at the kitchen island. Anna tries to leave with Evie. TOM (to Anna) No no, stay. Stay. They stand in silence. Tom turns to Rachel. TOM Do you need a drink? RACHEL No. Tom notices Rachel’s hands are shaking slightly. He covers them with his own hand. TOM Yeah you do. Tom goes to the fridge and pulls out a fifth of vodka. He fills a glass. RACHEL All those things that you said I did. Those terrible things. I didn’t do any of them. Anna says nothing. He walks over to Rachel with glass. RACHEL (CONT’D) You just watched me suffer. You made me feel so worthless. You made me think that everything was my fault. Anna says nothing. Tom slides the vodka in front of Rachel.CONTINUED: (CONTINUED) 87. TOM Drink it. RACHEL You told me I got you fired. But, I didn’t. She looks beyond Tom to Anna who is listening behind him with Evie. RACHEL (CONT’D) You know, I saw Martha on the train? TOM DRINK IT. Tom throws the newly poured drink at Rachel. Vodka drips from her face. Not backing down, she looks to Anna. RACHEL I saw Martha on the train . And she toldme that you were fired because you were fucking everyone in the office! Tom smashes the glass on Rachel’s head. She falls hard to the floor. Her eyes close. Eviebegins crying. FADE TO BLACK.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. STREET NEAR UNDERPASS - DUSK Rachel’s memory slowly fades back in. The moment when Megan is walking away from her. This time we stay with Megan as she reaches Tom’s car. MEGAN Rachel’s down there. TOM Wait here. He heads down the underpass and disappears. Megan stands next to Tom’s car. Waiting. Finally, he emerges from the trees next to the underpass. TOM You want to get in the car? MEGAN What’s going on?CONTINUED: (CONTINUED) 88. TOM Don’t worry about it. Come on. They drive away. At the other end of the underpass, Rachel drags herself out of the ditch and watches them leave.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TOM’S CAR - MOMENTS LATER Tom glances over at Megan. TOM Okay, I’m here. What is it? MEGAN I just want to go to the woods. Megan stares out the window at the trees as they drive deeper into the woods. Rain drops obscure the image. There’s a sadness to Megan.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FOREST - DUSK Tom and Megan walk through the trees in the rain. Megan leads him. TOM’S POV:Megan runs ahead and turns around, smiling like a siren. TOM (playful) What is it with you crazy women? NOW, Megan leans against the tree that she and Tom had sex against. MEGAN’S MEMORY: Megan has sex against the tree. But now the Man’s face is no longer obscured. We see it is Tom. MEGAN’S MEMORY: Megan and Tom have sex in the hotel room. MEGAN’S MEMORY: Tom has sex with Megan in the nursery, Evie watching from her crib. A music box lullaby plays. BACK IN FOREST: Tom is now pressed up against Megan. He kisses her. The lullaby continues in the background. Water drips from a branch onto Megan’s face, bringing her back to herself. TOM Is this what you want?CONTINUED: (CONTINUED) 89. He unbuttons his pants and begins to tug at her jeans. MEGAN No. Tom smirks and spins her around so she’s facing the tree. TOM Like this? Megan gently pushes him back and turns to him. A moment. Megan struggles with how to articulate something. TOM What? MEGAN I’m pregnant. Tom’s face is blank. Megan says nothing. TOM Congratulations. MEGAN I thought you should know. TOM You thought I should know? MEGAN There’s a chance it could be yours. Tom stares at her a beat. TOM Then get an abortion. Or if it’s Scott’s, do whatever you want. But if it’s not then... Get rid of it. Tom walks away from Megan at the tree. Megan crosses from the tree. MEGAN You can be as involved as you want. Tom tenses up. TOM (softening) You’re a shitty nanny. What makes you think you’re gonnabe a good mother?CONTINUED: (CONTINUED) 90. MEGAN Why did you bring me there in the first place? TOM Because I thought it would be fun to have you both around. Tom grabs Megan’s hand and tries to pull her back to the car. Megan yanks away. MEGAN I played your game so you could fuck me in between Evie’s playdates . TOM I don’t need another kid. Certainly not with you. He turns and starts to walk away. MEGAN I took care of your kid to be near you! Megan pushes Tom hard. He stumbles forward and onto the ground. MEGAN You fucked Anna because you couldn’t fuck Rachel anymore! And you fucked me because you couldn’t fuck Anna! Take us all away and you’re just a pathetic, impotent man! Tom shoves Megan backwards into the ground. HER HEAD SLAMS INTO A ROCK. Blood spills onto the forest floor. Tom stands over Megan. All is silent. She’s dizzy and disoriented. After a moment - MEGAN You’re not gonnaget rid of me. You’re gonnapay for this child for the rest of your life-- Tom raises his foot and smashes his heel HARD into Megan’s head. Then he raises his foot and does it again. Megan lies still.CONTINUED: (CONTINUED) 91. Tom looks around to see that they’re alone. He grabs Megan by her feet and drags her back to the uprooted tree. Tom shoves Megan under the root ball. She stirs. Her eyes look back at him. She begins to SCREAM. Tom spots a rock on the forest floor. A resolve settles on Tom’s face. He has to finish this. He grips the rock... He leans under the root ball and smashes Megan’s head again. And again.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TOM AND ANNA'S KITCHEN - DAY CLOSE ON: Rachel’s face resting on the kitchen floor. Slowly she opens her eyes and sees Tom on the couch. He gazes at her. After a long pause-- TOM You’re like a dog. Like one of those unwanted, mistreated dogs. You can kick them, but they keep coming back to you. Thinking that somehow if they’re good-- RACHEL You’re not doing this again. TOM --you’ll love them. Weak, Rachel manages to sit, her back against the kitchen counter. RACHEL This is what you do. You’re not doing this to me. TOM You brought this on yourself, Rachel. If you had just stayed away that one night... Just left us all alone. You brought this on Megan... In a way, you killed her. A long silence between them. RACHEL But I didn’t. (beat) You did. Rachel BOLTS out of the kitchen, grabbing the corkscrew off the refrigerator.CONTINUED: (CONTINUED) 92. Just as she reaches the front door, Tom catches her and begins to choke her. Dropping the cork-screw, Rachel tries to pry his hands from her neck. TOM You did this to me in our marriage. You made me fucking crazy. Still choking her, Tom drives her to her knees. Rachel looks up the stairs to see... Anna-- staring blankly as Tom continues to choke Rachel. Rachel pleads for help with her eyes but Anna just stares back with little emotion. TOM Do you have any idea what it’s like to be married to a fucking blur? Tom forces her head to the floor. Quickly losing consciousness, Rachel flails her arms, searching for the corkscrew. Her hand finds an umbrella stand. She grabs the leg of the stand and swings the entire unit toward Tom, striking his head. Dazed, Tom lets go. Grabbing the corkscrew, Rachel runs back down the hall and out the back door.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. TOM AND ANNA'S BACKYARD - CONTINUOUS Rachel runs through the backyard, towards the back fence and the train tracks. Tom chases after, catches up to her, and grabs her by the arm. He yanks her backwards, HARD. Rachel reels on him, swinging her other arm around toward him with a clenched fist... JAMMING THE CORKSCREW INTO TOM’S NECK . ...Tom stares straight at Rachel. Blood spurts from his wound! Still standing Tom leans into Rachel. Each is forced to place their arms around each other in an awkward embrace. Blood continues to flow from his neck. Together they lower to their knees on the lawn. Anna watches in shock from the upstairs window. Rachel lets go of Tom. He falls to the ground. Rachel rises and turns to the train as it barrels past on the tracks.CONTINUED: (CONTINUED) 93. Rachel turns to see Anna walking towards a squirming Tom. The women lock eyes. Anna falls to her knees beside Tom. Rachel slowly approaches. Anna is nottrying to stop the bleeding at all... ...INSTEAD ANNA IS TWISTING THE CORKSCREW DEEPER AND DEEPER INTO TOM’S NECK. Tom dies. Anna stands. The two women face each other in silence.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. TOM AND ANNA’S HOUSE - LATER Detectives Riley and Gaskill escort Anna and Rachel to a waiting squad car. Rachel looks up to see Scott standing in the lawn next door. Scott stares at Rachel stopping her in her tracks. She and Scott share a knowing look. Without words, much is said and forgiven.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. POLICE STATION - LATER SAME DAY Riley and two Police Officers lead Rachel and Anna into the station. As they are led into different rooms, Rachel and Anna share one final glance. They are now tied together, forever bound, by the stories they tell.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. INTERROGATION ROOM - LATER Riley and Gaskill videotape Rachel’s statement. RACHEL I had no choice. He was... He would have killed me. I never wanted to hurt him. It was self-defense. Pushing in on Riley, we turn to see Anna is now at the table, giving her statement. ANNA She had no choice. Tom would have killed her. I saw the whole thing. Rachel was right about Megan. She was right about everything.CONTINUED: 94.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CEMETERY - DAY Rachel, looking more put together than we’ve seen, makes her way towards a low headstone: “MEGAN HIPWELL1990-2016” She silently pays her respects. RACHEL (V.O.) We are tied forever now, the three of us.",SENTI +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CENTRAL PARK, UNTERMYER FOUNTAIN - DAY Rachel sits, sketching before the Dancing Maids Fountain. The fountain isn’t flowing. RACHEL (V.O.) Bound forever by the story we share. CLOSE SHOTS ON: The Three Maid’s faces and dancing bodies, preserved as a relic of the past.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. TRAIN TRACK, ARDSLEY-ON-HUDSON - MORNING Trees blur as the train rolls by.",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. TRAIN - SAME TIME Rachel sits looking out the window of the train. She sees the houses on Beckett Road drift by as the train passes, then turns to look out the other window. RACHEL (V.O.) Today, I sit in a different car. And I look ahead. Anything is possible. Because I am not the girl I used to be.",SENTI +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. TRAIN TRACKS - SAME The train continues onward, curving along the river to disappear beyond the trees. FADE OUT. 95.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARIS OFFICE -- NIGHT11A large, dark, unfinished space. No one here.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARIS OFFICE SPACE, BATHROOM -- NIGHT22No one in the dark, modern, albeit in-progress BATHROOM.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARIS OFFICE SPACE, KITCHEN -- NIGHT33No one in the under-construction KITCHEN AREA.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARIS OFFICE SPACE, COMMON AREA -- NIGHT44Not a soul amongst the dark CUBICLES, or in the adjoining LOUNGE AREA, which hosts SAW HORSES, a BAND SAW, and other CONSTRUCTION EQUIPMENT. Light TRAFFIC is HEARD along with distant PEDESTRIAN VOICES through an open WINDOW at the far end, as the glow of HEADLIGHTS casts pale abstract patterns onto the ceiling. As if our eyes are adjusting to the dark... we begin to see... this room is not so empty as it seemed. We can make out the FIGURE of a MAN seated stark still to one side of the window...Meet THE KILLER.THE KILLER (V.O.)It's amazing how physically exhausting it can be to do nothing. If you're unable to endure boredom, this work is not for you.We see The Killer first mostly in silhouette. He is seated erect in a straight backed, folding CHAIR, close enough to the window to be able to peer out.THE KILLER (V.O.)Paris awakens unlike any other city. Slowly. Without the diesel grind of Berlin or Damascus. Or the incessant hum of Tokyo.The Killer leans slightly forward so his unremarkable, lately unshaven, 40-something face is cut by the shadow of the sill from the bridge of his nose down.Lights from below reflect in his eyes.THE KILLER (V.O.)Popeye the Sailor probably said it best... ""I am what I am.""CONTINUED 2.If you’re paying strict attention, you might notice he blinks only very occasionally, but who would notice that?The Killer breathes, exhaling slowly through his nose. He looks to his black FITBIT, TAPS from WATCH to HEART MONITOR: which reads ""45 bpm.""THE KILLER (V.O.)It's not that I'm exceptional. I'm just... apart.He remains seated, motionless, watching. A heavy DROP CLOTH hangs as make-shift window covering, and except for it's slight undulating this is a still life.THE KILLER (V.O.)I am The Stranger amongst you.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. POV: PARIS - TARGET WINDOW - NIGHT55The Killer has a vantage point on a GRANDIOSE APARTMENT BUILDING across a small SQUARE.CUT TO:,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARIS OFFICE SPACE, COMMON AREA -- DAWN66DAWN SUNLIGHT is breaking on The Killer, who is where we first saw him, looking out the brightening window.INT/",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. POV: PARIS - TARGET WINDOW - DAWN77We see a PICTURE WINDOW framed by the ornate façade of that GRANDIOSE APARTMENT BUILDING across the SQUARE. The window's CURTAINS are CLOSED.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARIS OFFICE SPACE, COMMON AREA -- DAWN88After a moment, The Killer stands and stretches his arms and shoulders. He tilts his head side to side to crack his neck, stifling a yawn. He's wearing LATEX GLOVES.THE KILLER (V.O.)Consider yourself lucky if our paths never cross.The Killer crosses the large space.DROP CLOTHS have been rolled aside to create a clear path where he can walk on bare floor. (He wears flat soled, SKETCHERS SNEAKERS.) 2. CONTINUED 3.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARIS OFFICE SPACE, KITCHEN - DAWN99Crossing the KITCHEN SPACE, The Killer goes to a SINK. He takes a small, stainless steel DISK from his pocket. As he opens it, we see......it is a COLLAPSIBLE DRINKING CUP.THE KILLER (V.O.)Except, luck isn't real.The gloved Killer runs the sink's FAUCET to fill the 6 ounce cup. He drinks, then shakes it over the sink a few times to rid it of excess water. He collapses the cup, pockets it, crosses back.THE KILLER (V.O.)Nor is karma. Or, sadly, justice.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARIS OFFICE SPACE, COMMON AREA - WINDOW - DAWN1010The Killer returns to the window, where he sits back at his post.THE KILLER (V.O.)As much as I would like to pretend these concepts exist...The Killer bends to reach a medium-sized BACKPACK.The PACK has some heft to it, although we don't see inside. The Killer UNZIPS it on his lap.THE KILLER (V.O.)...they don't.From the PACK, The Killer takes out a small, old-school iPOD MINI with wired EAR PODS wrapped neatly around it. He zips the PACK shut, slides it back.The Killer unfurls the headphones. THE KILLER (V.O.)One is born.Putting an EAR POD in his right ear, letting the other dangle, The Killer thumbs the Mini, adjusts volume and slides it into his breast pocket.THE KILLER (V.O.)Lives their life.CONTINUED 3. 4.The Killer resumes watching.He seems neither bored nor particularly interested; merely vigilantly sentinel.THE KILLER (V.O.)And eventually, one dies.INT/",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. POV: PARIS - TARGET WINDOW -- DAWN1111The window's CURTAINS are still CLOSED. No sign of life.THE KILLER (V.O.)In the meantime...CUT TO:,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARIS OFFICE SPACE - COMMON AREA - WINDOW - MORNING1212The Killer moves to his window. He's peering down through the narrow gap between window and drop-cloth, to see without being seen.THE KILLER (V.O.)""Do what thou wilt shall be the whole of the law."" To quote... someone; can't remember who.He casts his gaze further downward.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. POV:PARIS STREET - BELOW WINDOW - MORNING1313A new day's begun on this somewhat touristy street of SHOPS, small CAFES and BARS.THE KILLER (V.O.)140 million human beings are born every year, give or take.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. PARIS OFFICE SPACE - COMMON AREA - WINDOW - MORNING1414The Killer placidly observes.THE KILLER (V.O.)Worldwide population is approximately 7.8 billion.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. POV:PARIS STREET -BELOW WINDOW -PATISSERIE- MORN1515WAIT STAFF arrange TABLES and CHAIRS on the sidewalk outside a BAR/PATISSERIE. A few VEHICLES pass.THE KILLER (V.O.)Every second, 1.8 persons die. 4. CONTINUED 5.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. POV:PARIS STREET - BELOW WINDOW - BAR - MORNING1616By the PATISSERIE entrance, a FEMALE BARTENDER crouches to place a saucer of TUNA out for a hungry CAT, which she pets.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. POV:PARIS STREET - BELOW WINDOW-TARGET BUILDING-MORN1717A DOORMAN stands before the GRANDIOSE APARTMENT BUILDING'S ENTRANCE.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. POV:PARIS STREET - BELOW WINDOW - MORNING1818A TRAFFIC OFFICER strolls, looking at his PHONE.THE KILLER (V.O.)4.2 persons are born into that same second.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. POV:PARIS STREET - BELOW WINDOW - SHOPS - MORNING1919A FEMALE SHOPKEEPER smokes and SWEEPS in front of her SHOP. A LOCAL REALTOR, rolling up the SECURITY GATE of his OFFICE, has stopped to chat with THE DOORMAN.THE KILLER (V.O.)Nothing I've done will make any dent in these metrics.They exchange pleasantries.CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARIS OFFICE SPACE, COMMON AREA - MORNING2020On an open area of bare floor, the Killer, still gloved, does YOGA. He transitions...THE KILLER (V.O.)Skepticism is often mistaken for cynicism....to a PLANK POSE. He holds it, breathing evenly, alternates lifting his legs behind, maintaining rigid, exacting yoga form. He brings one bent knee forward...THE KILLER (V.O.)Most people refuse to believe that the Great Beyond is no more than a cold, infinite void... but I accept it.CONTINUED 5. CONTINUED 6....rises slowly, on one foot, to a BALANCING STICK POSE, which he holds a moment before... he transitions, moving with some fluidity... to a WARRIOR POSE.THE KILLER (V.O.)Along with the freedom that comes from acknowledging that truth.Straightening, The Killer suddenly drops to begin doing FINGERTIP PUSH-UPS, slowly...THE KILLER (V.O.)It occurs to me, that ""the moment,"" when it's time to act, is not when my risk is greatest. ...with his eyes closed, and his BREATHING -- deeply IN and OUT with each rise and fall of his body -- as much a part of the exercise as the push-ups themselves. Throughout, he doesn't break a sweat -- this isn't strenuous exercise, it's disciplined fine tuning.THE KILLER (V.O.)The real problems arise in the days, hours and minutes leading up to the task, and the minutes, hours and days after. Eliminating risk comes down to preparation, attention to detail, redundancies... redundancies... and redundancies.CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARIS OFFICE SPACE - ENTRY - AFTERNOON2121The Killer comes to the FRONT DOOR. He kneels to open a leather TRAVEL BAG on the floor beside a MOTORCYCLE HELMET with dark tinted VISOR.A few pieces of folded CLOTHING are amongst the ORGANIZED CONTENTS, including a BUCKET HAT and SUNGLASSES, both of which The Killer takes and puts on. He next removes a silenced GLOCK HANDGUN. From a side pocket......he gets a MONEY CLIP with a CREDIT CARD clipped amongst EUROS. He unzips another compartment which holds a NUMBER of (burner) PHONES. He takes one PHONE.The Killer straightens, pockets the phone and money. On his way to the door, he secures the Glock in his waistband, under his shirt. He peeps out the PEEPHOLE. He turns the doorknob, heading out.CONTINUED 6. CONTINUED 7.THE KILLER (V.O.)Leave nothing for the elves, with their tweezers, forensic baggies, and DNA kits.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARIS OFFICE SPACE - PUBLIC HALLWAY- AFTERNOON2222The Killer shuts the door, tests (it's got a KEYCARD DEADBOLT above the knob) to make sure it's SECURE. He glances at his Fitbit, walking briskly past...THE KILLER (V.O.)And avoid being seen. Which is impossible in the 21st Century... so at least avoid being memorable. The EMPTY SECURITY CAMERA MOUNT on the unpainted, drywalled hallway wall. Skipping the ELEVATORS, he opts for the stairs.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. PARIS OFFICE BUILDING - PUBLIC STAIRS - AFTERNOON2323The Killer heads very quickly down the STAIRWELL.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARIS OFFICE BLDG - GROUND FLOOR LOBBY - AFTERNOON2424Exiting the STAIRS, The Killer keeps up the pace, till he abruptly slows to a casual stroll as he's passing...THE KILLER (V.O.)Keep calm. Keep moving....in view of a SECURITY CAMERA mounted above.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PARIS OFFICE BLDG, ENTRANCE - AFTERNOON2525The Killer steps out the FRONT DOOR, glances at his Fitbit, keeps walking. As he does, he looks to......the ENTRANCE, across the square, of that GRANDIOSE APARTMENT BUILDING. THE DOORMAN is there, arms crossed.THE KILLER (V.O.)The camo I'm wearing is based on a German tourist I saw in London, a while back.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PARIS OFFICE BLDG- STREET- PARKING AREA - AFTERNOON2626The Killer's just another PEDESTRIAN headed for a small KIOSK which is over-crowded with parked MOTORCYCLES, SCOOTERS, BIKES and the like. CONTINUED 7. (more)CONTINUED 8.THE KILLER (V.O.)No one really wants to interact with a German tourist.The Killer glances around -- as will often be his habit -- arriving at a shiny new VESPA parked curbside.THE KILLER (V.O.)Parisians avoid them like the rest of the world avoids street mimes.He checks the PADLOCK on a KRYPTONITE CHAIN around the Vespa. At the same time, he takes out an RF KEY. He puts the key in the ignition, checks the BATTERY charge.Satisfied, The Killer shuts the Vespa off. He puts the key back in his pocket as he walks away.PASSERS-BY pay him no real attention as he goes.CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PARIS STREET - MCDONALD'S- AFTERNOON2727In a scenic and busy area the sidewalks full of TOURISTS, SHOPPERS, BUSINESSMEN and WOMEN. The Killer walks unremarkably along. He's bound for...THE KILLER (V.O.)There are fifteen hundred McDonalds in France. ..a MCDONALD'S, where he offers his place in line to a MOTHER and DAUGHTER who arrive just as he does.THE KILLER (V.O.)A good enough place to grab 10 grams of protein for a Euro; alongside the 46 million people they serve each week.CUT TO:",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PARIS - STREET - AFTERNOON2828The Killer walks with BURNER PHONE to his ear, and a McDonald's BAG at his side.MAN'S VOICE (V.O.)(from PHONE)I assure you, he's in town. (more)CONTINUED 8. MAN'S VOICE (V.O.) (CONT.) CONTINUED 9.I wish I could tell you the exact moment he's going to show, but according to every bit of additional information I've been able to get, he's expected. Best I can do.The Killer absorbs this.MAN'S VOICE (V.O.)(from PHONE)Hello? Are you still there?THE KILLER (into PHONE)It's been five days, so... I'll give it today and tomorrow.The Killer stops walking, near a street corner.MAN'S VOICE (V.O.)Fair enough. I needn't remind you: if we don't meet our commitment...THE KILLER""We?""MAN'S VOICE (V.O.)Yes, frankly. ""We"" don't invoice and ""we"" eat the expenses to date. Just... call if the next 24 hours pass uneventfully. Let's go from there. Okay?The Killer hangs up. In a seemingly practiced move, as he lowers the hand holding the phone he DROPS the phone to the street. Without looking down, he steps......CRUSHING IT under his heel. He SIDE-KICKS the broken PIECES into the gutter as he walks away.CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PARIS ST - PARK - BENCH - TARGET BLDG -AFTERNOON2929In the SMALL PARK not far from where his Vespa's chained, The Killer is seated alone on an IRON BENCH.THE KILLER (V.O.)It's a dog eat dog world, to reuse the apt cliché. He unwraps two EGG MCMUFFINS beside two plastic BAGS of APPLE SLICES.MAN'S VOICE (V.O.) (CONT.) CONTINUED 9. CONTINUED 10.The Killer disassembles his McMuffins, setting the muffins into one WRAPPER, stacking the Canadian bacon and disk-like eggs in the other.THE KILLER (V.O.)Every man for himself. Kill or be killed. Survival of the fittest.He takes the apple slices, wraps the muffins in their wrapper and in turn crumples them inside the carry-out bag, as garbage.Facing forward, the Killer eats what's salvaged; a Canadian bacon sandwich with the two eggs for ""bread."" Chews, swallows; consuming perfunctorily.THE KILLER (V.O.)Isn't it all just human nature?POV:He's watching PEOPLE come and go. THE DOORMAN nods to greet a RESIDENT. ON THE PARK BENCHWithout moving his head, his eyes behind his sunglasses take in everything and everyone. POV:A small CHILD plays, occasionally overseen by a NANNY ON HER phone.THE KILLER (V.O.)Of those who like to put their faith in mankind's inherent goodness, I have to ask...A MAN in a SUIT with loose TIE is seated on a nearby BENCH, head back, eyes shut, sunbathing.An OLD MAN in a WHEELCHAIR is seated beside his NURSE. The NURSE SMOKES a CIGARETTE.ON THE PARK BENCHThe Killer tears a bag of apple slices with his teeth, squeezes pieces into his mouth. Chews, chews, swallows.THE KILLER (V.O.)...based on what exactly?CONTINUED 10. 11.POV:The OLD MAN, with TANK, OXYGEN TUBE and MASK, looks over.CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARIS OFFICE SPACE - PUBLIC HALLWAY - AFTERNOON3030The Killer finishes putting on GLOVES... takes out a generic white KEYCARD, which he holds up to the door's KEYCARD READER. There's a BEEP, and the DEADBOLT is HEARD UNLOCKING. THE KILLER (V.O.)I used to book a lot thru Airbnb. Not anymore. Those Superhosts love their nanny-cams.The Killer enters.THE KILLER (V.O.)Take comfort in the fact that 70 to 80 percent of wrongful convictions are the direct result of eyewitness testimony.CUT TO:INT/",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. POV:PARIS - TARGET WINDOW - AFTERNOON3131That TARGET WINDOW across the way remains curtained.THE KILLER (V.O.)Still... only takes a few episodes of DATELINE to know there are a hundred ways to trip oneself up. If you can think of a dozen of them, you’re a genius. I'm no genius.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARIS OFFICE SPACE - COMMON AREA -WINDOW -AFTERNOON3232The Killer stands staring out his open window, arms at his sides, one earbud in. He looks to the streets below.THE KILLER (V.O.)Since the beginning of history, the few have always exploited the many. 11. CONTINUED 12.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. POV:PARIS ST - BELOW WINDOW - SHOPS - AFTERNOON3333TOURISTS and BUSINESS PEOPLE walk the mid-day sidewalks. Streets are semi-busy with TRAFFIC. People come and go from SHOPS and APARTMENT BUILDINGS.THE KILLER (V.O.)This is the cornerstone of civilization. The blood in the mortar that binds all bricks.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. POV:PARIS ST - BELOW WINDOW - SHOPS - AFTERNOON3434At the cafe, COUPLES drink, smoke, SHOUT and LAUGH. Many, with FOOD and DRINK before them, check PHONES.THE KILLER (V.O.)Whatever it takes... make sure you're one of the few, not one of the many.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARIS OFFICE SPACE - COMMON AREA -WINDOW -AFTERNOON3535As The Killer raises it to his eye, we see he's holding a rifle's SCOPE, which he uses to LOOK THROUGH...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. POV:PARIS ST - BELOW WINDOW -SHOPS -AFTERNOON3636POV THRU SCOPE:At one cafe table, a BUSBOY clears dirty GLASSES and half-full PLATES of FOOD into a PLASTIC TUB.A DINER with COFFEE before him, adds three PACKETS OF SUGAR to his cup, stirs.At another table, FOLKS are all engrossed in TEXTING here, scrolling INSTAGRAM there.INT/",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. POV:PARIS - STRANGER WINDOW 1 -AFTERNOON3737POV THRU SCOPE:Thru one WINDOW: a WOMAN in a BATHROBE watches TV. The TV's LIGHT plays on the WOMAN's face as her eyelids and mouth droop. She's falling asleep.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. POV:PARIS ST - BELOW WINDOW - SIDEWALK - AFTERNOON3838POV THRU SCOPE:A GUY exits the REALTY OFFICE, looking at a SPEC SHEET. He bites at a HANGNAIL.CONTINUED 12. 13.A WOMAN drags her crying DAUGHTER along behind her. The little girl's hand in her mother's tight grasp.They pass a well dressed MAN who's SHOUTING into his PHONE; spittle flying from his angry lips.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. POV:PARIS - BALCONY - AFTERNOON3939POV THRU SCOPE:On an adjacent BALCONY: the OLD MAN with OXYGEN TANK (we saw earlier) is now shirtless, watching people below. His OXYGEN MASK FOGS and UN-FOGS with each breath.INT/",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. POV:PARIS-WINDOW BELOW TARGET WINDOW - AFTERNOON4040POV THRU SCOPE:In a WINDOW below the TARGET WINDOW, the second hand turns on a large, ANTIQUE CLOCK. Under the clock is a large VASE brimming with DEAD FLOWERS, while, above...THE KILLER (V.O.)On Annie Oakley jobs, distance is the only advantage.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. POV:PARIS - TARGET WINDOW - AFTERNOON4141POV THRU SCOPE:...CURTAINS are still pulled in the target room.THE KILLER (V.O.)Everything else... the popping sound like fireworks; breaking of glass; the screams... all disadvantage.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARIS OFFICE SPACE - COMMON AREA -WINDOW -AFTERNOON4242The Killer lowers the SCOPE, still looking out.CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARIS OFFICE BUILDING - COMMON AREA - NIGHT4343In his chair near the window, in darkness, with his duffel open on the floor in front of him, The (always GLOVED indoors) Killer takes out a CLOTH-wrapped OBJECT.He unwraps the matte black BODY of a SNIPER RIFLE. 13. CONTINUED 14.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. PARIS OFFICE SPACE - COMMON AREA - NIGHT4444He next unwraps a CLOTH containing the BARREL and STOCK.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARIS OFFICE SPACE - COMMON AREA - NIGHT4545The Killer is seated, staring blankly off as, in his lap, he ASSEMBLES the SNIPER RIFLE; hands moving with practiced precision... attaching STOCK to BODY... BARREL to BODY... MAGAZINE to RECEIVER.THE KILLER (V.O.)When it comes to bystanders getting involved -- everything becomes a blur.As The Killer secures the SCOPE in place, he looks down to inspect the fully assembled, bolt action SNIPER RIFLE. It's modern and deadly looking.THE KILLER (V.O.)Combat veterans call this ""tunnel vision."" I call it occupational good-fortune.An O.S. SOUND of KEYS on a KEYCHAIN is HEARD. The Killer reacts, jerking his head to look, his eyes narrowing. He sets his rifle aside on the floor, leaping to his feet.He bounds across the room quickly and quietly as a BEEP is HEARD at the DOOR, followed by DEADBOLT THUNK.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARIS OFFICE SPACE - ENTRY - COMMON AREA - NIGHT4646At the DOOR, the KNOB turns. DOOR's OPENING.The Killer slides on his knees, takes out his...SILENCED GLOCK 43. He presses himself against the wall.The DOOR SLOWLY opens, allowing a shaft of LIGHT into the darkness. The Killer's on the hinge side, so he can see the door opening, but can't see who it is yet.The Killer holds his breath and slowly aims. Whomever is about to enter is surely doomed.The unseen VISITOR tosses rubber-band BUNDLED MAIL onto the floor inside the door.The Killer waits, wary.A long moment, then...The door SHUTS with a PNEUMATIC HISS.CONTINUED 14. CONTINUED 15.The Killer steps back. He listens as a solid THUNK is HEARD from the DEADBOLT.CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARIS OFFICE SPACE - COMMON AREA - WINDOW - NIGHT4747The Killer's in his chair, looking out.INT/",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. POV:PARIS - TARGET WINDOW - NIGHT4848The watched WINDOW across the way remains dark.THE KILLER (V.O.)It's the idle hours that most often lead a man to ruin.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARIS OFFICE SPACE - COMMON AREA - WINDOW - NIGHT4949The Killer looks below.THE KILLER (V.O.)That's not Dylan Thomas, but it ought to be.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. POV:PARIS STREET - BELOW WINDOW - SIDEWALK -NIGHT5050Few PEDESTRIANS and little TRAFFIC on the STREETS. A POLICE CAR cruises thru, LIGHTS FLASHING, no siren.At the BAR/PATISSERIE, there are fewer PATRONS. THREE drunken MEN are DRINKING and SMOKING, carousing loudly. Idle WAIT STAFF huddle nearby, bored.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. POV:PARIS STREET - BELOW WINDOW - SIDEWALK -NIGHT5151TWO WOMEN walk briskly along, heels clicking, arm in arm.INT/",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. POV:PARIS - STRANGER WINDOWS 1 - NIGHT5252In one WINDOW: TV GLOW shifts, but BATHROBE WOMAN's gone.INT/",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. POV:PARIS - STRANGER WINDOW 2 - NIGHT5353Thru a WINDOW: a very pale COUPLE makes out on a COUCH.THE KILLER (V.O.)Somehow, jobs that are designed to rattle a cage...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. POV:PARIS STREET - BELOW WINDOW - SHOPS - NIGHT5454FEMALE SHOPKEEPER and MALE REALTOR pass a cigarette between them in front of their shuttered STOREFRONTS.CONTINUED 15. CONTINUED 16.THE KILLER (V.O.)...are always the most tedious.INT/,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. POV:PARIS - STRANGER WINDOW 3 - NIGHT5555In another WINDOW: a MAN, WOMAN, BOY and GIRL watch TV.THE KILLER (V.O.)I've actually grown to appreciate proximity work.INT/",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PARIS OFFICE SPACE - COMMON AREA- WINDOW - NIGHT5656FROM OUTSIDE:The open UPPER FLOOR WINDOW, seen from outside, we can just barely make out The Killer in the pale shaft of light thru the CURTAIN. THE KILLER (V.O.)Staged accidents. Gradual poisonings. Anything requiring a little creativity.CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. POV:PARIS STREET - BELOW WINDOW - SHOPS - NIGHT5757At the BAR/PATISSERIE, tables and chairs are gone. A lone BUSBOY hoses down the sidewalk. A TAXI passes.THE KILLER (V.O.)When was my last nice, quiet drowning? Seems like forever.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARIS OFFICE SPACE - HALLWAY -- NIGHT5858In a lightless HALL, where the BATHROOM door is ajar, we HEAR the O.S. SOUND of a TOILET FLUSHING. After a moment, The Killer comes out, carrying a JUG of BLEACH.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARIS OFFICE SPACE - KITCHEN - NIGHT5959The Killer brushes his teeth at the sink, using his stainless steel, collapsible cup to rinse and spit. He runs water over his TRAVEL TOOTHBRUSH, then folds it.THE KILLER (V.O.)Gary Ridgeway, the Green River Killer, murdered at least 49 women over two decades. He couldn’t spell cat if you spotted him the A and the T. But he was conscientious.CONTINUED 16. 17.He fills his COLLAPSABLE CUP. Drinks. Shakes the empty over the sink a few times to rid it of excess water. He re-collapses the cup, pockets it and the toothbrush. THE KILLER (V.O.)I’ve put in my 10,000 hours. Beyond which I’m aided and abetted by law enforcement fatigue. Sheer caseload.The Killer uses a small SPRAY BOTTLE of HAND SANITIZER, spraying in a circle to cleanse the entire sink and drain while the faucet's still running.CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARIS OFFICE SPACE - COMMON AREA - BEDDING - NIGHT6060The gloved Killer unfolds a long SHEET of thick PLASTIC across a length of DRYWALL which has been laid upon two big, STEEL TOOL CRATES on rollers.Fully dressed, he lays lengthwise; his bed for the night.THE KILLER (V.O.)Ted Williams batted .344 Lifetime. I’d be batting a thousand except I won’t take credit for watching someone drop dead of a coronary. The only time nicotine, red meat and marital stress did the hard part for me.He interlocks fingers on his chest, eyes closed, then remembers...He TAPS his FITBIT.Shuts his eyes.CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARIS OFFICE SPACE -COMMON AREA-BEDDING- LATER NIGHT6161The Killer sleeps soundlessly. Soon, a vibrato HUM is HEARD from his FITBIT.The Killer stirs. He opens his eyes.He grudgingly taps the silent alarm OFF.Sucks a deep breath to gather himself, gets up.He crosses to the window. 17. 18.INT/",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. POV:PARIS - TARGET WINDOW - NIGHT6262The WINDOW across the way is still dark.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARIS OFFICE SPACE- COMMON AREA-BEDDING - NIGHT6363The Killer turns to his makeshift bed. Lays back down on the thick plastic sheet.THE KILLER (V.O.)Of the many lies told by the U.S. military industrial complex, my favorite is still their claim that sleep deprivation didn’t qualify as torture.He pushes a button on his Fitbit.Settles in, fingers entwined. Closes his eyes.CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARIS OFFICE SPACE- COMMON AREA-BEDDING- LATER NIGHT6464INSERT: The FACE of The Killer's Fitbit: showing 1:59:58...1:59:59... 2:00:00, and the Fitbit begins VIBRATING. 2:00:01... 2:00:02... 2:00:03...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. PARIS OFFICE SPACE - COMMON AREA-BEDDING - NIGHT6565The Killer's eyes flit open.THE KILLER (V.O.)Vigilance is essential. Even the most disciplined mind can become weary.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. PARIS OFFICE SPACE - COMMON AREA - WINDOW - NIGHT6666The Killer comes to look...THE KILLER (V.O.)Impatient. Hurried. Sloppy.INT/,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. POV:PARIS - TARGET WINDOW - NIGHT6767The WINDOW across the way is dark.CUT TO: 18. 19.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARIS OFFICE SPACE - COMMON AREA- BEDDING- NIGHT6868For a long moment, we look upon The Killer in repose as he sleeps on the plastic, hands on his chest as before. You'd be hard pressed to say he looks peaceful though.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARIS OFFICE SPACE - COMMON AREA - BEDDING - NIGHT6969CU: His EYES, beneath his eyelids, dance herky-jerkily; evidence of wildly active REM ACTIVITY.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARIS OFFICE SPACE -COMMON AREA- BEDDING- NIGHT7070The Fitbit begins its predicable VIBRATING.The Killer awakens, turns the alarm off.He sits up.Holds his head in his hands.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARIS OFFICE SPACE - COMMON AREA - WINDOW - NIGHT7171The Killer, somnolent, sits up - stretching his neck, then freezes -- does a DOUBLE-TAKE:INT/",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. POV:PARIS - TARGET WINDOW - NIGHT7272The WINDOW across the way is LIT. A MAID's OPENING CURTAINS... then a window; airing the place out.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARIS OFFICE SPACE - COMMON AREA - WINDOW - NIGHT7373The Killer absorbs this, steps forward to look down.INT/",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. POV: PARIS STREET -- TARGET BUILDING - NIGHT7474POV:Below, from a LUXURY CAR, MEN with UMBRELLAS get out... heading to target building's ENTRANCE. THE DOORMAN NOW ATTENDS.CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARIS OFFICE SPACE - COMMON AREA - BEDDING - NIGHT7575The Killer tears off his left glove (leaves the right), drops it on the plastic sheet.He quickly and carefully begins refolding the sheet; always inwardly to the middle, folding the glove within. 19. CONTINUED 20.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARIS OFFICE SPACE - ENTRY - NIGHT7676The Killer comes to kneel, opens his travel bag and shoves the folded plastic sheet inside.MOMENTS LATER:The Killer puts on his jacket and places his travel bag on the floor directly in front of the entry door, balancing his helmet on top.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARIS OFFICE SPACE - ENTRY - LATER NIGHT7777The Killer kneels, UNZIPPING his BACKPACK on the open floor. He takes out a thick, BLACK Heatworx GLOVE which he pulls onto his left hand; now black clad left-handed and latex right-handed.He leaves the bag splayed, handles to each side, unfurls a TOWEL and lays it across.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARIS OFFICE SPACE - COMMON AREA - WINDOW - NIGHT7878The Killer takes his iPOD from his folding chair.He puts one POD into his ear.The Killer reaches to take the SCOPE from where his RIFLE sits in neatly arranged PIECES on the wide windowsill.Remaining standing, he uses the scope...INT/",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. POV:PARIS - TARGET WINDOW + ADJACENT - NIGHT7979POV THRU SCOPE:The Maid's straightening a LIVING ROOM where there's a bit of RENAISSANCE FURNITURE, including a LOUNGE CHAIR, SIDE TABLE and COUCH in front of a FIREPLACE and MANTLE.THE WINDOW TO THE LEFT: seems to be an empty FOYER.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARIS OFFICE SPACE - COMMON AREA - WINDOW - NIGHT8080The Killer places the scope down, sits and takes up his iPod MINI. He quickly dials up MUSIC, HITS play... THE KILLER (V.O.)I find music a useful distraction. A focus tool. Keeps the inner voice from wandering.Time to go to work.CONTINUED 20. CONTINUED 21.The Killer grabs components, begins ASSEMBLING them without looking; fitting BODY and STOCK together...INTERCUT- POV:PARIS TARGET WINDOW-ADJACENT WINDOWS- NIGHT8181The DOOR to the foyer's OPENING. TWO thugs enter, in SUITS and TIES; BODYGUARD ONE and BODYGUARD TWO.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARIS OFFICE SPACE - COMMON AREA - WINDOW - NIGHT8282...The Killer fits the BARREL into the BODY...INTERCUT- POV:PARIS TARGET WINDOW-ADJACENT WINDOWS- NIGHT8383Bodyguard One and Two go from the FOYER into the LIVING ROOM (where Maid's still at work), clearing the place to make sure it's safe.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARIS OFFICE SPACE - COMMON AREA - WINDOW - NIGHT8484...The Killer examines BULLETS in the MAGAZINE... fits the MAG into the RECEIVER, slaps it in place...INTERCUT- POV:PARIS TARGET WINDOW-ADJACENT WINDOWS- NIGHT8585LIGHTS come ON in the far right WINDOW, seemingly a BEDROOM with CURTAINS mostly closed, so Bodyguard One, entering, can only be glimpsed thru the sliver of a view.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARIS OFFICE SPACE - COMMON AREA - WINDOW - NIGHT8686...The Killer AFFIXES the rifle's SCOPE. Done. Ready.THE KILLER (V.O.)My ""process"" is purely functional. Logistical. Narrowly focused, by design. He leans back in his chair, takes a small BOTTLE of EYEDROPS from his pocket, uncaps it.THE KILLER (V.O.)I’m not here to take sides. It’s not my place to formulate any opinion.Head back, he DRIPS eyedrops into both eyes.THE KILLER (V.O.)No one who can afford me needs to waste time winning me to their cause.CONTINUED 21. CONTINUED 22.Capping and pocketing the eyedrops, The Killer levels his weapon so that just the barrel and front of the scope extend thru the curtain. He CHAMBERS a round. THE KILLER (V.O.)I serve no God or country. I fly no flag. While peering thru, The Killer ADJUSTS the scope.THE KILLER (V.O.)I'm effective because of one simple fact: I don’t give a fuck.INT/",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT.-POV:PARIS TARGET WINDOW- ADJACENT WINDOWS- NIGHT8787POV THRU SCOPE:In the LIVING ROOM, Maid crosses right, towards the bedroom, just as Bodyguard One and Bodyguard Two are crossing left. The Killer pans left to follow the Bodyguards... into the FOYER, where......a grey haired, OLDER GENTLEMAN in a SUIT enters the flat, along with an attractive, DARK HAIRED WOMAN wearing a sleek, BLACK DRESS and STILETTOS.Dark Haired Woman carries a black VALISE, while the Killer's CROSSHAIRS fixate on Older Gentleman......following him as he talks to Dark Haired Woman and the Bodyguards, but... Older Gentleman steps beyond the window frame. He's still partially seen, REFLECTED in a large MIRROR, addressing his bodyguards.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARIS OFFICE SPACE - COMMON AREA - WINDOW - NIGHT8888The Killer swallows, his breathing rapid. He sits back, inhaling deeply. He looks to his Fitbit, TAPS it.Fitbit's screen tells the tale: ""104 bpm.""He takes a deep breath, holds it, then lets out a few sharp exhalations thru his teeth -- attempting to calm.THE KILLER (V.O.)At this range, a subsonic round's drop is not an issue. I'm just looking for a pulse rate under 60 and a measured squeeze, so vintage glass won't alter trajectory.He checks at his Fitbit: ""75 bpm.""CONTINUED 22. CONTINUED 23.He's back to it...THE KILLER (V.O.)Stick to your plan.INT/",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. - POV: TARGET WINDOW - ADJACENT WINDOWS - NIGHT8989POV THRU SCOPE:The Killer's AIM follows Dark Haired Woman as she enters the LIVING ROOM. She places her valise on a COFFEE TABLE before the COUCH and LOUNGE CHAIR... SCOPE POV SWINGS left: Older Gent's NOT in the MIRROR...POV SWINGS back... Older Gent has left the FOYER and is in the LIVING ROOM, stopping to plant a kiss on Dark Haired Woman, who's opening her valise. Older Gent keeps going right. Dark Haired Woman's case contains many interesting items, but she takes out a CROP, which she places on the table.The Killer SWINGS RIGHT... to the BEDROOM curtain sliver. Older Gent passes, partially seen. He's moving around; looks like he's disrobing.To the left... Dark Haired Woman heads right, passing the Maid -- neither woman acknowledging the other. Maid exits to somewhere deeper in the flat. POV: SWINGS RIGHT... to confirm Older Gentleman's still partly visible in the BEDROOM, then POV... refocuses as a LIGHT comes on in a SMALLER WINDOW, right of the LIVING ROOM. That glass is pebbled; a BATHROOM WINDOW. Dark Haired Woman's occupied in there. POV SHIFTS left... to the LIVING ROOM, where Bodyguard Two follows the Maid's lead. Bodyguard One places a DRINK beside the lounge chair, then comes to the target window, now centered in The Killer's CROSSHAIRS.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARIS OFFICE SPACE - COMMON AREA - WINDOW - NIGHT9090The Killer's Fitbit reads: ""78 bpm.""THE KILLER (V.O.)Anticipate, don't improvise.INT/",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. - POV: TARGET WINDOW - ADJACENT WINDOWS - NIGHT9191POV THRU SCOPE:The Killer SWINGS AGAIN to... the BATHROOM WINDOW, still lit, but past that... the BEDROOM WINDOW's sliver is DARK. The Killer immediately resets, searching left...CONTINUED 23. 24.In the LIVING ROOM, Bodyguard One exits. The KILLER'S SCOPE discovers... someone's entering, partially in view, wearing a BATHROBE. They're tantalizingly half-seen --",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARIS OFFICE SPACE - COMMON AREA - WINDOW - NIGHT9292The Killer lifts his head, quickly rolls his neck forward and back, side to side, then... back to it...THE KILLER (V.O.)Trust no one. Never yield an advantage.INT/",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. - POV: TARGET WINDOW - NIGHT9393POV THRU SCOPE:-- Until they cross to the chair: it's Older Gentleman, in full view. He's bare-chested under the robe, gesticulating while talking to someone we can't see.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARIS OFFICE SPACE - COMMON AREA - WINDOW - NIGHT9494The Killer tenses, SUCKS AIR -- HOLDS HIS BREATH.THE KILLER (V.O.)Fight only the battle you're being paid to fight.His thumb CLICKS the rifle's SAFETY OFF.THE KILLER (V.O.)Forbid empathy. Empathy is weakness. Weakness is vulnerability. His finger curls nearly imperceptibly on the TRIGGER.THE KILLER (V.O.)Each and every step of the way, ask yourself, what's in it for me?INT/",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. POV:PARIS TARGET WINDOW - NIGHT9595POV THRU SCOPE: Older Gent's still speaking. He takes up the drink Bodyguard left him as he plops down in the lounge chair. The Killer's CROSSHAIRS follow Older Gent's face while he's sipping his cocktail. 24. CONTINUED 25.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. PARIS OFFICE SPACE - COMMON AREA - WINDOW - NIGHT9696CU: The Killer's RIGHT EYE -- lit by LIGHT passing thru the scope -- TWITCHES.THE KILLER (V.O.)This is what it takes... what you must commit yourself to...INT/,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. POV:PARIS - TARGET WINDOW - NIGHT9797THRU SCOPE POV:Older Gent is perfectly dead-centered, but his eyes are following someone when -- SUDDENLY a BLURRED FIGURE COMPLETELY FILLS The Killer's SCOPE just as...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARIS OFFICE SPACE - COMMON AREA - WINDOW - NIGHT9898THE KILLER (V.O.)...if you want to succeed. Simple.The Killer's finger SQUEEZES THE TRIGGER, firing.INT/",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. POV:PARIS - TARGET WINDOW - NIGHT9999POV THRU SCOPE:Thru the target window: the half-naked, oblivious DARK HAIRED WOMAN has crossed into the line of fire; she's nearer to the now SHATTERING WINDOW -- her SHOULDER EXPLODING her fracturing ARM WHIPLASHING as she's THROWN by the bullet's IMPACT.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARIS OFFICE SPACE - COMMON AREA - WINDOW - NIGHT100100The Killer gasps thru his teeth, still eyeing his scope.INT/",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. POV:PARIS - TARGET WINDOW - NIGHT101101POV THRU SCOPE:The mortally wounded woman SLAMS the floor. Older Gent's terrified, searching eyes are uncomprehending.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARIS OFFICE SPACE - COMMON AREA - WINDOW - NIGHT102102The Killer works the bolt, RELOADING.INT/",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. POV:PARIS - TARGET WINDOW - NIGHT103103POV THRU SCOPE:CONTINUED 25. 26.A CURTAIN SWEEPS closed across the target window.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARIS OFFICE SPACE - COMMON AREA - WINDOW - NIGHT104104The Killer lifts his head from the scope.THE KILLERFuck.He stands, lifting his rifle. He KICKS the FOLDING CHAIR, which slides... across the floor.He bends while crossing, picks up the SHELL CASING......and he hurriedly disassembles the rifle as he goes; unscrewing the barrel with his Heatworx-gloved hand.Astride the duffel bag, he drops casing and smoldering rifle body, scope attached, onto the waiting towel. He closes the towel over it all, begins ZIPPING the duffel.The towel gets caught. He unzips... re-zips.Hoisting the duffel bag by its shoulder strap, gun barrel still held, The Killer strides across the room. He stops, turns back... KICKS one rolled DROP CLOTH so it unrolls back into place over the open floor.He stashes his EARBUDS in his shirt, puts on his motorcycle helmet. He grabs his travel bag, slinging it across his back.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARIS OFFICE BUILDING - PUBLIC HALLWAY - NIGHT105105The Killer exits the offices, glances down the empty hall. He heads for the STAIRS, trying to remain calm.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARIS OFFICE BUILDING - PUBLIC STAIRS - NIGHT106106The Killer, helmet on, strides down. He's got the rifle barrel and silencer concealed along his forearm.Further on, there's a SOUND from below in the stairwell. The Killer halts, wary. He lets the barrel slide down, till he holds it now by one end -- a heavy cudgel. He peers down the center of the stairwell. Waits.After a moment, he keeps going, heading downward. 26. CONTINUED 27.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARIS OFFICE BLDG - GROUND FLOOR LOBBY - NIGHT107107Exiting the STAIRWELL, and -- under the SECURITY CAM's watchful eye -- the Killer slows in an attempt at a stroll, so the journey to the FRONT DOOR becomes interminable.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PARIS OFFICE BLDG STREET - PARKING AREA - NIGHT108108The Killer shoves the doors, picking up the pace. On the way to his waiting VESPA, he makes a slight detour past a line of CONSTRUCTION DUMPSTERS.The Killer pulls the folded plastic sheet and discards it in one dumpster.Amongst the other BIKES and CYCLES, The Killer takes a knee. He uses his latexed hand to solve the PADLOCK. He's having trouble, must take a breath, then thumbs the combination... pulls the LOCK OPEN.He gets on the Vespa, leaving the chain and lock hanging. He takes out his key, uses it... but the cycle merely SPUTTERS.We can't see The Killer's face, but we can imagine. He tries again, looks around. Again. The Vespa RUMBLES, heading... into the empty night.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PARIS - STREETS - NIGHT109109The Killer accelerates, swerving onto a SIDE STREET. He reaches behind him, and with a flick of his wrist...ANGLE ON:...he tosses the silenced RIFLE BARREL, which SPARKS across the asphalt and disappears down a SEWER GRATE.CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PARIS - STREETS - SACRE-COEUR - NIGHT110110The Killer cruises, just at SPEED LIMIT, on STREETS in the shadow of THE PANTHEON's hilltop grandeur.CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PARIS - STREETS - NORTH SUBURBS -- NIGHT111111FOLLOW: The Killer navigating mostly empty thoroughfares. Closed STOREFRONTS zip by. Ahead, a green hued GARBAGE TRUCK lumbers.CONTINUED 27. 28.The Killer reaches back with one hand...He grips the weighty backpack by its handles.Slowing, The Killer careens alongside the truck...He FLINGS the weapon laden pack into the yawning back of the truck. He ZOOMS past, motoring on.CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ROADSIDE, QUAI DE SEINE, SAINT-DENIS -- NIGHT112112FOLLOW: The Killer, on his Vespa, turns his HEADLIGHT OUT as he rides over the curb. He STOPS before a BRIDGE. He turns the Vespa off, heels the kickstand, leaves the KEY in the ignition, dismounts. With his back to the occasional VEHICLE motoring by, he takes out the bottle of HAND SANITIZER and SPRAYS the KEY, ignition and handlebars thoroughly.He walks, helmet on, to a railed STAIRWAY.THE KILLER (V.O.)Well... this... this is new.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PARIS - CANAL DE SAINT-DENIS - NIGHT113113The Killer walks a broad, graffitied WALKWAY bordering the CANAL DE SAINT-DENIS. He takes his helmet off, surveying the deserted surroundings across the WATERWAY. He peels off his GLOVE, puts it into the helmet. As he approaches a RAILING...THE KILLER (V.O.)W.W.J.W.B.D.? What Would John Wilkes Booth Do?...he DROPS the helmet into these deep waters.The Killer walks on until something occurs to him. He searches pockets... comes up with the office KEYCARD, which he backhand-flings over the rail.CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PARIS - SUBURBS - GAS STATION - NIGHT114114The Killer walks to a small, 24-HOUR GAS STATION. He keeps his distance from the CASHIER WINDOW, where a bored CASHIER reads a MAGAZINE. 28. 29.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GAS STATION BATHROOM - NIGHT115115In this tiny BATHROOM, the shirtless Killer runs HOT WATER at the SINK while scrubbing his sudsy hands and forearms vigorously.THE KILLER (V.O.)Nitro. This much atomized nitro -- might as well wash my eyes and shave my tongue. Gotta get rid of as much as possible.He pumps more gritty PINK SOAP from the DISPENSER, works his hands to clean underneath his fingernails. He bends to splash water on his face and begins washing his hair, neck and ears.CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PARIS - SUBURBS - GAS STATION - NIGHT116116The Killer, in BUCKET HAT and SUNGLASSES, with TRAVEL BAG, leaves the gas station behind.As he hits the sidewalk, he raises his hand, signaling O.S., gives a sharp, SHRILL WHISTLE.CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PARIS - CHARLES DE GAULLE AIRPORT - NIGHT117117A TAXI glides to the curb, STOPS, discarding The Killer.As The Killer reaches the ENTRANCE, he takes out his HAND SANITIZER and approaches a TRASH CAN. Standing close to the receptacle, he surreptitiously removes the GLOCK from his back waistband.With both hands behind him, he SPRAYS hand sanitizer onto the gun, flips the gun in his palm, SPRAYS again, then TOSSES the Glock into the trash can.CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. CDG AIRPORT - AIR FRANCE TICKETING - NIGHT118118The Killer accepts a BOARDING PASS from a KIOSK. 29. CONTINUED 30.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CHARLES DE GAULLE AIRPORT, DEPARTURES - NIGHT119119The Killer (in bucket hat) rises on an ESCALATOR to DEPARTURES LEVEL. The place is mostly dead. A JANITOR works a FLOOR POLISHER.CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CDG AIRPORT - SECURITY - NIGHT120120Airport's busy now. The Killer waits in a LINE of PEOPLE wending to SECURITY. Looking ahead, he notices...TWO SECURITY OFFICERS chat, drinking take-out COFFEE. One of them holds the leash of a seated, bomb-sniffing, GERMAN SHEPARD. The men are caught up in their conversing, but the dog turns and......looks directly at The Killer.The Killer faces forward, shuffles along as the line advances. He's n",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",ext. A beat. The Killer glances at his Fitbit. Another beat. The Killer turns and heads...,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CDG AIRPORT, PUBLIC RESTROOM -- NIGHT121121On his way in, The Killer drops his FITBIT in the TRASH.MOMENTS LATER:At communal SINKS, The Killer's repeating roughly scrubbing his hands and forearms with SOAP and HOT WATER.THE KILLER (V.O.)You've done what you can do. Calm. Breath.(to SELF IN MIRROR)Hey.FEMALE VOICE (V.O.)(pre-lap)Oh... don't you have quite a lot of miles, Mr. Unger? Impressive. CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CDG AIRPORT - AIR FRANCE LOUNGE - SUNRISE122122INSERT: FEMALE GREETER’S HAND places a TICKET and FREQUENT FLYER CARD on the counter; both in the name of “FELIX UNGER.”A FEMALE GREETER smiles at The Killer as she hands his black, PRIORITY PASS CARD back across her DESK.CONTINUED 30. 31.FEMALE OPERATOR (V.O.)(pre-lap)Collect call from Mr. Unger. Will you accept the charges?DOLORES' VOICE (V.O.)(pre-lap)Yes, operator. We will.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CDG AIRPORT - AIR FRANCE LOUNGE PHONE BOOTH- MORNING123123In a GLASS BOOTH, The Killer's on a BURNER PHONE.MAN'S VOICE (V.O.)(from PHONE)How could this happen? Help me to understand. It's unprecedented, especially for you.THE KILLER(into PHONE, flatly)It happened.MAN'S VOICE (V.O.)Is that what you suggest I inform the client? ""It happened.""(pause, heard breathing)This is a problem. Obviously, it's a problem, to say the least. I'll offer to make it right, as soon as humanly possible. The window of opportunity's closed now, for who knows how long. Makes this all the more difficult, but I'll... I'll tell him we'll do whatever necessary. Let me know the moment you're all the way out.(pause, breathing)Jesus fucking Christ.A HANG UP is HEARD; LINE goes DEAD. The Killer HANGS UP.CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CDG AIRPORT - AIR FRANCE LOUNGE BATHROOM - MORNING124124The Killer, REFLECTED in the MIRROR, uses a disposable RAZOR to shave his lathered face.CUT TO: 31. 32.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CDG AIRPORT - AIR FRANCE LOUNGE - MORNING125125Many TRAVELERS now, getting FOOD and DRINK in the KITCHENETTE. OTHERS sit charging and looking at PHONES and LAPTOPS, or reading NEWSPAPERS. The Killer, in hat and sunglasses, is seated in a plush CHAIR.He just sits there, upright, feet flat on the floor, hands across his lap, staring forward.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. AIRPLANE - PARIS FLIGHT - DAY126126With the WHINING ENGINES HEARD, we find -- packed in amongst the restless AWAKE and fitful ASLEEP -- The Killer staring ahead from deep in the purgatory of COACH. He's in an aisle seat, leaning slightly, noticing...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. POV: AIRPLANE - PARIS FLIGHT - DAY127127As one FLIGHT ATTENDANT steps aside, there's a straight view all the way up the aisle to BUSINESS CLASS... where it seems a MAN in a slender blue SUIT and SUNGLASSES is looking back this way.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. AIRPLANE - PARIS FLIGHT - DAY128128This strikes The Killer as odd. He leans further.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. POV: AIRPLANE - PARIS FLIGHT - DAY129129Slender-suited Business Man turns, gone from sight as he faces forward. Until, he crosses his legs, revealing garishly colorful, PLAID SOCKS. He waggles his foot.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. AIRPLANE - PARIS FLIGHT - DAY130130The Killer leans back to sit up straight.CUT TO:,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SOUTHEASTERN U.S. CITY - AIRPORT - JETWAY - DAY131131ATTENDANTS say goodbyes as PASSENGERS exit the airplane: nearly every person distracted by their PHONE, except......The Killer, walking purposefully up the carpeted passageway. He makes his way through dawdlers.CUT TO: 32. (more)CONTINUED 33.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SOUTHEASTERN CITY - AIRPORT - CUSTOMS - DAY132132The Killer waits in line, PASSPORT in hand, with all the CUSTOMS WINDOWS ahead occupied by other TRAVELERS. The Killer looks back, sees......BEHIND HIM in line, that Business Man, still wearing SUNGLASSES, although he doesn't seem to be paying attention to anyone.CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SOUTHEASTERN CITY - AIRPORT/DEPARTURE GATE - DAY133133The Killer stands, in the BOARDING AREA, watching...Across the way, Slender-suited Business Man is seated in a waiting area, looking at a MAGAZINE, his legs crossed -- his eye-catching PLAID SOCKS on proud display.AGENT'S VOICE (V.O.)""Attention passengers, Flight 1258, departing for Punta Cana. We'll be boarding shortly. We are offering complimentary travel vouchers today to those few passengers who might be willing to take a later scheduled flight. So, please speak to any gate agent if...""The Killer tilts his head, listening.CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SOUTHEASTERN CITY - TICKETING - DAY134134In the airport hustle and bustle, The Killer's at yet another COUNTER, with a FEMALE AGENT before him. INSERT: FEMALE AGENT’S HAND places a PLANE TICKET inside a PASSPORT, each bearing the name “ARCHIBALD BUNKER,” before offering them over the top of her SCREEN to O.S.WOMAN'S VOICE (O.S.)(types on HER COMPUTER)Thank you for agreeing to give up your seat today, Mr. Bunker. This entitles you to a room voucher this evening and free drink tokens for your flight tomorrow.(hands over PAPERWORK)(more)CONTINUED 33. WOMAN'S VOICE (O.S.) (CONT.) 34.You'll fly out first thing in the morning. It is direct to Punta Cana.CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SOUTHEASTERN CITY - AIRPORT HOTEL ROOM - NIGHT135135THRU a 3RD FLOOR WINDOW: nothing like the view from an airport hotel. TERMINALS, SKYWALKS and incoming TRAFFIC.It's The Killer's POV, as he stands staring out. An O.S. KNOCK on the door is HEARD. The Killer turns.MALE VOICE (O.S.)(thru the door)Room service.The Killer pulls the CURTAIN shut, crosses the small, DARK ROOM to answer the door.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SOUTHEASTERN CITY - AIRPORT HOTEL ROOM - NIGHT136136THE KILLER'S HANDS place a ROOM SERVICE TRAY on the DESK. There's a thermal COFFEE POT, COFFEE CUP, plastic wrapped GLASS of WATER, SILVERWARE including a STEAK KNIFE, and -- revealed as he lifts the METAL WARMING COVER -- a burnt STEAK, shriveled POTATO, and dry SUCCOTASH.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SOUTHEASTERN CITY - AIRPORT HOTEL ROOM - NIGHT137137The Killer (in BOXERS and T-SHIRT) walks to the latched door, carrying the WARMING COVER and empty WATER GLASS. He places the overturned metal cover on the floor against the door, directly beneath the doorknob.He places the upside-down glass on the top of the doorknob, carefully... till it's perfectly balanced. If the knob turns, the glass will fall to the lid below.The Killer crosses, pulls the BLANKET from the BED, brings it along as he goes to the desk to take......the serrated STEAK KNIFE from the untouched meal.He sits down in an ARMCHAIR against the far, opposite wall, by the curtained window.He places the steak knife on a SIDE TABLE, easily within reach. He turns the table's small LAMP OFF.He shuts his eyes.CUT TO:WOMAN'S VOICE (O.S.) (CONT.) 34. 35.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. SOUTHEASTERN CITY - AIRPORT HOTEL - DAWN138138DAWN over the weirdly integrated airport HOTEL.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SOUTHEASTERN CITY - AIRPORT HOTEL - HALL - MORNING139139Long, empty HALL. A room DOOR OPENS. The Killer sticks his head out, looks both ways.CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PLANE AIR FRANCE - U.S. TO CARIBBEAN FLIGHT - DAY140140Jet's boarding. Again from deep in COACH, mostly alone amongst the earliest to board, The Killer has his head cocked to watch from his aisle seat as PASSENGERS FILE IN and stow CARRY-ON BAGS.CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. CARIBBEAN ISLAND AERIAL APPROACH -- DAY141141The descending POV approaches a Caribbean ISLAND... banking over dense JUNGLE.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. CARIBBEAN CITY AIRPORT - ITNL TERMINAL - DAY142142The Killer (w/travel bag) exits a rusty TERMINAL.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CARIBBEAN CITY AIRPORT- LONG TERM PARKING GARAGE-DAY143143He walks to his rugged 4x4 JEEP, takes out KEYS.INT/",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. CARIBBEAN CITY AIRPORT - LONG TERM PARKING - DAY144144The Killer exits PARKING. Roars off.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. CARIBBEAN CITY - URBAN STREETS - ROUTE 1 - DAY145145The Killer drives CITY OUTSKIRTS.INT/,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT.JEEP-CARIBBEAN HIGHWAY-HELICOPER-SHOT HIGHWAY-DAY146146The Killer continues, the city now far behind. The highway is bordered by miles of verdant MOUNTAINS and endless FARMS.INT/",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CARIBBEAN COUNTRYSIDE - HIGHWAY/ DIRT ROAD - DAY147147The Killer's jeep takes a sharp turn off the highway, onto unpaved, dirt ROAD; into the COUNTRYSIDE. 35. CONTINUED 36.INT/",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CARIBBEAN COUNTRYSIDE - VILLAGE - DAY148148The Killer moves through a grouping of ramshackle BUILDINGS, including an ""ENGINE"" SHOP and a MARKET with ""COCA-COLA"" SIGNS. LOCALS, mostly Afro-Caribbean, tread the roadway and come and go from businesses.CUT TO:INT/EXT CARIBBEAN PROVINCE -RAINFORST- AFTERNOON149149The jeep navigates dark JUNGLE, HEADLIGHTS coming ON.INT/EXT CARIBBEAN PROVINCE -RAINFOREST -AFTERNOON150150The Killer looks ahead to a wide, dirt ROADWAY...SIGNS say ""PRIVATE ROAD,"" and ""NO TRESPASSING"" in Spanish, Creole, French, a few other languages.ON THE DIRT ROAD:The Killer takes this private road, journeying deeper into the isolating RAINFOREST.INT/",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT.CARIBBEAN -PRIVATE ROAD- GATE- AFTERNOON151151The Jeep stops beside a keypad CALL BOX, with a closed GATE ahead. The Killer leans to the keypad, but notices something. He gets out, walks, seeing...There are A DOZEN crushed CIGARETTE BUTTS in the dirt.Enough for him. The Killer returns to his Jeep.INT/",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. JEEP-CARIBBEAN-PRIVATE ROAD-GATE-AFTERNOON152152The Killer swipes open the GLOVE COMPARTMENT... grabs a GLOCK from within.INT/,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT.CARIBBEAN -PRIVATE ROAD- GATE- AFTERNOON153153He runs, climbs the gate, running onward.INT/EXT - CARIBBEAN - PRIVATE ROAD -CLEARING - AFTERNOON154154The Killer enters a clearing on fairly sizable plot of land. Ahead, his house is a jaw-dropper of modern architecture, with coastal BEACH FRONT visible through a break in the tree line beyond.There's much floor-to-ceiling GLASS in the structure. Yet despite darkening skies overhead, not one light on.Also adding to The Killer's rising dread... CONTINUED 36. CONTINUED 37....is the imprint of a partial BOOT PRINT left by someone walking to the house.CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ESTATE HOUSE - REAR - AFTERNOON155155The Killer, gun ready, circles around from the side of the house, crouched to minimize the target area of his body, watchful as he approaches. His lips peel from his clenched teeth when he sees...Wind-tossed CURTAINS.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ESTATE HOUSE - MASTER BEDROOM - AFTERNOON156156The Killer enters, gun first.No sign of anyone in this OPEN LOUNGE-AREA, but the place is TRASHED. LAMPS lie BROKEN. DRAWERS pulled and tossed; CONTENTS strewn everywhere.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ESTATE HOUSE - MASTER BEDROOM - AFTERNOON157157The Killer moves stealthily forward, gun up.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ESTATE HOUSE - LIVING ROOM - AFTERNOON158158As The Killer enters and crosses, wherever his eyes go his gun likewise points as he rapidly clocks the also wrecked LIVING ROOM -- no sign of anyone yet.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ESTATE HOUSE - KITCHEN - AFTERNOON159159He looks to BUTCHER KNIFES scattered on the floor with the wood block KNIFE HOLDER that held them lying nearby.The Killer backtracks, heads into a HALL..",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. ESTATE HOUSE - HALLWAY - AFTERNOON160160There's a BLOODY KNIFE on the floor.There's SPLATTERED and SMEARED BLOOD up the hall.The Killer rushes to the end of the hall.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ESTATE HOUSE - BATHROOM - AFTERNOON161161The condition of the BATHROOM tells of struggle. BLOOD and the LIQUID contents of BROKEN PERFUME BOTTLES mingle amongst SHARDS of BROKEN MIRROR on the floor.There's a SMEAR of CRIMSON across the seat of the closed toilet. The Killer lowers his gun... hesitating for the merest moment as he reaches to...CONTINUED 37. (more)CONTINUED 38....sweep the closed SHOWER CURTAIN open.The large SHOWER/TUB is empty.Stepping back, with glass CRUNCHING underfoot, The Killer only now notices that by the SINK......is a somewhat diminutive, unmistakably BAREFOOT, FOOTPRINT in BLOOD on the COUNTERTOP.The Killer looks up to the small, rectangular WINDOW above the sink, which is open to the SOUND of JUNGLE.CUT TO:INT/",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. JEEP-CARIBBEAN-PRIVATE ROAD-GATE-AFTERNOON162162The Killer gets back to his Jeep, gun no longer raised. At the open passenger door......he grabs a PHONE from the open glove compartment. He turns the phone on. With his sweat-soaked features lit by the dim SCREEN GLOW, he DIALS.CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. (CARIBBEAN) LOCAL HOSPITAL - NIGHT163163The Killer's Jeep arrives, screeches to a stop. The Killer gets out and runs to the HOSPITAL entrance.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOSPITAL - PRIVATE ROOM - NIGHT164164In this small room, with paint peeling on the walls, a grim man, MARCUS, in his 30's, sits with his hands clenched, at the BEDSIDE of MAGDALA, 34 - 40, who sleeps, hooked to IVs and MONITORS.The Killer comes to the doorway. Marcus stands, watching as The Killer goes to stand beside Magdala.BANDAGED Magdala is unconscious, with a TUBE up her nose.THE KILLER (under his breath)No... no... MARCUS(fingers to his lips, whispering)Don't let her hear your voice. She needs sleep. (quietly)They're monitoring for internal bleeding. (more)CONTINUED 38. MARCUS (CONT.) CONTINUED 39.She just had a second transfusion, and she's on heavy pain meds. Marcus leads The Killer from the room.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOSPITAL - HALLWAY - NIGHT165165Marcus huddles with The Killer, speaking in hushed tones.MARCUSThere were two of them. She can describe them. It's not like they were disguising themselves. One.... was a woman. THE KILLERTake your time. MARCUSThis wasn't a robbery. She told me that... she... managed to... THE KILLERMarcus, breathe. MARCUS(emotional)""There are worse things than what they did to me,"" she kept telling me. Can you imagine? Worse things. She told me that during the... assault... she stabbed the man. Ran through a fucking plate glass window and hid in the jungle.(pause)They left in a green car, with a light on top. Like a fucking taxi, if you can believe it? Marcus is distraught, wipes his hand across his face. MARCUSLook, she knows there are things she can and cannot say, if anyone comes asking. All this time, you've been very kind to my sister, she loves you. I've learned not to pry. This, though... THE KILLERMarcus... MARCUS (CONT.) CONTINUED 39. (more)CONTINUED 40.MARCUSThey came for you. And they weren't about to leave a witness. THE KILLERMarcus, listen very carefully... Marcus looks to The Killer, meets his gaze.THE KILLER (CONT'D)...you know me... and I promise -- I swear to you -- nothing like this will ever be allowed to happen again.CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOSPITAL - PRIVATE ROOM - NIGHT166166Magdala's still sleeping, monitors quietly BEEPING. The Killer is now in the vigil chair Marcus previously occupied. A FEMALE DOCTOR comes to the doorway.FEMALE DOCTORShe is well enough to travel. Later today, she'll be transported to the private hospital in Punta Cana, as arranged.The Killer stands. He takes out a CASH, rips bills off and offers them, waiting for Female Doctor to take the money. Female Doctor merely walks away. The Killer puts the money back in his pocket, turns... seeing...Magdala's awake. He goes to her. Magdala holds out her hand, reaching to him, trying to sit up. The Killer must gently keep her from rising; calming her.THE KILLERNo... you mustn't try to... MAGDALAAre you... are you alright? Let me look at you. I... I was so afraid. Her voice is weak, but she's finding it. MAGDALAAfraid I might say something. But I didn't. (pause)No matter what they said. (more)CONTINUED 40. MAGDALA (CONT.) 41.No matter what he did. I didn't tell them anything. Not about you. The Killer's features tighten at this. MAGDALANothing. You'd've been proud. I was strong. THE KILLERYou need to rest. Magdala breathes in sharply as she lays back, pained.Then, as if realizing the extent of her injuries, she slowly raises a hand towards her battered features. MAGDALAHow... how bad is it...?The Killer gently intercepts her hand and lowers it while he shakes his head ever so slightly. MAGDALAI’ll see soon enough, eh?Her eyelids grow heavy as she’s fading. MAGDALAI have to tell you... Tears well up and roll down her bruised cheek.MAGDALAThere was a moment... I said to myself, if I didn’t live through this; if I didn’t survive... I’d never see you again. I couldn’t bear that. (quietly, eyes closing)So, I did. Somehow I did it. Magdala eases back into unconsciousness. The Killer lowers his head, gripping Magdala’s hand more tightly.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ESTATE HOUSE, REAR GROUNDS - NIGHT167167With his house behind and a SHOVEL over his shoulder, The Killer, in T-SHIRT and TRACK SUIT PANTS, marches across his property, heading toward JUNGLE.MAGDALA (CONT.) 41. CONTINUED 42.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. KILLER'S ESTATE - JUNGLE - NIGHT - LATER168168The Killer's digging near jungle's edge, uncovering a square of shallowly buried PLYWOOD, which he works the shovel at the edge of... prying it loose.He tosses the shovel. He gets on his knees to get a good grip... flips the wood aside. Beneath is a layer of waxed, water-proofed CANVAS. The Killer pulls this back -- revealing a small SAFE embedded in poured CONCRETE.The Killer presses his HAND to the THUMB-PRINT ID PAD.He twists the HANDLE, opening the safe.INSIDE: are CREDIT CARDS, PASSPORTS and two GLOCK HANDGUNS (each sealed in ZIP-LOCK BAGS), along with a few other necessities. The Killer takes one Glock.He tears the plastic, examines the gun, sets it aside. He bends forward to take other items.CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ESTATE HOUSE - LIVING ROOM - MORNING169169The Killer enters, crossing. The place is work-in-progress, but UNIFORMED HOUSEKEEPERS work; SCRUBBING the FLOOR and replacing ITEMS on SHELVES. The Killer passes TWO other HOUSEKEEPERS carrying out a rolled-up RUG.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ESTATE HOUSE - MASTER BEDROOM - MORNING170170The Killer enters the bedroom, which is still much as he found it, though a UNIFORMED HOUSEKEEPER steam-CLEANS the CURTAINS. The Killer takes a JACKET from the bed and a (burner) SMART PHONE. He stows the GLOCK in his packed TRAVEL BAG, which he ZIPS and shoulders.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ESTATE HOUSE - LIVING ROOM - MORNING171171The Killer crosses back thru the house, tying the jacket around his waist. He exits towards his parked JEEP.CUT TO:INT/",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. CARIBBEAN AIRPORT - ARRIVALS - DAY172172Early-afternoon-busy at the MAIN TERMINAL.The Killer's Jeep comes to cruise by ARRIVALS.INT/,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. JEEP - CARIBBEAN AIRPORT - ARRIVALS - DAY173173OUT THE WINDSHIELD: passing the various AIRLINES' passenger pick-ups... CONTINUED 42. 43.The Killer eyes the TAXI ZONE ahead. TAXIS await, some gathering up fares. One after the other; every TAXI he passes is ORANGE with official YELLOW TRIANGLE EMBLEMS.CUT TO:INT/",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CARIBBEAN CITY - CITY STREETS - DAY174174The Killer's Jeep moves thru heavy, mid-city TRAFFIC.INT/",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. JEEP - CARIBBEAN CITY - CITY STREETS - DAY175175The Killer remains vigilant, looking all around as he drives. He stops for a RED LIGHT. The CROSS TRAFFIC ahead tells a familiar tale... ORANGE TAXI here... ORANGE TAXI there... ORANGE TAXIS everywhere.CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CARIBBEAN CITY - CENTRAL PARK - AFTERNOON176176The Killer walks amongst the CROWDS on the bustling DOWNTOWN STREETS, crossing to a large PARK.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CARIBBEAN CITY - CENTRAL PARK - AFTERNOON177177The Killer walks along a thoroughfare, where MANY ORANGE TAXIS are parked in a line. When a YELLOW TAXI passes in the street, The Killer turns to watch it pass.The Killer crosses the park, heading for a central, domed BANDSTAND, passing FOOD CART VENDORS, BLUE and WHITE COLLAR WORKERS on break, and wandering TOURISTS.At the bandstand, The Killer climbs the stairs. From this higher vantage point, he looks to where...A LINE of TAXIS waits on a side street.Something catches his ear and he looks up.A small, PRIVATE JET rumbles by in the sky.CUT TO:OMITTED178178INT/",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SMALL CARIBBEAN AIRPORT - ROADWAY - RUNWAY - DAY179179A medium-sized PUDDLE-JUMPER takes off from a RUNWAY, soaring upwards as... The Killer's Jeep travels a parallel ROADWAY on the other side of a CHAINLINK FENCE. 43. CONTINUED 44.INT/",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SMALL AIRPORT - TERMINAL - DAY180180The Killer drives up to a relatively modest TERMINAL BUILDING. The Killer IDLES and...FROM THE JEEP:...he looks across to the right hand side of the road, where THREE TAXIS wait... each of them ORANGE. The Killer stares, considering for a protracted moment. He finally puts the car in gear and DRIVES OFF.CUT TO:OMITTED181181INT/",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CARIBBEAN SEASIDE ROADWAY - DAY182182The Killer's Jeep travels a ROADWAY along the CARIBBEAN SEA, he's skirting the edge of a colorful but rough-around-the-edges, seaside CITY.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. TREE LINED ROAD - CARIBBEAN SEASIDE AIRPORT - DAY183183Driving a tree-lined ROAD, The Killer's Jeep speeds along, then brakes... STOPS.The Killer leans forward. He stops, looking...Ahead, at the tiny, seaside AIRPORT TERMINAL BUILDING, with a single RUNWAY beyond, there are TWO crappy, exhaust-spewing GREEN TAXIS parked, waiting, available. Yes, GREEN, with ""BESTTIME TAXI"" and a PHONE NUMBER stenciled on their doors. CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BESTTIME TAXI COMPANY - NIGHT184184In a rough section of town, we find the dilapidated ""BESTTIME TAXI"" OFFICE, with attached (closed) GARAGE and GREEN TAXIS parked in front. Late night streets are deserted, except... The Killer approaches from up the block.He wears a KNIT CAP, glances around as he nears the office. He tries the DOOR. It's locked. He KNOCKS.After a moment, SOMEONE pulls aside the BLINDS to look out the WINDOW by the door. CONTINUED 44. CONTINUED 45.Seems they're waving The Killer off, but The Killer makes prayer hands, holds up a finger to show it will only take a moment. BLINDS SHUT.As The Killer turns to face the door, he takes a HANDGUN from his pants pocket and pulls his cap -- oh, it's a SKI MASK -- down over his face. The moment the door opens...The Killer's forcing his way in. Shuts the door behind.CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BESTTIME TAXI COMPANY - NIGHT185185An unfortunate, male TAXI DISPATCHER lies on the floor, on his side, BLINDFOLDED by a BANDANA, with his hands (behind him) and ankles BOUND by ZIP-TIES.Meanwhile, The gloved Killer, with ski mask pushed up to his forehead, is on a STOOL behind the DISPATCH DESK, sweating in the heat, typing on an old PC COMPUTER. 11:40AM 8/13 PICKUP: AEROPUERTO - DROPOFF: AEROPUERTO - RTRIP 04:40 PM The Killer's eyes devour.CLOSE ON: DRIVER: RODRIGUEZ, L. ID344 _IN THE OFFICE:The Killer stands, reaches around to PULL the COMPUTER's POWER CORD. SCREEN goes BLANK. He looks to ragged 3-RING BINDERS on a SHELF... takes down ""CONDUCTORES.""Swiping thru the dog-eared PAGES of the binder...The Killer finds a filled-out APPLICATION which has a COPY of the DRIVER'S LICENSE of ""LEO RODRIGUEZ"" stapled to it. The license features a......PHOTO of young, ruggedly handsome LEO RODRIGUEZ.IN THE OFFICE:The Killer tears out this page, shuts the binder, puts it back on the shelf where he found it. CONTINUED 45. CONTINUED 46.He steps over the bound Dispatcher, about to leave... but stops.Remembering, The Killer heads -- stepping back over the Dispatcher -- behind the counter to begin searching.He opens and then tosses a CIGAR BOX upon finding only RECEIPTS inside it. He starts yanking open DRAWERS......discovers the one under the computer is a CASH DRAWER. Slim pickings, but The Killer grabs all the MONEY.CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CARIBBEAN CITY - FEDEX OFFICE - MORNING186186At the COUNTER, The Killer, in his typical outfit, takes one FedEx OVERNIGHT ENVELOPE and a SHIPPING LABEL. He flips the envelope, peels the plastic STRIP to seal the empty envelope.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CARIBBEAN CITY - FEDEX OFFICE - MORNING187187He's using a chained PEN to fill out the label:CLOSE ON: The Killer writing ""DOLORES R., SUITE 400.""CLOSE ON: The Killer writing in ""230 CARONDELET ST.""CLOSE ON: The Killer CHECKING the BOX beside -- CIRCLING also and underlining -- the words ""SIGNATURE REQUIRED.""",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CARIBBEAN CITY - FEDEX OFFICE - DAY188188A FEMALE CLERK addresses The Killer, envelope held.FEDEX CLERKOkay. For that rate: this will be delivered two days from now, before end of business, Mr. Madison. Thank you.INSERT: FEMALE CLERK’S HAND picks up a CREDIT CARD from the counter, holds it up to examine: “OSCAR MADISON.”She tears out and hands over the LABEL COPY to him.INT/",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. JEEP - BESTTIME TAXI COMPANY - MORNING189189The Killer sits parked, watching.CONTINUED 46. CONTINUED 47.THRU THE WINDSHIELD:BESTTIME TAXI company, about halfway up the block, is much the same as when we saw it last night, except the GARAGE is wide open and TWO MECHANICS stand jawing.A FEMALE DRIVER, carrying a CLIPBOARD, exits the office and climbs into one of THREE GREEN TAXIS parked out front. She starts it, DRIVES away.IN THE JEEP:The Killer just keeps watching.CUT TO:INT/",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. JEEP - BESTTIME TAXI COMPANY - DAY190190Garage is still open, with a GREEN TAXI sticking halfway out. There are FOUR GREEN TAXIS lined up in front.From up the block, LEO RODRIQUEZ, hair longer than in his driver's license photo, walks, carrying a ""vintage"" yellow Sony BOOMBOX/RADIO.IN THE JEEP:The Killer sees: Leo go into the office.THE KILLER (V.O.)I blame you, ""Leo..."" for having to bring work home.The Killer waits, unblinking.POV:It takes a long moment, but Leo eventually emerges, carrying a CLIPBOARD along with his boombox. He goes to get behind the wheel of the first, green taxi.IN THE JEEP:The Killer puts on HAT and SUNGLASSES, starts his engine. He watches as Leo's taxi sets in motion.THE KILLER (V.O.)Stick to your plan.The taxi passes to The Killer's left. THE KILLER (V.O.)Anticipate; don't improvise.CONTINUED 47. 48.The Killer puts his Jeep in gear to follow.CUT TO:OMITTED191191OMITTED192192",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. TAXI STAND - AFTERNOON193193Across from a HOTEL where LOCALS and TOURISTS seem to be happily coexisting, Leo pulls forward slowly in a line of cabs behind TWO waiting ORANGE TAXIS.THE KILLER (V.O.)Trust no one. Never yield an advantage. Fight only the battle you’re paid to fight. The Killer arrives in a TAXI, across a small square.The Killer gets out, tips his driver, then walks......crossing thru slow moving TRAFFIC.THE KILLER (V.O.)Forbid empathy. He's walking to THE TAXI STAND, where Leo's out of his cab and leaning on it while lighting a CIGARETTE.THE KILLER (V.O.)Empathy is weakness. Weakness is vulnerability.The Killer and Leo interact. Leo looks; noting he's third in line, but fine -- he gets in while The Killer climbs in back. Leo's taxi pulls into TRAFFIC.CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CARIBBEAN ROADWAY - CITY OUTSKIRTS - AFTERNOON194194Leo's taxi heads out of town... merging onto sparsely trafficked ROAD which bisects the portside traffic.THE KILLER (V.O.)Each and every step of the way, ask yourself, what’s in it for me? OMITTED195195 48. CONTINUED 49.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LEO'S TAXI (MOVING) - AFTERNOON196196MUSIC plays from the BOOMBOX up front. The Killer, seated in the middle of the rear seat, leans forward to rap a knuckle on the open, yellowed SECURITY PARTITION. Leo, driving, doesn't notice.THE KILLER (V.O.)This is what it takes...The Killer takes out his silenced GLOCK -- uses it to TAP on the partition, holds it there. This Leo hears, turning the MUSIC DOWN while glancing over his shoulder.THE KILLER (V.O.)...what you must commit yourself to, if you want to succeed.Seeing the gun, Leo faces front; looking in the REARVIEW MIRROR. The Killer gestures to look forward.THE KILLER (V.O.)Simple.OMITTED197197OMITTED198198",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LEO'S TAXI (JUNGLE / ELEVADO -- MOVING) - AFTERNOON199199The BOOMBOX still quietly plays MUSIC while a nervous Leo navigates light traffic at the behest of The Killer. LEOAwwww shit man... I... I just came on. Small change is all I got.Leo's looking up to address the KILLER'S SUNGLASS-hidden EYES in the REARVIEW MIRROR.LEOI'm gonna show you... okay?Careful to be telegraphing, Leo digs a WALLET from his jeans. He makes a show of holding it open with his free hand and offering; only SMALL BILLS inside.LEO...take it, man.The Killer reaches thru to take the wallet.CONTINUED 49. (more)CONTINUED 50.LEOThere's a condom in there too. What's mine is yours. Leave the wallet if you're feeling generous. What else...? Want my radio?The Killer pockets the wallet, takes off his sunglasses.THE KILLERTell me about your big fare, Leo, three days ago.IN THE REARVIEW: Leo's questioning eyes.LEOWhat? Three days? I --The Killer CHAMBERS a ROUND, sits forward and presses the gun against the back of Leo's skull. Leo shuts one eye, keeping the other on the roadway.LEOWait, wait, wait... don't, okay. Wait. I-I tell you. The freak and the lady, right? From the little airport. That's who?The Killer lowers his gun, sits back. Leo, sweating, opens his eye, gathers himself.LEOI got them like, noon. I remember, it was right before lunch.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MID-JUNGLE - AFTERNOON199A199ALeo's taxi keeps moving along in the gloom.LEO(from TAXI)I'd been waiting around and there was nothing. Slow day. Slow week. I was about to split, when one of those little jets came in. So, I stay.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LEO'S TAXI (IN JUNGLE -- MOVING) - AFTERNOON199B199BLEOAnd they come... two crazy-looking güero. The lady, dressed business woman style; in a suit... she seemed alright. (more)CONTINUED 50. LEO (CONT.) 51.But the guy with her -- should've kept him on a chain. He was a scary motherfucker.The Killer sets his gun down on the seat beside him.THE KILLERWalk me through your time with them, to the best of your recollection.LEONo problem. I drove them, is all. They were sight-seeing, I thought, at first. Because they hadn't given me an address. We're supposed to get an address. Roundtrip, was what they said. Then, they told me: north on DR-1. Then deep into the jungle, like... forever. With a sigh, Leo white knuckles the wheel, pondering.LEOThey showed me on Google, and I drove them. They wouldn't take ""no"" for an answer. We got to a gate, private property, and I was told to wait.He's staring out thru the windshield, troubled.LEOShe and him were gone an hour, maybe. Maybe more, I guess. Alright?",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MID-JUNGLE -- AFTERNOON199C199CFurther still, diffuse light passes over the vehicle. Ahead, a massive BRIDGE spans above.LEO(from TAXI)All I know is I was starving, and... and I didn't care anymore how much the meter was ticking. I was going to leave them. I'm not allowed to, but I almost did.LEO (CONT.) 51. 52.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LEO'S TAXI (JUNGLE -- MOVING / ELEVADO ) - AFTERNOON199D199DThe merest frown from The Killer as he listens, looking to watch the foliage passing outside.LEOThey came back, the guy's leg was bloody. They wanted me to take them back to airport, so I did. (to REARVIEW)That was the end of it.Leo glances to his CIGARETTE PACK, grabs them up.LEO(of CIGARETTES)Mind if I...? Want one?He shakes out a cigarette, pushes the CAR LIGHTER in.LEOAsk me anything. Anything. I don't know who they are. Don't want to know. Don't want to know who you are either, con todo respeto.The lighter POPS. Leo uses it, inhales deeply, exhales.Leo slows the taxi to a STOP.LEOIf they did you wrong somehow, I'm sorry. I truly am. But I've got nothing to do with anything, except I happened to be first in line. Because I didn't go to lunch.(glances back)So, how about... I get out and I leave the keys?He turns the engine off, then removes the KEYS from the ignition and throws them up on the dashboard.LEOI'll walk back to town, easy. You take it all, man. It's yours. How's that -- ? In one motion, The Killer raises his gun -- FIRES... 52. CONTINUED 53.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MID-JUNGLE / UNDER ELEVADO - AFTERNOON200200The taxi's front windows are instantaneously covered in BLOOD, BRAIN and SKULL FRAGMENTS. Gun smoke wafts. The back door opens. The Killer steps out, pocketing the gun while using a HANDKERCHIEF to wipe the inner door handle. He elbows the door shut, wipes the outer handle. He goes to open the front passenger door. We HEAR the MUSIC shut OFF. The Killer takes the BOOMBOX, leaves that door open, walks, with the boombox under his arm, as we...PAN to see The Killer's Jeep, half a block away.CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CARIBBEAN INTERNATIONAL AIRPORT - DEPARTURES - DAY201201The Killer enters the busy AIRPORT, TRAVEL BAG in hand.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CARIBBEAN INTL. AIRPORT - TICKET COUNTER - SUNSET202202INSERT : A TICKET PRINTER spits out an airline TICKET for “HOWARD CUNNINGHAM,” then a FEMALE HAND takes the ticket.UNITED TICKET AGENTAnd you're all set, Mr. Cunningham. Have a pleasant trip.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PLANE - NIGHT203203In the darkened cabin, far back in COACH as always, The Killer is seated in a window seat, staring into the void of dead-of-night nothingness out the window.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MID-SOUTHERN U.S. AIRPORT - NIGHT204204Amongst other bleary-eyed PASSENGERS exiting, The Killer, with his TRAVEL BAG strapped across his back, strides with purpose. He reaches a median, hails a TAXI... CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MID-SOUTHERN CITY - TRUCK RENTAL LOT - PRE-DAWN205205That TAXICAB stops. The Killer gets out.THE KILLER (V.O.)New Orleans. Lovely, humid New Orleans. A thousand restaurants. One menu.He walks through the rental yard, as the taxicab goes.CONTINUED 53. CONTINUED 54.THE KILLER (V.O.)I do feel a certain nostalgia for the place. Where good ol' Professor Hodges convinced me to quit studying the law and start skirting it.The Killer opens a white RENTAL VAN (with side door) and speeds off.OMITTED206206OMITTED207207",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. RENTAL VAN - MID-S. CITY STORAGE FACILITY - DAWN208208The Killer arrives at an unmanned SECURITY GATE. He leans out to poke (using a NO-TOUCH KEYCHAIN TOOL) the buttons on a mounted KEYPAD, which BEEPS. GATE OPENS.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. RENTAL VAN - STORAGE FACILITY - DAWN209209The Killer drives past ROW after ROW of STORAGE UNITS.INT/,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. RENTAL VAN - STORAGE FACILITY - DAWN210210The Killer parks his rental van in front of a STORAGE UNIT, gets out. This unit is sizable.The Killer thumbs the COMBINATION on a PADLOCK, unlocks it, starts on a SECOND LOCK.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. STORAGE UNIT - DAWN211211The Killer enters, takes out his PHONE and turns on its FLASHLIGHT. He shuts the door behind, so the flashlight is the only light. At INDUSTRIAL SHELVES against one wall, he tries an LED LANTERN, finds it dead.Propping his phone on the shelf as a work light, The Killer twists the bottom off the lantern, takes out four D BATTERIES. He swaps these for fresh batteries, screws the bottom on. He LIGHTS the lantern.THE KILLER (V.O.)There are more than 50 thousand storage facilities in the U.S. I have units in 6.Holding the lantern by its handle, he walks to the center of this mostly empty space the size of a small garage. SHELVES along two walls hold CLEANING SUPPLIES and various, sizable PLASTIC TUBS. There are many GARDEN IMPLEMENTS and TOOLS hanging on a mounted RACK. CONTINUED 54. 55.In one corner, sit STEEL DRUMS beside a WHEELBARROW. Everything is neatly kept and arranged.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. STORAGE UNIT - DAWN212212THE KILLER (V.O.)I like to imagine, once I’m gone and the automatic payments have dried up, the episode of ""Storage Wars"" where they cut the lock on one of mine and get a look inside.The Killer dials a COMBINATION on a medium sized, portable DOCUMENT SAFE. Opens it, revealing a GLOCK HANDGUN, AMMO and CASH inside.He takes the Glock and money.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. STORAGE UNIT - DAWN213213At one SHELF, The Killer grabs some ZIP-TIES from a CONTAINER, pockets them. He takes down a BOX containing several SETS of LICENSE PLATES, selects a PAIR, puts them under his arm. On the next shelf, he finds large DECALS of the UNIVERSAL SYMBOLS for 'CORROSIVE,' 'HAZARDOUS MATERIALS' and 'MEDICAL WASTE.' He selects one with the 'RECYCLING' SYMBOL beside ""FOR SHREDDING.""",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. STORAGE UNIT - MORNING214214The Killer exits his unit, shuts the door.CUT TO:INT/",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. RENTAL VAN - HOME DEPOT - LATER MORNING215215TWO YOUNG DAY LABORERS hustle across the PARKING LOT from a HARDWARE SUPER-STORE, each with a grip on one handle of the quite large (and seemingly weighty), grey SHREDDER/RECYCLING BIN they're WHEELING behind them.Arriving at the open rear of the white van where The Killer waits, Laborer One and Laborer Two stop, setting the SHREDDER BIN straight. Laborer One happily accepts CASH The Killer hands over while Two throws open the bin's hinged lid... revealing OTHER PURCHASED ITEMS...INT/",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. RENTAL VAN - HOME DEPOT - MORNING216216The Killer and Laborer One and Two load those OTHER ITEMS into the back of the van: a medium-sized, plastic COOLER; a somewhat unwieldy BOX containing a cordless FRAMING GUN; a big, heavy BUCKET of QUIKRETE.CUT TO: 55. (more)CONTINUED 56.INT/",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. RENTAL VAN - HODGES' OFFICE BLDG - MORNING 217217Amongst smaller, less impressive structures at DOWNTOWN's outskirts, The Killer's van is parked on a corner.IN THE VAN:The Killer, in BASEBALL CAP, is behind the wheel, observing the world.THE KILLER'S POV:WORKERS are coming and going, mostly coming, at a catty corner, dark but plain, post-war OFFICE BUILDING.IN THE VAN:The Killer takes a BANANA from a 7-11 BAG on the passenger seat, peels the banana entirely, puts the peel back in the bag.POV:A city BUS stops at a BUS STOP across the street from the office building and begins letting off RIDERS.IN THE VAN:The Killer, chewing the last of the banana, keeps looking while he reaches to get a large BOTTLE of vanilla ENSURE from the bag. He twists the BOTTLE open, gulps Ensure.POV:Amongst the dispersing RIDERS is a bespectacled, middle-aged woman, DOLORES, carrying her PURSE and a COMPUTER BAG. She looks both ways, venturing into the crosswalk.IN THE VAN:The Killer lowers the bottle, observing Dolores.THE KILLER (V.O.)Hello, Dolores. Miss me?POV:Dolores addresses a SECURITY CAMERA somewhere inside the entry doors, it seems, pantomiming 'HELLO.' THE KILLER (V.O.)A CCTV and a 100-dollar, electric, dead-latch lock. (more)CONTINUED 56. THE KILLER (V.O.) (CONT.) CONTINUED 57.Crappy 1980's solutions to 21st Century problems.Dolores is BUZZED in... disappears into the building.IN THE VAN:The Killer slumps, settling in, sips Ensure.CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. MID-SOUTHERN CITY - HODGES' BLDG - AFTERNOON218218Mid-day now. TRAFFIC is heavier. More PEDESTRIANS trek the sidewalks. The white van is still parked. INT/,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. RENTAL VAN -HODGES' OFFICE BLDG- AFTERNOON219219INSIDE THE VAN:The Killer remains, now with an EARPOD in one ear, trying to stay focused.He leans slightly to check his right SIDE MIRROR.He tilts his head, eyeballing his left SIDE MIRROR.POV IN VAN SIDE MIRROR:A FEDEX DELIVERY TRUCK is heading this direction.INSIDE THE VAN:The Killer removes his ear pod, gets out.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MID-SOUTHERN CITY - HODGES BLDG -STREET - AFTERNOON220220The Killer goes to open the rear of the van as the FedEx truck passes. The Killer grabs the grey bin (SHREDDING stickered) by its handles, pulling it out.ACROSS THE INTERSECTION:The FedEx truck parks in the LOADING ZONE in front of the dark but plain, post-war building. Its BLINKERS FLASH.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HODGES' OFFICE BLDG - AFTERNOON221221The Killer starts across the intersection, wheeling his shredder bin. He picks up the pace, while ahead...THE KILLER (V.O.) (CONT.) CONTINUED 57. CONTINUED 58.A FedEx DELIVERY MAN, carrying ENVELOPES, stops at the entrance where Dolores arrived. He's looking up and in at the unseen SECURITY CAMERA, nodding. Door BUZZES. As he pulls the door open and enters, he hears a shrill, SHARP WHISTLE and ""Hold the door.""The Killer's hustling, giving a wave.Delivery Man HOLDS THE DOOR as The Killer and his somewhat unwieldy bin arrive.CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. OFFICE BLDG - ELEVATOR - AFTERNOON222222ELEVATOR's in motion. The Killer stands behind his bin. Delivery Man's occupied scanning envelope BAR CODES into his FedEx TRACKER.The LIT button for ""4"" goes OUT. DING.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. OFFICE BUILDING -ELEVATOR- 4TH FLOOR- AFTERNOON223223Elevator arrives, DOORS OPENING. The Killer guides his shredder bin out and maneuvers to park it out of the way. Delivery Man meanwhile is headed towards the end of the hall, passing OFFICES.The Killer occupies himself by nonchalantly taking out GLOVES and slipping them on, watches over his shoulder...Delivery Man arrives at the last OFFICE DOOR. The door has in-laid, full-length SECURITY GLASS. ""EDWARD HODGES, INTERNATIONAL TRADE ATTORNEY"" is PAINTED on the glass, ""BY APPOINTMENT ONLY."" Delivery Man presses a DOORBELL, looking in. He gets BUZZED in.IN THE 4TH FLOOR HALL:The Killer opens the bin and takes out a flat, plastic TOOL CASE. He approaches the office door as it SHUTS.THE KILLER (V.O.)(in V.O. whisper)1... 2... 3... 4... 5... 6... 7...The Killer cautiously leans to look.THRU THE GLASS: Delivery Man greets Dolores as she rises from her DESK to one side of the wood paneled OUTER OFFICE. Dolores accepts a FEDEX ENVELOPE. Delivery Man has her sign the SCREEN of his TRACKER. CONTINUED 58. CONTINUED 59.The Killer retreats a few steps, leans against the wall, taking out his PHONE. He pretends to be engrossed in it. Delivery Man exits the office, walks back to the elevators, not noticing The Killer, who pockets his phone as the DOOR is SWINGING shut but... The Killer's already stepping up to......JAM his toe in at the last possible second.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HODGES' OUTER OFFICE - AFTERNOON224224Dolores is tearing the ENVELOPE open and looking confused upon finding it empty. The Killer enters, shutting the door behind. He puts down his case, takes out his GUN.THE KILLERDolores.Dolores turns to see him. Horrified.The Killer retrieves his tool case and steps forward. He motions with the Glock that Dolores should move from behind her desk. She does so.Stepping behind the desk himself, The Killer places his case down flat. He takes Dolores' PHONE, puts it in his pocket. He pushes her LAPTOP shut, places it on top of his case and picks both up. He motions for Dolores to continue towards a large, closed WOODEN DOOR. Dolores acquiesces, going to stand before it.The Killer glances down to her work station, steps to......depress a SWITCH beneath the desk with his foot.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HODGES' INNER OFFICE - AFTERNOON225225A BUZZ is HEARD; a LOCK UNLATCHES. The wooden door is pushed inwards as a contrite Dolores enters.DOLORESI'm... I'm sorry, sir...In this large, also wood-paneled OFFICE, somewhat rough-around-the-edges, 50-something EDWARD HODGES looks up in annoyance from his LAPTOP at his big DESK.HODGESWhat is it, Dolores? He sees The Killer following Dolores in, stunned.CONTINUED 59. CONTINUED 60.HODGESGood God.The Killer aims at Hodges (whose voice we should recognize as the VOICE OVER THE PHONE The Killer spoke with earlier) and kicks the DOOR SHUT behind.HODGESWhat could you possibly be thinking, coming here? The Killer drops the tool case and Dolores' laptop on a COUCH, gently places a hand on Dolores, guiding her.HODGESThis is very unlike you, my friend. Care to explain yourself? Because I cannot...The Killer brings fearful Dolores to Hodges, takes out TWO ZIP-TIES, hands them to her. He points to Hodges' hand resting on the arm of his wheeled DESK CHAIR.HODGES...Conceive of anything I have to offer that could remotely be worth the exposure on your part.(of Dolores' hesitation)Go ahead, dear; whatever he says.Dolores reluctantly begins ZIP-TYING her boss's wrists to the chair arms. Hodges tries to remain calm.HODGES(to The Killer)Insanity. There's no other word for this. Insanity. Surely you can't be angry with me.DOLORES(to Hodges)I'm so sorry. I opened the outer door for FedEx...HODGESDolores, I'm the one who's sorry. I sincerely apologize.The Killer yanks one tie to make it tighter, then brings Dolores as he crosses. He opens a DOOR leading to a sizable EXECUTIVE WASHROOM, replete with SHOWER.CONTINUED 60. CONTINUED 61.HODGES(to The Killer)There's clearly been some sort of misunderstanding. I'd like to ask you to take a breath. Think for a minute.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HODGES' BATHROOM - AFTERNOON226226The Killer leads Dolores to the bathroom SINK.HODGES (O.S.)(calling after)This will be resolved in a moment, Dolores, I promise you. Once he realizes the folly of his actions.Dolores watches, tears welling, as The Killer proceeds to zip-tie her wrist to the METAL TOWELBAR mounted, waist-high, in front of the sink.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HODGES' INNER OFFICE - AFTERNOON227227The Killer reenters, shuts the bathroom door.Now that they're alone in Hodges' office, The Killer and Hodges turn their undivided attention to each other.HODGESYou went home. How could you have, realizing my hands would be... ?(glances down, flustered)You had to have known -- you must've -- that I'd have no say in the matter going forward and still, you went home.THE KILLERWho were they?Hodges looks incredulous.HODGESWho were they? First of all: who cares? I barely glanced at the invoice. Which, if I may say, is very much beside the po",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int. The consequences, when someone's wide of the mark, are automatic. However regrettable, they are an obligation to client and calling.CONTINUED 61. CONTINUED 62.At the couch, The Killer sits, takes up the molded plastic tool case, which he opens.HODGESI was forced to be make amends by a very angry, very powerful man -- never in my wildest imagination did I think you'd actually go home... not in a million years.The Killer takes out his NAIL GUN and BATTERY PACK. He slaps the battery into the gun's hilt. Hodges swallows, but he's not the type to let anyone see him sweat.Still seated, The Killer closes Hodges' laptop, puts Dolores' laptop on top, aligns the nail gun against where the hard drives reside, and presses in quick succession -- PSST-THUNK PSST-THUNK PSST-THUNK -- so THREE long NAILS impale them together.HODGESWhy would you -- ? That's just... childish. The good news is, it's not too late. Even now, this entire debacle can be salvaged. But only if you disappear. Which is what I assumed you'd've already done. The Killer stands and crosses, bringing the nail gun.HODGESYou've got more money than you can ever spend. Thanks in no small part to me, so, why aren't you already on the other side of the globe, under any number of aliases, spending it?The Killer stands before Hodges' desk. HODGESYou don't believe me; don't feel you can trust me. Fine. I've brought that on myself. But after all these years -- having built this from the ground up -- I thought we had a relationship.He swaps the nail gun to his left hand.CONTINUED 62. CONTINUED 63.THE KILLERI know you have back-up records here, Eddie, on me, everyone; the whole shebang...The Killer starts around the desk.THE KILLER ...because you'd never put it on the cloud, any more than you'd trust it outside these four walls.HODGESThere's nothing like that. Everything was on those two laptops. And now... it's not.The Killer stands over the lawyer, his unwavering gaze fixed upon Hodges.HODGESWho do you think you're trying to intimidate? It wouldn't make any sense for you to pull that trigger. There's no upside.Okay, despite his resolute defiance, Hodges is sweating.HODGESThe only logical choice for you is to turn around, right now, and walk out that door. Embrace your next life. I wish you well.The Killer lowers the gun and brings the nail gun up against Hodges' chest -- PSST-THUNK PSST-THUNK PSST-THUNK -- fires THREE nails. Hodges sucks in a long GASP.Hodges' eyes go wide with terror as he rears up in the chair and his tied hands claw air. Pinning his shirt to his chest are the THREE tiny HEADS of the NAILS sunken deeply in nearly bloodless puncture wounds.Hodges WHEEZES, struggling to breathe, as The emotionless Killer places the nail gun down on the desk.THE KILLERYou'll drown, slowly... and I'll dispose of you... The Killer picks up Hodges phone.CONTINUED 63. CONTINUED 64.THE KILLER...so while a few fragments of your side hustle may be left to puzzle over...Hodges' bulging eyes watch as The Killer, turning the PHONE ON, holds the phone up for Hodges to see...THE KILLER...since you'll have completely vanished, the trail ends where it began...CLOSE-UP:ON THE PHONE: The Killer's finger brings up the ""Emergency Call"" window and KEYPAD.THE KILLER...unless:CLOSE-UP:ON THE PHONE: The Killer keys in ""911.""IN HODGES' OFFICEThe Killer places the phone at the edge of the desk, near Hodges, with ""911"" on the bright screen ready and waiting -- if only someone would press the GREEN BUTTON to dial.Hodges pitches back and forth, sucking air as best he can. His mouth works horribly, wordlessly.The Killer takes a step back, raising his arms and turning his head; makes a show of looking around.THE KILLERI need the information Edward, and you're running out of time.Hodges grunts and WHEEZES, his eyes locked on ""911"" -- bobbing his head in desperation at the phone.The Killer, seeing Hodges teetering, moves around the desk, coming to tip everything off the DESK's BLOTTER and to grab a COPY of THE WALL STREET JOURNAL.The Killer begins a grotesque pantomime, crossing to gesture towards several PAINTINGS on the wall. While giving Hodges a questioning look, he looks behind one painting. Finding nothing, he moves on... goes to throw open the DOORS of a LIQUOR CABINET, gives a ""?"" SHRUG.CONTINUED 64. CONTINUED 65.Hodges watches, beginning to GURGLE, shakes his head. The Killer goes to put a hand over FILE CABINETS, looking for Hodges to clue him in while moving his hand over one after another -- like a game of ""Colder Warmer Hotter.""Hodges shakes his head desperately, ""no no no."" He cranes his neck and NODS insistently to across the room.The Killer crosses to stand before FOUR long SHELVES full of LAW CASEBOOKS, LAW ENCYCLOPEDIAS and STATUTE TOMES.Hodges, whose breathing grows wetter by the moment, makes a big show of nodding his head up and down, ""yes yes.""The Killer looks up at all those many books. Looks back to Hodges, points to the books to the left, points to books to the right, again looks questioningly.Hodges has had enough. He jerks frantically forwards in his chair, wheeling it a bit while turning the seat. He begins THRUSTING all his weight forward, repeatedly -- his zip-tied hand grasping all the while for the PHONE... that ""911"" tantalizingly close, but out of reach.The desk chair TOPPLES...Hodges HITS the floor hard, on his side.Hodges, with both hands still zipped to the chair, is feebly stuck there, eyes closed, a GURGLING fish out of water. The Killer kneels beside, opening the NEWSPAPER beneath Hodges' head as Hodges chokes up BLOODY SPITTLE. The Killer next positions the NEWSPAPER beneath Hodges' waist, under Hodges' urine-soaked haunches.HODGES(choking)I... never... liked you.The Killer rises, looking down to inspect his work.THE KILLER (V.O.)Three, 9-gauge nails. Early middle-aged non-smoker. About a hundred and eighty pounds. Should last... six, seven minutes...Hodges is still breathing, but quite shallowly.The Killer picks up Hodges' phone. Turns it OFF. He puts it in his pocket as he steps over Hodges. CONTINUED 65. CONTINUED 66.Coming to stand before the BOOKSHELVES, The Killer gives a daunted sigh. CRACKS a few gloved KNUCKLES. He goes to take out the far right BOOK from the bottom shelf; begins his search there.He opens the book, FANS the pages, replaces it. He takes the next book to the left, fans it, replaces it. Same with the next book left; searching every single book.The Killer pauses, looking over his shoulder.On the floor where he fell, Hodges lies motionless. His open eyes are dull and lifeless.DOLORES (O.S.)Thompson Reuter's Eleventh Edition!The Killer reacts... scans the shelves -- pulls the Thompson book and finds a hidden NICHE CARVED OUT in the book's pages. Therein resides a small LEDGER.The Killer pries out the LEDGER, regards it.OMITTED228228OMITTED229229OMITTED230230OMITTED231231",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HODGES INNER OFFICE - AFTERNOON231A231AThe Killer wheels the shredder bin from the lobby into Hodge's office. THE KILLER (V.O.)Stick to the plan. Anticipate; don't improvise.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HODGES' OFFICE - AFTERNOON232232The Killer closes the DOOR BLINDS. Flicks OFF LIGHTS.THE KILLER (V.O.)Fight only the battle you're paid to fight.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HODGES' BATHROOM - EVENING233233The DOOR OPENS and The Killer enters. CONTINUED 66. CONTINUED 67.THE KILLER (V.O.)Trust no one.Zip-tied Dolores leaning back against the SINK. Her mascara has run, but she's all cried out.The Killer notices the MEDICINE CABINET MIRROR ajar. He reaches to take a PILL BOTTLE from Dolores' fist, which she allows without struggle. He reads it: ""HODGES, EDWARD ALPRAZOLAM generic for XANAX .25mg""The Killer shakes the bottle, hears a few pills rattling. He tosses it into the sink.DOLORESI'd beg... if I thought it would do any good.She looks to The Killer, who gives nothing; to which Dolores lowers her head, swallows, regrouping.DOLORESI have the names you're looking for... I know who ""they"" were...(pause)But, before I give them to you, I... I want something in return... (pause)I know what you're capable of -- how you can make things seem.(swallowing)I'll give you the names you're looking for, but I can't just disappear. My children -- need my life insurance... I'll trust you, but promise me you won't leave things looking... the wrong way. Please.The Killer waits.DOLORESI don't make the kind of money you and Edward do. Not by a long shot. But I have people who...THE KILLER (V.O.)Forbid empathy.CONTINUED 67. CONTINUED 68.DOLORESI... I guess I am begging.She swallows misery, struggling to maintain composure.The Killer's expression still betrays nothing.THE KILLER (V.O.)Empathy is weakness. Weakness is vulnerability. The Killer reaches down and cuts Dolores' zip-ties.CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HODGES OFFICE - NIGHT233A233AThe Killer comes out of bathroom with Dolores trailing. She sees Hodges lying bound and lifeless. She faints.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HODGES' INNER OFFICE - NIGHT234234The Killer opens the bin and tips it over onto the floor, so the wide opening roughly faces Hodges' body.QUICK CUT MONTAGE:-The Killer wraps Hodges' head in newspaper like a fishmonger.THE KILLER (V.O.)Each and every step of the way, ask yourself, what's in it for me?-He uses a MULTI-TOOL to SNIP Hodges' left hand free.THE KILLER (V.O.)This is what it takes... -He PUSHES Hodges' heavy corpse, head first, into the mouth of the grey bin.END MONTAGE",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HODGES' INNER OFFICE - NIGHT235235The Killer lifts the nail gun from the desk.THE KILLER (V.O.)...what you must commit yourself to...CONTINUED 68. 69.He goes to drop them into the open, uprighted bin, where we may catch a glimpse of the SOLES of Hodges' SHOES before The Killer goes to...THE KILLER (V.O.)...if you want to succeed....collect the TWO impaled LAPTOPS from Hodges' desk. These he TOSSES in, one after another, along with the book and ledgers.MOMENTS LATER:The Killer flips the shredder bin's LID SHUT.THE KILLER (V.O.)Simple.OMITTED236236OMITTED237237",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HODGES' OFFICE BLDG - ELEVATOR - NIGHT238238DOORS OPEN. The Killer backs the grey bin into the empty elevator. Dolores follows. She hits the ""L"" BUTTON and watches as the DOORS CLOSE. The elevator descends. She and The Killer stand stiffly. A DING is HEARD. They both look up to see...The ELEVATOR's STOPPING on ""2.""The DOORS OPEN. A BUSINESS MAN and WOMAN, looking at their PHONES, barely glance up at Dolores and The Killer as they edge past the big bin, squeezing in.Dolores watches them. The leery Killer keeps his head down, watching peripherally. DOORS CLOSE. ELEVATOR goes DOWN. Business Man and Woman are ""liking"" and scrolling on their devices.BUSINESS MAN(scoffs, off-handedly)Need help getting rid of that body?DOLORES(forced)Ha. Hilarious.CUT TO: 69. 70.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HODGES OFFICE BUILDING - STREET - NIGHT239239Man and Woman exit, walking away. The Killer backs out with the grey bin. Dolores brings up the rear. A few VEHICLES pass, but there's not much after hours activity otherwise, as The Killer and Dolores cross toward his white, rental van. CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RENTAL VAN - MID-SOUTHERN CITY STREETS - NIGHT240240There's only the SOUND of WHEELS on ASPHALT as The Killer drives. Dolores is the passenger, her eyes heavy-lidded, at least partly because of the Xanax. She looks down......at her HAND zip-tied to the dashboard's GRAB HANDLE.Dolores' puffy eyes return to staring forward. The Killer's staring forward. This is how they remain, in silence, for a protracted moment.CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DOLORES' HOUSE - NIGHT241241In a nice enough SUBURB, the white van PARKS. HEADLIGHTS go OUT. A MAN walks his DOG, passing in the other direction. After a moment, The Killer pulls forward into the driveway of... Dolores' HOUSE.The Killer gets out, leaving Dolores, who we briefly glimpse. The Killer strides up the WALKWAY to the FRONT PORCH. At the FRONT DOOR, he uses KEYS to enter. As soon as he's in, the shadowy FIGURE of DOLORES can be seen making every effort to YANK her tied hand free. All the while, the home's WINDOWS remain DARK as Dolores struggles, alas in vain... until the SOUND of the automatic GARAGE DOOR is HEARD. The GARAGE DOOR rises, bare bulb shining from inside as The Killer emerges, returning. Dolores, in SILHOUETTE, gives up, slumping forward. The Killer gets in, starts the van, pulls into the garage, beside Dolores' CAR.DOLORES (V.O.)(pre-lap)Start date of your employment, in Paris...CUT TO: 70. CONTINUED 71.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DOLORES' HOUSE, OFFICE - NIGHT242242Dolores is seated on the BED, hands on her knees with fingers spread, eyes staring off; slightly out-of-it.DOLORES... was November 28th. So, go to ""N.""The Killer, at Dolores' particle board SECTIONAL DESK and incongruously surrounded by her framed FAMILY PHOTOS, is seated facing Dolores, with a big, open-circular, large-format ROLODEX on his knee, which he starts spinning.DOLORESUnder ""N,"" in numerical order, find... eleven twenty-eight. One one two eight, and... The Killer does so his fingers flicking through the ROLODEX CARDS behind the ""N"" TAB. All the many cards are covered in myriad, different colored HANDWRITTEN NOTATIONS, with some TYPED INFO and cross-outs and scribbled additions.DOLORESYou'll recognize the address. The Killer stops at one CARD, takes it out to examine: 11-28* 3 Rue du Grevacct. CH-2315 Paris, France 697846111 *unanticipated overage CH-2315a 889300295 560211453DOLORESBecause of... what occurred, there's an addendum at the bottom. Should be two wire transfer routing numbers, for the sub-contractors you're interested in. What's the first?THE KILLER(reading from CARD)Eight, eight, nine--CONTINUED 71. CONTINUED 72.DOLORES""E.""(gestures, WIGGLING her fingers)Numerically again.(PROPS NOTE - Dolores files many cards numerically, NUMBERS at the top NOT spelled out, but still under the letter each first number starts with -- ""E"" for 8, in this example. There would also be an alphabetical section before or after the numerical sections, under each tab, with names and other coded words - all creating a glorious, indecipherable-mess-only-Dolores-can-understand... and, since she files a lot of stuff by wire transfer routing numbers, there will likely be more cards under O,T,F,S, E and N than under others, thank you!)The Killer places the CARD on the corner of the desk, searches the ROLODEX to ""E,""... finds: 889300295 560211453 acct. CH-2315a /per E.H. acct. CH-3215a /per E.H. M.C.W. H.T. 5 Union Avenue 2234 Coastal Bypass Beacon, NY 12508 St. Petersburg, FL 33703He plucks the TWO CARDS, glances up.Dolores seems barely able to keep her eyes open. The Killer looks back down at the first card... turns it over, to find more masculine HANDWRITING: paid in full Claybourne, H 450 E. Wallace Ave./ PH Chicago, IL 60654THE KILLERClaybourne?Without turning, Dolores' eyes look over matter of fact. DOLORESThe client. The Killer absorbs this. He extracts this ROLODEX CARD.His hand closes over the CARD on the desk as he stands. Pocketing the TWO CARDS, The Killer looks to Dolores. She's looking to him. He motions for her to come.CONTINUED 72. CONTINUED 73.Dolores gets to her feet. She walks to The Killer.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DOLORES' HOUSE - 2ND FLOOR HALL - NIGHT243243The Killer steps aside, gesturing for Dolores to go thru the doorway. She does, leading the way into a DARK HALL. Her own expression has come to match The Killer's emotionless example.The Killer follows behind.It is a slow walk down a relatively short hallway.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DOLORES' HOUSE - 2ND FLOOR LANDING - NIGHT244244As Dolores nears the STAIRWELL....The Killer is upon her -- reaching to TWIST Dolores' head violently. The SNAP of her neck is actually audible, or was it our imagination? Nevertheless...The Killer throws his hands open, releasing Dolores so suddenly that she teeters upright a moment, impossibly; a marionette with cut stings, then... Her body goes headlong down the stairs in a sickening, somersaulting TUMBLE of flopping limbs, snapping bones and skin-splitting impacts.She SLAMS to a halt in a bent, broken heap below. It's scant solace that she was dead before the fall began.CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MID-SOUTHERN CITY - STORAGE FACILITY -- NIGHT245245The Killer, in his van, leans out to NO-TOUCH-TOOL-poke buttons on the mounted KEYPAD, which BEEPS. GATE RISES.THE KILLER (V.O.)""Clean up,"" without fail, is labor intensive. To say the least.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. STORAGE UNIT - NIGHT246246By the shadowy LIGHT of surrounding LED LANTERNS on the floor, The Killer wheels the large grey bin containing Hodges' corpse to beside the QUIKRETE bucket and cooler at the center of a large, PLASTIC DROPCLOTH laid out.The Killer crosses to the SHELVES. Takes some zip-ties.He goes to grab a UTILITY TUB propped near the industrial DRUMS, slides that over to beside the QUIKRETE.CONTINUED 73. CONTINUED 74.THE KILLER (V.O.)Don't want a puzzle solved? Remove a piece or two. Scatter the rest.At other SHELVES, he drags down, from amongst a few other pieces of LUGGAGE, a large, hard-walled FOOTLOCKER.THE KILLER (V.O.)What's the expression? Measure twice, cut once.He steps to his TOOL RACK. Takes down a long-handled TROWEL, and lastly... a large, jagged-toothed SAW.CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MID-SOUTHERN HWY - RENTAL VAN - NIGHT247247The Killer drives, attentive to the HIGHWAY before him.IN THE BACK OF THE VAN:A HANDTRUCK and a few flat MOVING BOXES are bungie-corded to the wall. There are three items at the center of the van: the COOLER, the FOOTLOCKER, and a SHOVEL.CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. RENTAL VAN - FERRY TERMINAL - DECK - NIGHT248248The Killer's van pulls in behind THREE VEHICLES already waiting at the FERRY TERMINAL.FERRY CREWMEN and CREWWOMEN in YELLOW VESTS wave them on.The Killer follows as the vehicles pull onto the deck, where they tandem park, close along the right RAIL.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. BAY - FERRY (UNDERWAY) - NIGHT249249The FERRY churns across the mouth of the BAY.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BAY - FERRY (UNDERWAY) - NIGHT250250Some PASSENGERS are on the bow, watching waves crash in foredeck FLOOD LIGHTS, chatting with DECK CREW.Mid-ship, where the white van is situated in relative darkness between empty CARS, the van's right hand SIDE DOOR SLIDES OPEN. The Killer gets out, holding the heavy cooler by its handle. He looks around. CONTINUED 74. 75.He goes to lean his elbows on the railing, with the cooler in his hands over the rail, looking to the water.He glances around once more... lets the cooler drop. Climbing back in thru the van's side door, The Killer turns back, takes out a PHONE and TOSSES it over the rail into the water. He SLIDES the door SHUT.CUT TO:OMITTED251251",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. RENTAL VAN - HIGHWAY - NIGHT252252The Killer's van travels at speed limit, on relatively desolate roadway.CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. RENTAL VAN - BENEATH HIGHWAY - DAWN253253O.S. VEHICLES ZOOM overhead. The Killer's van, dark, sits in shadow between a raised FREEWAY's huge PILLARS. A nearby TREELINE is alive with the SOUNDS of WILDLIFE.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. SOUTHERN-CITY WILDERNESS - DAWN254254HIGHWAY VEHICLES are only faintly HEARD here. The Killer drags the FOOTLOCKER past a dirt MOUND to a fresh HOLE.THE KILLER (V.O.)Even I have to occasionally remind myself... the only life-path is the one behind you.He unceremoniously topples the footlocker in. The Killer goes to get his SHOVEL.CUT TO:,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MOTEL 6 - DAY255255CHILDREN SCREAM and SPLASH, supervised with varying patience by PARENTS.ON THE SECOND FLOOR:A MAID rolls her CART by one DOOR where...A ""DO NOT DISTURB"" SIGN hangs off the doorknob. 75. CONTINUED 76.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MOTEL 6 ROOM - DAY256256On the BEDSIDE TABLE, beside The Killer's collapsible, metal CUP and MULTI-TOOL key chained to his NO-TOUCH-TOOL, an ALARM CLOCK reads: 2:33 PM.Sunlight flares around closed CURTAINS. The Killer sleeps on his back. His arms out of the sheet, at his sides. No pillows. Those are stacked on the other BED beside his travel bag and tomorrow's CLOTHES.He sleeps deeply, despite the boisterous O.S. SHRIEKING, his eyes busily REMing back and forth under his eyelids.The Fitbit on his wrist READS an unusual ""101 bpm.""CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. RENTAL VAN - INTERSTATE - NIGHT257257The Killer's van rumbles on, only WHITE DOTTED LINES ahead and dimly lit FOLIAGE on the periphery.IN THE VAN - IN MOTION:Behind the wheel, The Killer reaches to take a peeled, HARD BOILED EGG from the paper Starbucks BAG on the passenger seat. He puts it in his mouth, chews. He reaches to get another EGG. He swallows. Puts the 2nd in his mouth, chews. He takes a Venti STARBUCKS COFFEE from the center DRINK HOLDER, washing down his ""supper,"" keeping his eyes on the road the whole time.CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FREEWAY - DEEP-SOUTH CITY - NIGHT258258The Killer drives his rental van south, deep in Southern flatlands, with CITYSCAPE to the east and ocean beyond.OMITTED259259OMITTED260260INT/",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. RENTAL VAN - CAR WASH - NIGHT261261In the bay of a SELF-SERVE CAR WASH, with the van's rear and side doors open, The Killer climbs into the back, dragging the WASHER GUN and trailing HOSE which he whips to gain slack. He pulls the trigger, unleashing the WATER SPRAY -- BLASTING the van clean from inside out.CONTINUED 76. CONTINUED 77.THE KILLER (V.O.)Cleanliness... right up there next to Godliness, I'm told.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DEEP-SOUTH AIRPORT - TRUCK RENTAL LOT - NIGHT262262Beneath SIGNAGE, The Killer's van enters the LOT. CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DEEP-SOUTH CITY - AIRPORT CAR RENTAL KIOSK- PRE-DAWN263263A JUMBO JET rages overhead, coming in for a landing. The Killer NO-TOUCH-signs an E-CONTRACT on the SCREEN of a COMPUTER TABLET a male RENTAL AGENT holds out to him.INSERT: THE KILLER’S HAND signs on a TABLET SCREEN for the CAR RENTAL AGREEMENT for “REUBEN KINCAID.”OMITTED264264",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. RENTAL CAR - NEIGHBORHOOD - BRUTE'S HOUSE - MORNING264A264AThe Killer, in BUCKET HAT and SUNGLASSES, cruises by luckless STREETS of wanting HOMES and a huge, rusting, multi-legged WATER TOWER.INSERT: THE KILLER’S hand, resting on the steering wheel, holds the 3 ROLODEX CARDS: examining the top card which features THE BRUTE’S ADDRESS (“H.T.”), then THE KILLER places the cards in a DRINK HOLDER below his mounted PHONE which features a GPS ROUTE in ST. PETERSBURG.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RENTAL CAR (IN MOTION) - MORNING264B264BThe Killer surveys his surroundings, glances down at...CLOSE-UP: H.T. 2234 Coastal Bypass St. Petersburg, FL 33703IN THE CAR:He turns his attention back to passing homes.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. RENTAL CAR - NEIGHBORHOOD - BRUTE'S HOUSE - MORNING264C264CDEEPER IN THE NEIGHBORHOOD:The Killer drives by...CONTINUED 77. CONTINUED 78.A single story, CORNER HOUSE, surrounded by CHAINLINK FENCE. TWO MUSCLE CARS and a slick CYCLE out front.There's no one in the weedy FRONT YARD, but...THE KILLER (V.O.)Florida. The Sunshine State....as The Killer turns the corner, looking without being conspicuous, it's a different story in the SIDE YARD. TWO gangster-wannabes hang out with a muscular, shirtless freak in GYM SHORTS we'll call THE BRUTE.The three men are jawing, VAPING WEED and taking turns on a free WEIGHT BENCH in the yard. If he wasn't fenced in, the crazed MASTIFF following and BARKING after The Killer's Cruze would probably give chase.THE KILLER (V.O.)Where else can you find so many like-minded individuals? Outside a penitentiary, I mean.Luckily, it's only the huge dog paying the car any attention as The Killer drives by.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. RENTAL CAR - NEIGHBORHOOD - BRUTE'S HOUSE - MORNING264D264DThe Killer slows, pulls to stop.IN THE CAR:The Killer rolls down his window, watching in his left SIDE MIRROR as he reaches to adjust it with his pinkie.IN THE MIRROR: Mastiff retreats, having lost interest, the three yoked pals carouse. It's The Brute's turn, and he's repeatedly chest-pressing a stacked BARBELL.Finishing, The sweaty Brute leaps to his feet, roaring at his compatriots, laughing maniacally. He's a bulked-up, tatted-up personification of 'roid rage.The Killer turns, leaning out to look back...THE KILLER'S MIRROR POV:The Brute sucks on a proffered VAPE PEN and expels a mushroom cloud. We notice his bare, right leg... where he has a beginning-to-heal, jaggedly, perhaps-self-STITCHED WOUND on his outer thigh. A stab wound.CONTINUED 78. 79.IN THE CAR:The Killer faces forward, stares ahead, considering.THE KILLER (V.O.)Hope they're not planning a sleepover.He pulls away. Drives on.THE KILLER (V.O.)First things first.FADE TO BLACKCUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DEEP-SOUTH CITY - SUPERMARKET - DAY265265The Killer wheels a SHOPPING CART to EXPRESS CHECKOUT, placing his few ITEMS onto the moving CONVEYOR.ANGLE ON:FEMALE CASHIER passes each over the SCANNER: a plastic KITCHEN FUNNEL... a kitchen DISH TOWEL... a package of ""UNISOM SLEEP GELS""... a pack of ""SOMINEX"" TABLETS... A 40oz. BOTTLE of ""OLDE ENGLISH 800""... a pack of ""ZzzQUIL"" TABLETS... shrink-wrapped POUND of GROUND BEEF.CUT TO:INT/",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. RENTAL CAR - BRUTE HOUSE - AFTERNOON266266The Killer's Cruze is parked with a cheap SUNSHADE propped in the windshield, but the shade's askew. INSIDE THE CRUZE:The Killer, in SUNGLASSES, is slumped low, peering...THE KILLER'S POV:...past the askew shade, which allows a view of The Brute's house, up the block. The cars and motorcycle are still parked there.IN THE CRUZE:The Killer sweats in the heat, patient.CUT TO: 79. (more)CONTINUED 80.INT/",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. RENTAL CAR - BRUTE HOUSE - DUSK267267Sun's fallen low. The Brute and two Thug Pals come out the front door, crossing the yard. Mastiff follows.Thug One gets behind the wheel of one car as The Brute gets in the passenger side. Thug Two hops on the cycle. Mastiff's left, barking after them.IN THE CRUZE:The Killer pulls down the cardboard shade, starts the engine, watches THRU THE WINDSHIELD: as the car and cycle head off. He follows.CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CASINO PARKING LOT - NIGHT268268The Brute and Two Thugs, amped, in their GOLD CHAINS and Ed Hardy-esque DUDS, stride three abreast from the busy PARKING LOT towards a neon adorned CASINO ENTRANCE.Not far away, The Killer's Cruze stops at the end of an aisle. The Killer watches the three, then...THE KILLER (V.O.)Maybe a mandatory 30-day waiting period for the purchase of creatine's not a bad idea.Drives away, leaving them.CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BRUTE HOUSE - NIGHT269269A TEEN COUPLE, vaping, strolls where The Killer's vanilla rental car is slowing, paying the vehicle no mind.INT/",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. RENTAL CAR - BRUTE HOUSE - NIGHT270270IN THE CRUZE:The Killer sits in darkness, about where he was parked previously, watching The Brute's house. No activity.THE KILLERSo, here you are. Vigilant.(glancing at FITBIT)Narrowly focused. (more)CONTINUED 80. THE KILLER (CONT.) CONTINUED 81.How's the whole, ""I don't give a fuck?"" going?UP THE STREET:HEADLIGHTS swing 'round the corner. It's Thug One's car, roaring up to The Brute's and predictably SCREECHING to a halt. The Brute climbs from the car. After a profanity-laced farewell between Thug and The Brute, and an obligatory, tires-smoking U-TURN, the car races off. The Brute walks towards his house.Mastiff runs across the yard to greet The Brute, following when ignored. The Brute, stumbling, goes in.IN THE CRUZE:The Killer takes the CAR KEY from the ignition, stashes it under the driver's side VISOR.He looks at his Fitbit.It's ""3:12 AM.""He takes out his GLOCK, checks it. Pockets it.He TAPS his Fitbit. ""118 bpm.""He frowns. He sits back, closes his eyes. He breathes in... exhales. Breathes in. Out. In. Out.He checks...""116 bpm.""Disgusted with himself, he pulls the Fitbit off, hangs it on the REARVIEW MIRROR. Gets out.INT/",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. RENTAL CAR - BRUTE HOUSE - NIGHT271271The bucket-hatted Killer reaches to grab SOMETHING small wrapped in PLASTIC, and he also gets the 40oz. BEER BOTTLE, wrapped in a PAPER BAG. He nudges the door shut, adjusts his hat, starts up the block. He glances around, taking his time, on a leisurely stroll towards The Brute's.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BRUTE HOUSE - SIDE YARD - NIGHT272272As The Killer nears, crossing the street, Mastiff starts barking. THE KILLER (CONT.) CONTINUED 81. 82.The Killer continues, with beer bottle under his arm, unwrapping what he's got in the plastic. He heads along the home's side lot as Mastiff growls and follows on the other side of that fence. THE KILLER (V.O.)This'll have to be a best guess, based on the average pit bull weighing 45 to 55 pounds. Up close, she actually looks bigger. The Killer's close enough to...THE KILLER (V.O.)Caution: contains Diphenhydramine. Do not take if you’re allergic to Diphenhydramine. Immediately contact your veterinarian if you experience vomiting, diarrhea... or excessive fur loss....casually TOSS what he's unwrapped over.IN THE YARD:3 sizable MEATBALLS land on the lawn. Mastiff shuts up long enough to come sniff. He begins gobbling.ON THE STREET:The Killer walks on, bending to place the bagged beer bottle by the GATE to The Brute's yard, keeps going.The Killer crosses to the other side of the street. In shadows beneath a tree, The Killer sits down on the curb. He puts on GLOVES.Mastiff, finished eating, restlessly patrols his turf.Adjusting the gloves, The Killer cracks his neck. In the yard, Mastiff wanders off.Elbows rested on his knees, The Killer watches the house.CUT TO:OMITTED273273 82. CONTINUED 83.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BRUTE HOUSE - NIGHT274274The Brute's house is dark, except FRONT PORCH LIGHT's ON. Front and side yard seem empty; no sign of Mastiff.ACROSS THE STREETThe Killer rises from where he's been seated.He walks towards The Brute's house.He passes the brown-bagged bottle as he opens the fence gate and enters the yard. He takes out his gun, stalking warily towards the house.OMITTED275275OMITTED276276",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BRUTE HOUSE - BACK PORCH - NIGHT277277The Killer approaches the REAR PORCH.Walking up the STAIRS, he halts...Mastiff lies asleep, SNORING heavily. Stepping around, The Killer goes to crouch at the REAR DOOR. He peeks in thru the dark WINDOW. He takes out a KEY, inserts it in the DEADBOLT.It's a BUMP KEY, with a tiny RUBBER WASHER around its neck. By applying gentle turning pressure while using the butt of his gun to carefully TAP the head of the key, he's able to -- TURN the KEY, UNLOCKING the deadbolt.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BRUTE HOUSE - NIGHT278278The moment of truth: as The Killer quietly enters, pocketing the bump key, raising his weapon. He leaves the DOOR OPEN behind him as he walks up a dark HALLWAY.He checks each room as he proceeds... a LAUNDRY ROOM with old WASHER and DRYER to his left... open entryway to dark, empty, filthy KITCHEN to his right, with big BUTCHER BLOCK ISLAND at center.Moving on. He carefully steps around a few empty BEER BOTTLES on the floor. A FLOORBOARD CREAKS underfoot, giving The Killer pause. He listens. He proceeds.THE KILLER (V.O.)Stick to your plan.CONTINUED 83. CONTINUED 84.The hall widens to an ENTRY HALL, FRONT DOOR ahead... the large LIVING ROOM is thru a broad entryway to the right... to the left is a DOOR that's ajar. The whole place is like a sparsely furnished frat house.He goes to the door to the left, pushes it inward...THE KILLER (V.O.)Anticipate; don't improvise.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BRUTE HOUSE - BEDROOM - NIGHT279279The Killer steps in, gun up. He finds a very unwelcome sight: the BED is empty, covers tossed aside. This is a problem. The Killer takes a step, looking...THE KILLER (V.O.)Trust no one.He can see -- thru an open DOORWAY and thru the adjoining BATHROOM and thru another open DOORWAY -- back the whole length of house to the washer and dryer. This is a fucking problem. He quickly backtracks...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BRUTE HOUSE - HALLWAY - NIGHT280280The Killer emerges from the bedroom, aiming the way he came...THE KILLER (V.O.)Fight only the battle you're paid to fight....a fraction of a second too late as The hulking Brute's already CHARGING headlong from the gloom...The Brute COLLIDES into The Killer like a freight train, shoving The Killer's gun hand up by the wrist while KNOCKING The Killer off his feet...The Killer's SLAMMED brutally backwards against the living room threshold and sent SPRAWLING to the hardwood floor. (His HAT's knocked off, unsurprisingly.)His dropped gun bounces into the room.The Brute, in SWEATPANTS and MUSCLE SHIRT, strides to the FRONT DOOR, twisting the DEADBOLT with a happy leer.THE BRUTEYou picked the wrong house, motherfucker.CONTINUED 84. CONTINUED 85.The Brute fingers-WHISTLES shrilly while THROWING the front door wide, so it slams the wall.THE BRUTE(to the open doorway)Rip him up!He's pointing towards The Killer, but he's speaking only to the empty front porch, much to his confused chagrin.The shaken Killer crawls towards where his gun ended up.At the front door, The Brute leans out, dumbfounded.THE BRUTEWhere the -- ?He wheels, SHOVING the FRONT DOOR SHUT, looking...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BRUTE HOUSE - LIVING ROOM - NIGHT281281As The Killer's reaching out for his gun, The Brute arrives to deliver a GUT KICK.The Brute picks up the gun. The Killer tries to rise. The Brute steps to -- KICK The Killer in the ribs.The Killer falls onto his back, sucking air.THE BRUTERemember...The Brute EJECTS the BULLET from the gun's chamber.THE BRUTE...you brought this on yourself, cunt.He pops the CARTRIDGE, throws the gun to the corner. THE BRUTEAnyone usually sees me coming...He rapidly pushes the BULLETS out of the cartridge...THE BRUTE...they don't cross the street....one by one to the floor.He tosses the empty cartridge over by the gun, advancing.THE BRUTEThey move to another area code.CONTINUED 85. CONTINUED 86.The Killer's prone, on his knees, gripping the overladen COFFEE TABLE in an effort to get up as the Brute SHOVES the coffee table aside, FLIPPING it -- sends MAGAZINES, ASHTRAYS and empty BEER BOTTLES flying. The Killer, on hands and knees, is still trying to rise. The Brute takes a big step and......as he's KICKING -- The Killer drops his shoulder and twists his upper body; manages to deflect the kick while SWEEPING The Brute's other leg out with his arm...The Brute THUDS hard; flat on his back.The Killer scrambles atop The Brute, begins PUNCHING him in the face. The Brute BASHES his fist across the side of The Killer's head, KNOCKING him off.Both men get unsteadily to their feet, already breathing hard from adrenaline excess. They size each other up while taking a moment to regain their footing and senses. The Brute, wiping at his bloody nose, seems more bewildered than hurt, and a dim recognition is dawning.THE BRUTEIs that... is that you, Mr. Third World? Is you, isn't it...?The Killer's trying to clear his head, inhaling thru bloodied teeth. We've never seen him angry; we've not seem him much of anything before, but he's angry now.The Brute moves in, pugilistic. He and The Killer circle. The 'roided-up Brute throws sharp, MMA-style PUNCHES; he's the cinderblock fisted aggressor. The lighter-on-his-feet Killer evades; backing away, blocking, waiting for openings as he counter-STRIKES.The Killer bends to grab up a stainless steel FORK from beside an aluminum TV DINNER TIN on the floor. He wields the meager utensil. The Brute laughs.The Brute keeps up his flat-footed onslaught, seeking a knock-out, but The Killer's like a lightning fast cobra up against a grizzly bear -- deftly STABBING (and withdrawing) the fork into The Brute's extending, ramrod arms -- stabbing ONCE... TWICE... The grunting Brute wheels, SWINGING. ...THRICE: The Brute gets forked in the triceps. CONTINUED 86. CONTINUED 87.The Brute, holding his arm, regroups, angry. He charges. The Killer dodges... ducks -- gets HAMMERED in the back of the neck, but he's already STABBING low... As The Killer falls...The Brute CRIES OUT.The fork is left sticking straight out of The Brute's right thigh. Agonized, The Brute reaches down to tear open his sweatpants, revealing that the fork has found its mark; having been thrust directly and deeply into his crookedly-stitched, bleeding-anew stab wound.The Killer rises, dazed but pleased. Looks around.The Brute's trembling hand extracts and drops the fork.The Killer jumps to rip down the cheap, black-out CURTAINS over one barred WINDOW. He yanks the 5-foot, metal CURTAIN ROD from curtain loops, disentangling it.Not a moment too soon, as The Brute's upon him...The Killer PARRIES with the blunt rod, JABBING... avoiding The Brute's graspings. The Brute wants hands-on combat, his frustration and rage building. The Killer continuously STRIKES...The Brute blocks with his meaty hands and forearms. The Killer leaps onto and over the SOFA, with The Brute in pursuit, content to spar and retreat.The Killer switches to SLASHING at and BASHING The Brute's shins and knees, working the lower extremities. A STAB to the side of The Brute's knee fells him.As The Brute gets to his feet, a THWACK directly to that gory thigh wound sends him back down.The Killer SWINGS the length of the curtain rod across the small of The Brute's back, then brings the rod over from behind in a double-handed stranglehold. The Brute fights to prevent the rod from crushing his windpipe, jumping up, backpedaling...He CRUSHES The Killer between himself and the now FRACTURING, wall-mounted TELEVISION. The Brute bends...FLIPS The Killer over and off...It's The Killer's turn to SLAM hardwood.The Brute's kept ahold of the rod, which he bends against his raised knee till it SNAPS. He throws the pieces.CONTINUED 87. CONTINUED 88.The Brute grabs The stunned Killer, lifts him bodily. Looks like it just might be the grizzly's day after all, as The Brute THROWS The Killer a fair distance...The Killer CRASHES into the STEREO SYSTEM, destroying TURNTABLE, SPEAKERS and VINYL LPs. He collapses to the floor, nearly-insensate. He tries to crawl.The Brute's happy now, gleeful even, coming to stand literally astride The Killer. He pushes The Killer with his foot, turning him over onto his back. The Brute drops to his knees, places his hands around The Killer's neck and starts to squeeze.This startles The Killer fully awake. With the veins in his neck bulging beneath The Brute's whitening fingers, The Killer attempts to break the grip. Can't.The Killer tries desperately to push The Brute off... tries to grasp the Brute's own thick neck... tries to gouge The Brute's protectively-upturned face. The Brute releases one hand -- PUNCHES The Killer, then......reestablishes his vice-like grip on The Killer's throat. Seems likely this will be over soon.Except, while his left hand continues its futile retaliation, The Killer's right hand (still clad, as is the left, in reddened-by-blood glove), goes to the floor to begin frantically reaching around in an effort to find something -- anything -- to fight back with.There's nothing within grasp though, except for... a Budweiser BOTTLE CAP, which The Killer's fingers grab.The Killer's trying to breath. Failing.His right hand presses the bottle cap between forefinger and thumb... squeezing it; managing to slowly BEND it.Bursting capillaries redden The Killer's wide eyes.His right hand manages to FOLD the BOTTLE CAP in half, so its suddenly got two rather pointy ends.Just then -- as The Killer's verging on unconsciousness, and The drooling Brute's grinning victoriously -- The Killer's right hand shoots up......SHOVING the sharp bottle cap in The Brute's left ear.CONTINUED 88. CONTINUED 89.The Brute recoils as if thrown back by an explosion, HOWLING, holding his ear. He scrabbles away. The Killer gasps for air, clutching his throat. He crawls in the other direction.The Brute gets up, falls. Gets up. Clawing at his bloody, punctured ear, he looks to where The Killer lies.THE BRUTEFuck this, you fuck! Fuck this.He lumbers unevenly out into the hall -- stricken by vertigo; his eardrum burst -- stumbling to his bedroom.On the living room floor, The still hurting Killer looks over his shoulder to see The Brute's gone.The Killer scrambles to the corner where The Brute scattered the disassembled weapon. He finds and takes up his gun. He collects the empty cartridge. The Killer picks up one of the bullets and tries, with shaky hands, to fit it back into the cartridge. Across the room, The unsteady Brute returns, with blood running down from his ear. He brandishes an AUTOMATIC HANDGUN in one hand and sizable REVOLVER in the other.The Killer looks up to see this just as...He manages to insert the lone bullet into the cartridge.Too little too late, The Killer DIVES...The Brute rapid-FIRES the auto -- BOOM! BOOM! BOOM! BOOM! The Killer disappears behind a section of the SOFA as CHUNKS of it are being BLOWN AWAY.BOOM! BOOM! BOOM! The apoplectic Brute casts aside the automatic, stumbles forward, switching the REVOLVER to that hand. He attempts to level it...The Killer's already on his feet, running...The Brute, his aim thrown by imbalance, nonetheless FIRES -- BANG! BANG! The Killer LEAPS head-first thru the kitchen PASS-THRU.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BRUTE HOUSE - KITCHEN - NIGHT282282BULLETS SPLINTER the pass-thru CABINETS. With SHATTERING GLASSES and BOTTLES CRASHING down in his wake, The Killer TUMBLES to the linoleum floor.CONTINUED 89. 90.The Brute KICKS the kitchen's DOOR OPEN, aiming, his stagger-inducing vertigo be damned...The Killer takes cover behind the kitchen island as -- BANG! -- SPLITTING BUTCHER BLOCK absorbs a THUDDING SLUG.The cowering Killer manages to SHOVE the cartridge into his gun. He primes the weapon.The Brute's coming around, seeking a clear shot. The Killer springs, momentarily out in the open...The Brute's got him dead to rights, except...The Killer throws the hulking, old-school REFRIGERATOR's DOOR open between himself and the next BANG! BANG! BANG!The Killer springs up, aiming from behind the fridge door -- FIRING his one and only shot.A RED HOLE APPEARS in The Brute's forehead. His eyes roll to white. He collapses.CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BRUTE HOUSE - LIVING ROOM -- NIGHT283283The wrecked, empty room is quiet. Sofa's SMOLDERING. The Killer enters from the kitchen, enervated. He looks around a moment, seems uncertain. He crosses.He picks up his bucket hat.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BRUTE HOUSE - KITCHEN - NIGHT284284The Killer returns, stepping over The Brute's body. He goes to the refrigerator, opens the upper FREEZER door, looks in. He takes out a BAG of FROZEN CORN. He presses the bag to his face.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BRUTE HOUSE - HALLWAY - NIGHT285285The Killer starts towards the back door. A low O.S. GROWLING is HEARD. The Killer stops in his tracks, dropping the bag of corn.Thru the back door, Mastiff comes to stand in view on the porch, fully awake, SNARLING.The Killer runs up the hall.Mastiff bolts after him.Mastiff's fast, closing the gap...Snapping at The Killer's heels. 90. CONTINUED 91.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BRUTE HOUSE - BEDROOM - NIGHT286286The Killer ducks into The Brute's bedroom, SLAMMING the DOOR behind; just barely shutting Mastiff out.The beast can be HEARD CLAWING, barking.FOLLOW: as The Killer keeps moving, heading...Thru the BATHROOM, towards the back of the house...Thru into that LAUNDRY ROOM, where...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BRUTE HOUSE - HALLWAY - NIGHT287287He's certainly free and clear now, but as he glances over his shoulder to where Mastiff's still raging at the bedroom door...The Killer's foot SLIPS on the bag of frozen corn.He FLOPS hard to the floor.Mastiff immediately takes off towards him. The Killer scrambles... trying to regain his footing. The gnashing, hard charging Mastiff nearly upon him.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BRUTE HOUSE - BACK PORCH - NIGHT288288The Killer makes it out, pulling the DOOR SHUT in Mastiff's face. Another close call. Mastiff's BARKING furiously. The beaten and bloody Killer falls.He tries to rise, but staggers. He goes unsteadily to his knees. He finds he must sit there a moment, his head held in his hands, breathing; trying to regain himself.He lifts his head, gets to his feet. He walks, shakily, down the porch stairs.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BRUTE'S HOUSE - HALLWAY - NIGHT288A288AMastiff gives a last angry exhalation, then turns to go charging towards the front of the house.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BRUTE'S HOUSE, ENTRYWAY - NIGHT288B288BMastiff runs headlong, literally -- into the door-length WINDOW of the FRONT DOOR...CRASHES thru SHATTERING GLASS.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BRUTE'S HOUSE, BACK PORCH - NIGHT288C288CThe Killer's limping towards the gate.Mastiff appears from around the house, in a last ditch effort spr",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int...CONTINUED 91. CONTINUED 92.The Killer disbelieving... picks up the pace.He pushes thru the gate and closes it, going to his knees just as Mastiff arrives, thwarted, frothing.The Killer picks himself up again. He takes up and unwraps the waiting beer bottle, which is now filled with GASOLINE, one must presume, since it's sporting a DISH TOWEL fuse. Mastiff barks and rages beyond the chainlink, watching as The Killer takes out a LIGHTER to LIGHT the fuse.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BRUTE HOUSE - LIVING ROOM - NIGHT289289Mastiff's BARKING and distant SIRENS are HEARD. A WINDOW SHATTERS as Molotov cocktail HELLFIRE EXPLODES thru......sending a napalm-like FIREBALL far into the room. FLAMES wash across the floor, engulfing FURNITURE.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BRUTE HOUSE - NIGHT290290The Killer walks away. Behind, Mastiff gives voice to impotent rage as FLAMES and SMOKE billow from the home.THE KILLER (V.O.)(beaten-up, wearily)This is what it takes. What you must commit yourself to. If you want to succeed. (pause, weakly)Simple.CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DEEP-SOUTH CITY AIRPORT - LOUNGE - MORNING291291GENTLEMAN GREETER’S HAND accepts from THE KILLER’S HAND a FREQUENT FLYER CARD with “LOU GRANT” on it, holds the card to look at it, and then holds it out to return it.LOUNGE GREETERWelcome, Mr. Grant. We'll let you know as soon as your flight begins boarding.(TYPING, brightly)Homeward bound, I hope.Lounge Greeter glances up... his smile dropping.The Killer, bearing BRUISES, BLACK EYE, and swollen FACE and LIP, accepts his cards back.CONTINUED 92. CONTINUED 93.THE KILLERNot just yet.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DEEP-SOUTH CITY AIRPORT - LOUNGE - SHOWER - MORNING292292Inside the SHOWER's frosted-glass, The naked Killer is seated on the tile floor, head down, bruised arms crossed over his knees, letting COLD WATER rain upon him.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. AIRPLANE - SOUTH TO NY - IN FLIGHT - DAY293293The Killer can be found in a WINDOW SEAT near the back of all-seats-full COACH. In BUCKET HAT and SUNGLASSES, he is uncharacteristically head-back-and-mouth-agape ASLEEP.CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. NYC - GRAND CENTRAL TERMINAL - DAY294294Amongst the rush hour THRONG of HUMANS hurrying every which way in the massive TERMINAL... we find just another minuscule, anonymous drone in the ant hill: The Killer striding along, with his TRAVEL BAG over his shoulder. We nearly lose him in the CROWD, but there he goes... ...heading into the PASSAGEWAY to the SUBWAY tunnels.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. AMTRAK TRAIN - MOVING - AFTERNOON295295Once again found amongst the distracted, The Killer's in another WINDOW SEAT, watching GREEN COUNTRYSIDE zip by.THE KILLER (V.O.)Upstate New York. Stone’s throw from the city that never sleeps. Not far off the beaten path. What are you doing... living amongst the normies?CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. UPSTATE, NY - AMTRAK TRAIN STATION - AFTERNOON296296The Killer and a FEW OTHERS detrain.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. UPSTATE, NY - ENTERPRISE RENTAL - EVENING297297A middle-aged, disinterested FEMALE RENTAL AGENT hands The Killer a car rental FOLIO and CAR KEY.CONTINUED 93. CONTINUED 94.MIDDLE-AGED AGENT(flatly)On behalf of Enterprise, Mr. Malone, have a safe driving day.CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. UPSTATE, NY - EXPERT HOUSE, WEALTHY AREA - DAY298298A grey MITSUBISHI MIRAGE waits on an attractive and quiet, upscale street of TOWN HOUSES.INT/",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. NY RENTAL CAR - EXPERT HOUSE - DAY299299INSERT: THE KILLER’S HAND plucks from a slot in the car’s VENT one ROLODEX CARD, holds it to study: the CARD showing THE EXPERT’S ADDRESS... M.C.W. 5 Union Avenue Beacon, NY 12508...then puts it back.IN THE CARThe Killer puts the card aside.He sits back, biding time once again...Observing SINGLE-FAMILY HOMES on this street.THE KILLER (V.O.)For an active practitioner, bedroom-community-adjacent... it's an unusual choice.Watching one in particular...POV THRU THE WINDSHIELD:...a stately MID-CENTURY about halfway up the block.CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. UPSTATE, NY - EXPERT HOUSE, WEALTHY AREA - NIGHT300300The grey MITSUBISHI MIRAGE still waits in the dark on the attractive and quiet, upscale street.INT/",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. NY RENTAL CAR - EXPERT HOUSE - NIGHT301301The Killer sits, biding his time.CONTINUED 94. CONTINUED 95.POV THRU THE WINDSHIELD:...where a LIGHT is ON in the PICTURE WINDOW of the MID-CENTURY halfway up the block.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. UPSTATE NY - EXPERT HOUSE - NIGHT302302A SHADOW moves, then the LIGHT goes OUT.INT/",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. NY RENTAL CAR - EXPERT HOUSE - NIGHT303303The Killer's attentive.POV THRU WINDSHIELD:The PORCH LIGHT comes ON, shining brightly. The FRONT DOOR opens and a statuesque WOMAN emerges.IN THE CARThe Killer sits up, fixated.INT/",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. UPSTATE NY - EXPERT HOUSE - NIGHT304304The woman, who we'll call THE EXPERT, walks to the DRIVEWAY. She's pretty far away, so we can't get a very good look as she climbs into a pristine, cream colored CADILLAC, which she STARTS.THE KILLER (V.O.)Leo told me she looked like a Q-tip. He wasn't far off.INT/",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. NY RENTAL CAR - EXPERT HOUSE - NIGHT305305The Killer watches the sedan pull out and head away. He lets its REAR LIGHTS grow tiny before he STARTS his car.CUT TO:INT/,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. NY RENTAL CAR - IN MOTION - NIGHT306306POV THRU WINDSHIELD:The Killer follows the cream Cadillac.RED LIGHT ahead. The Cadillac stops as... The Killer pulls over, to slowly approach from the left.IN THE MITSUBISHIThe Killer's looking while...LOWERING the FRONT PASSENGER SIDE WINDOW.CONTINUED 95. 96.He reaches to a silenced-GLOCK on the passenger seat.POV THRU OPEN SIDE WINDOW:The Killer inches alongside without overtaking, so The Expert's profile gradually comes into relief -- she is absolutely striking in appearance, with a shock of hair, pale skin and sharp-set jawline.IN THE MITSUBISHIThe Killer takes her in a moment.His hand comes off the Glock.POV THRU OPEN SIDE WINDOW:The SIDE WINDOW rises, CLOSING. The traffic LIGHT TURNS GREEN. The unsuspecting Expert drives on.CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. NY RENTAL CAR - UPSTATE STREETS - RESTAURANT - NIGHT307307On not-too-busy streets of this quaint-cool town, the Cadillac crosses a short BRIDGE, pulls alongside the industrial BRICK FACADE of a RESTAURANT, to a VALET.BEHIND:The Killer pulls his Mitsubishi over, gliding curbside MID-BRIDGE.AHEAD:A VALET opens her door. The Expert climbs out. As she walks to the ENTRANCE, she gives the slightest nod to those who greet her and vie to hold DOORS for her.IN THE MIRAGE:The Killer watches. Checks his MIRRORS, lets a CAR pass. INT/EXT NY RENTAL CAR - RESTAURANT - CREEK - NIGHT308308The Killer gets out and walks to stand near a RAILING. A raging CREEK ROARS below. The front of the restaurant is all CURTAINS, so...The Killer backtracks. 96. CONTINUED 97.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CREEK RESTAURANT - NIGHT309309A few VEHICLES come and go at a nearby HOTEL. A COUPLE strolls past The Killer, but it seems like he's just enjoying the scenery. He moves to look into picture windows that ring the restaurant.INT/",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. POV:CREEK RESTAURANT - NIGHT310310POV:The Expert can be seen seated, alone, at a lushly upholstered BANQUETTE. She's fawned over by a MAITRE D'. A WAITER pours WATER.CUT TO:",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MAIN STREET - RESTAURANT - NIGHT311311FOLLOW: The Killer as he crosses the bridge, with the SOUND of RUSHING WATER below...THE KILLER (V.O.)Alright. It's common knowledge, when a female is found slain, the prime suspect is always the husband or boyfriend. Especially if she hasn't been sexually assaulted before death, or after.Beyond the restaurant ENTRANCE, he walks past the VALET.THE KILLER (V.O.)Well... maybe not common knowledge.The Killer stops at a SECOND DOOR. VOICES of a busy KITCHEN are HEARD.CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RESTAURANT - DINING ROOM - NIGHT312312At her table, which already has several incredible PLATES of FOOD, a WAITER drops off more DISHES. The Expert distractedly watches him.Amongst crossing WAIT STAFF, TWO MEN at a TABLE drink GLASSES of WINE while their empty PLATES are taken.A few empty tables away, a dressed-in-Sunday-best FAMILY gathers themselves and their belongings.CONTINUED 97. CONTINUED 98.At another, TWO COUPLES chat amicably over COFFEE.The Expert looks down to get her CLUTCH. She's about to open it when... a HAND gently takes it from her grasp. It's The Killer, arriving to take a seat, much to her astonishment.THE EXPERTPardon me, what do you think you're -- ?The Killer slides towards her while he's... ...showing her his GUN, out of view of others.The Expert's eyes flick to see this.The Expert fixes her gaze, the embers of anger dimming to shocked realization; as if by not looking at him she may somehow deny what's occurring.The Killer keeps his eyes on her while his right hand places a NAPKIN over the gun between them.The Expert lets herself now take in The Killer's features, everything perfectly, chillingly clear to her. The Killer reaches across to take The Expert's WATER GLASS and sip from it, surveying the room to make sure no one's paying undue attention. He puts the glass down, opens The Expert's purse. The Expert watches, clenching her jaw, but... she's at his mercy. The Killer takes a SLEEK PISTOL from the purse, pockets it. He slides the purse back to her.The Expert swallows, blinks. She shakes her head to herself, giving a hollow laugh.THE EXPERTI'd been so good for so long. Suddenly, my deepest regret is not having Haagen-Dazs with every meal.She glances to the KITCHEN DOOR -- in the direction The Killer came from -- as STAFF pass thru it.A HANDSOME WAITER comes to the table.HANDSOME WAITER May I bring a menu?CONTINUED 98. (more)CONTINUED 99.The Expert looks at Handsome Waiter, looks to The Killer. She's at a loss. Handsome Waiter just waits amicably.THE EXPERT(to The Killer)You won't mind if I have a drink?The Killer gives the slightest shake of his head.THE EXPERT(to Handsome Waiter)No menu, Carl. A flight of whiskeys, though. And... my bottle, while you're at it.HANDSOME WAITERMy pleasure.Handsome Waiter takes his leave.THE EXPERTBy a ""drink,"" of course I mean ""many.""She looks around, still in woeful shock.THE EXPERTHere's where I'm supposed to ask how you found me, but... does it matter?She looks to The Killer, studying him; searching his reactions, or lack thereof.THE EXPERTTell me Hodges is dead, at least. Give me that? Tell me he went painfully. (of the FOOD)Help yourself, by the way. The chef sends out anything he imagines I'd like. Though, I doubt I'll manage much more of an appetite.She moves a PLATE of beautifully prepared STEAK TARTARE towards The Killer, one of the several aesthetically pleasing DISHES she's barely touched.THE EXPERTIt's one of their signature dishes. You won't find better, even in the city. (more)CONTINUED 99. THE EXPERT (CONT.) (more)CONTINUED 100.You'd be very impolite to refuse to join my last supper.She picks up one of her FORKS, slides her arm across the table and holds the fork out to The Killer.THE EXPERTAfraid it's tainted?The Expert waggles the still proffered fork.Relenting, The Killer picks up his own FORK. He dutifully samples, chews. The Expert sits back, observing him.THE EXPERTI'm assuming you've also paid a visit to a certain... over-adrenalized Floridian.(pause)No great loss there.The Killer's just watching.Handsome Waiter brings a BOTTLE of BOURBON, with TWO stacked SHOT GLASSES and a BOWL of ICE.HANDSOME WAITERHere we are.THE EXPERTQuick, wasn't that?Another WAITER comes to deliver a WOODEN PLANK with THREE SMALL GLASSES of WHISKEY (each LABELED) lined up on it.HANDSOME WAITER(of the WHISKEY FLIGHT)May I describe the selection?THE EXPERTBy the time you finished, they'd already be gone.HANDSOME WAITERCheers.He goes. The Expert takes up the 1st glass. She knocks that shot back, savors it briefly.THE EXPERTDon't tell me you won't imbibe either?THE EXPERT (CONT.) (more)CONTINUED 100. THE EXPERT (CONT.) CONTINUED 101.(off his stare, wryly)Of course you won't. Christ.She places the empty glass in its spot on the plank.THE EXPERTFor what it's worth... I never would have involved your female friend. What happened to her, I had nothing to...(pause)I objected to his methods, and told him so. But you've seen for yourself how receptive he...(pause)You get a name. You get an address. Nothing personal. We've all had to work through the occasional civilian who's stood between eyes and the prize.(sighing, pause)I still prefer the pretense that there's some... code of conduct, even amongst butchers.She's studying The Killer all the while.THE EXPERTA true samurai can spot another from a great distance. You and I... we're practicing tongue and groove carpentry. While everyone else uses sledgehammers to drive 30-penny nails. I know you hear me. I know you're listening.She looks out the PARTONS in the restaurant.THE EXPERTCan't pretend anymore, either. We share that too. Once you've been the wolf... you can't rejoin the herd.She picks up the 2nd glass of the flight.THE EXPERTHere's to us.She CLINKS the 2nd glass against the empty, then throws back the 2nd. She puts 2nd glass back on the plank.THE EXPERT (CONT.) CONTINUED 101. (more)CONTINUED 102.THE EXPERTWhen I started... I was surprised by what I was capable of. How easy it was. Shockingly. And yet... I assured myself there were things I simply would not...? Lines I swore never to cross.The Killer glances to her, looks away. She noticed.THE EXPERTMoney was motivation. Which, once there was enough, could be used to buy another life. Another lie we told ourselves.The Killer is doing something we've rarely seen him do, which is stare off, seemingly lost in some contemplation.THE EXPERTWhen, for example, was the last time you bothered wondering why someone in your sights was so thoroughly despised?THE KILLERLess you know the better.The Killer does hear her in there.THE EXPERTOne man's cruelty is another man's pragmatism; blah, blah, blah.(pause, clears her throat)A hunter goes into the woods... and spies an enormous grizzly -- biggest he's ever seen.The Killer looks, raising an eyebrow. She just goes on.THE EXPERTThe hunter raises his rifle and fires. The bear falls. The hunter gives chase, but to his surprise, he finds no blood, no broken twigs. The bear's nowhere to be found. Suddenly... from behind, the grizzly throws a massive arm around the hunter and explains: ""You took your shot. You missed. So, now I either feast, or... I sodomize you. (more)CONTINUED 102. THE EXPERT (CONT.) CONTINUED 103.The choice is yours."" Naturally the hunter chooses life. Next day, the hunter returns to the woods. He's brought a much more powerful rifle. The hunter sees this bear in the distance. Aims, fires, and charges headlong to where the grizzly was felled... only, again, he finds: no bear. The hunter's in disbelief, when the grizzly appears beside him saying: ""You know the deal."" Indignity ensues. The following day, the hunter treks back into the forest, armed with a bazooka. He spots the grizzly, lines him in his crosshairs and fires. The recoil of the bazooka knocks the hunter backwards. When the smoke clears and the hunter's regained his senses, he finds the grizzly standing over him, his arms crossed. And the bear squints: ""You're not really out here for the hunting, are you?"" The Killer can't help something resembling a smile. The Expert, pleased, picks up the 3rd shot.The Killer watches her drink. She tilts her head back; letting herself feel the effects.THE EXPERTYou could have made this hit-and-run; a car-jacking gone wrong. Could have been I slipped on the ice, easily. Instead... here you are. If I were to scream, well... I'd still end up dead. And you'd make it out, most likely. But not clean, you wouldn't.She's watching for him to...THE EXPERTSo, why...? Why did you take such a risk?THE KILLERConversation?THE EXPERTI'm flattered, but... no. No, you're here because...THE EXPERT (CONT.) CONTINUED 103. CONTINUED 104....for him to... take the bait.THE EXPERT...you couldn't help yourself.The Killer looks to her. She meets his gaze.The Killer's unblinking eyes watch her.She smiles smugly at him. THE EXPERTYou expected you'd sit looking at me tonight and be nothing but reassured. (pause)Like you were so certain, one recent day...? When you shouldered your weapon...(pause)...and somehow... missed.The Killer seems, at long last, disquieted.She reaches to place the two stacked shot glasses side by side. She opens the bottle... pours into both glasses.THE EXPERTOne doesn't choose our line of work without giving ""the end"" due consideration.(pause)So, how's it possible, having prepared myself for this moment... I somehow fooled myself into believing it would never arrive?She's shaking her head sadly at this.She reaches to place one glass in front of The Killer.THE EXPERTAllow me to share an intuition. Since, sooner or later, it'll be you sitting where I am now.The Expert drops an ICE CUBE in the other glass, in front of her, and it overflows a bit.THE EXPERTMy advice to you: believe it.With that, The Expert, allows herself to lift the last shot. She drinks. She places the shot glass upside down on the table just as Handsome Waiter returns.CONTINUED 104. CONTINUED 105.HANDSOME WAITERHow are we?THE EXPERTWe're done. Thanks.(waves a hand)Take everything.HANDSOME WAITERExcellent.He starts collecting entrée dishes.The Killer takes the shot in front of him and drinks -- throwing it back. THE EXPERTThey don't happen to have any ice cream back there, do they, Carl?HANDSOME WAITEROh. Were you... interested in seeing a dessert menu?THE EXPERTNo. No... that's alright.A BUSBOY and RUNNER arrive to assist Handsome Waiter, clearing plates from the miserable couple before them.CUT TO:",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MAIN STREET - RESTAURANT - NIGHT313313From a FIXED VANTAGE POINT: we look back across the bridge as The Expert and The Killer head this direction from the restaurant. The Killer walks just behind her, keeping his hand in his pocket, close but not too close.THE KILLER (V.O.)Stick to the plan. Anticipate; don't improvise. Trust no --THE EXPERTAre we there yet?The Expert's a little unsteady, carrying a TAKE-OUT BAG. THE EXPERT(glancing back)No? Further along, then...?They're now crossing the bridge. The Killer keeps her a CONTINUED 105. CONTINUED 106.few paces ahead still, keeping an eye on her. THE EXPERTLast minutes... spent aware that they're actually last minutes... I wouldn't wish on my worst enemy.As they reach the gap between fencing and bridge rail, The Expert abruptly stops and wheels. The Killer halts.THE EXPERTWho -- come to think of it -- at this moment, is you.The Killer points to the gap, which The Expert regards.The Expert has no recourse. TOSSING the leftovers over her shoulder, she heads into the gap, down an embankment towards the SOUND OF RUSHING WATER. The Killer glances quickly around, follows her.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CREEKBED - NIGHT314314Walking a narrow DIRT PATH to the lower CREEKBANK, The Expert looks back at The Killer, who nods her onward.The Killer is keeping The Expert a few paces ahead of him. She moves slowly along the edge of the CREEK. From the dark, she looks up and across to......the warm GLOW from the restaurant LIGHTS above them. She raises her voice back over her shoulder to him. THE EXPERTYou'll remember our conversation. You will. She trips up a bit on the rocky, uneven footing.The Killer still has his hand in his pocket.THE EXPERTWhen your time does arrive... it won't be your life flashing before your eyes -- it'll be mine.(laughs)I suppose it'll be the closest I can hope to come to haunting you.The Expert gives a CRY as she TRIPS, falling forward to her hands and knees. The Killer stops.CONTINUED 106. CONTINUED 107.With an exasperated exhalation, The Expert straightens, kneeled, and thrusts her right arm back without looking.THE EXPERTHelp a girl up, won't you?Her right hand is extended, reaching...The Expert turns to look as The Killer moves forward.Instead of offering his hand, The Killer's pulling his gun and --POOF -- SHOOTS The Expert in the temple, sending her down in bent heap; instantly dead.The Killer steps up, ROLLS The Expert's corpse over on the pebbled creek bank...THE KILLER (V.O.)Trust no one....to see that The Expert held a deadly-looking, open SWITCHBLADE, in her left hand.THE KILLER (V.O.)This is what it takes... if you want to succeed. The Killer takes out his HANDKERCHIEF, uses it take and examine the switchblade. He closes the switchblade, then TOSSES it away. The Killer looks down, noticing...The Expert's blouse has lost a button and pulled open, exposing her lacy BRA.The Killer kneels, reaches to...Close The Expert's blouse.The Killer rises, looking upon The Expert's body for a moment. Then, he walks, back the way they came.CUT TO:INSERT -- CLOSE-UP:315315ON PHONE SCREEN: the benday dot IMAGE of a handsome, smiling, 30-something HENDERSON CLAYBOURNE, from an old NEWSPAPER ARTICLE about ""ENTREPRENEURIAL SPIRIT.""",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PLANE - NY TO MIDWEST - IN FLIGHT - NIGHT316316In COACH, like most EVERYONE around him, The Killer has his head down and his face lit by SCREEN GLOW. He sips from his collapsible CUP.CONTINUED 107. CONTINUED 108.INSERT: THE KILLER’S HAND places his PHONE on the TRAY TABLE, beside where his THREE ROLODEX CARDS are... the TOP CARD featuring HENDERSON CLAYBOURNE’s INFORMATION.THE KILLER (V.O.)Risky, this one. Considering how cops tend to match their effort in direct proportion to the victim's net worth.ON HIS PHONE: beneath the GOOGLE IMAGE search of ""henderson claybourne,"" The Killer SCROLLS... to VARIOUS other PHOTOS of HENDERSON: posing with various WOMEN before FUNDRAISER SPONSOR BANNERS... wielding SCISSORS at a HOSPITAL RIBBON CUTTING... featured in a ""TECH BOOM GURU"" COVER from ""FAST COMPANY."" Plenty of 30, 40 and 50-something Claybourne successful and philanthropic.The Killer brings up ONE ARTICLE...""CLAYBOURNE PAYS RECORD SUM FOR CHI-TOWN PENTHOUSE.""THE KILLER (V.O.)Fuck it.CUT TO:OMITTED317317OMITTED318318",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. WELL-TO-DO CHICAGO NEIGHBORHOOD - DAY319319The Killer exits Starbucks, sipping a COFFEE. He looks up noticing...Across the street from a secure PARKING GARAGE, a MERCEDES SEDAN pulls out. It waits for cross traffic.THE KILLER (V.O.)The thing about real wealth: the more you’ve got, the harder it is to fade into the wallpaper.POV:The Killer glances down at the CARD he holds.CLOSE ON: Claybourne, HENDERSON 450 E. Wallace Ave./ PH Chicago, IL 60654CONTINUED 108. 109.THE KILLER'S POV:Takes in the Mercedes' vanity LICENSE PLATE, ""CLYBORN.""THE KILLER (V.O.)Of course... vanity plates don't help.ON THE STREETThe Mercedes cruises around the block.The Killer walks, following on foot.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CONDO SKYSCRAPER - ENTRANCE SIDE - MORNING319A319AThe Killer arrives curbside to watch - the idling sedan waits, but not long - as the revolving door spits out a distinguished looking, 60-something HENDERSON CLAYBOURNE. He's wearing a TRACK SUIT and carrying a ""BALI-QUINOX"" GYM BAG, making a beeline for the Mercedes.The Killer focused as...Claybourne is in the car before the apologetic DRIVER is able to get the door. Claybourne trundles in. The Driver hurriedly jumps behind the wheel. DRIVES OFF.The Killer takes out his PHONE.Discards his cup in a GARBAGE CAN, types...CLOSE UP:ON HIS PHONE:""BALI-QUINOX"" in the ""search"" BOX of GOOGLE MAPS. He thumb-taps one; the nearest ""BALI-QUINOX.""CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. CONDO SKYSCRAPER - GARAGE SIDE - MORNING320320The Killer returns to the PARKING STRUCTURE. A CAR exits. The Killer assesses the RAMP. He wanders up into the dark garage.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. GARAGE - STAIRWELL - MORNING321321The Killer looks around. No cameras. He casually winds his way up the ramp - his eyes finding a DOUBLE SECURITY DOOR with a plastic KEY CARD READER. The Killer moves to inspect - noting the make and model... OMITTED322322 109. CONTINUED 110.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CONDO SKYSCRAPER - SIDEWALK - GARAGE SIDE - MORNING323323The Killer emerges from the ramp, exiting the GARAGE. He takes out his PHONE.He quickly types, bring up a WEBSITE...IN CLOSE UP:...""AMAZON.COM.""OMITTED324324",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MIDWESTERN CITY, ""BALI-QUINOX"" GYM - MORNING324A324AThe Killer arrives. He spots the ""BALI-QUINOX"" logo......where a few GYM FOLKS come and go from the COMPLEX.The Killer sees...POV:The Mercedes sedan is parked in a yellow LOADING ZONE. DRIVER inside. Its BLINKERS BLINK. Its EXHAUST puffs.ON THE STREETReassured, The Killer walks on... THE KILLER (V.O.)I don't think this guy's Mossad. I know he ain't Mensa. ...striding right past the Mercedes, where THE DRIVER'S reading a NEWSPAPER.THE KILLER (V.O.)Good luck with the ""Wordle.""",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MIDWESTERN CITY - GYM, RECEPTION -- MORNING324B324BThe Killer takes in the upscale scene. Mostly young and somewhat healthy MEN and WOMEN crisscross in WORK-OUT GEAR. A JANITOR, as-nattily-clad-as-you-can-get-in-COVERALLS, moves past, pushing a modest CART. The Killer goes to GUEST RECEPTION, where lovely and handsome GREETERS assist MEMBERS. There's a COUNTER with TOUCH SCREENS awaiting. The Killer uses the conductive RUBBER TIP of his NO-TOUCH-TOOL on one SCREEN...CONTINUED 110. 111....pressing ""TRIAL MEMBERSHIP.""CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MIDWESTERN CITY - CITY NATIONAL BANK - DAY324C324CFinancial District. The Killer, in his HAT and SUNGLASSES, walks... into ""CITY NATIONAL.""THE KILLER (V.O.)Loose ends can't be left to dangle. Farewell, North America. Nice knowing ya.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MIDWESTERN CITY - CITY NATL BANK - MGR OFFICE - DAY324D324DThe Killer, HAT in hand literally, waits in a CHAIR, an untouched TRAY of DANISH and FRENCH PRESS POT of COFFEE before him on the DESK of a bespectacled, FEMALE MANAGER typing on her COMPUTER.INSERT: THE KILLER’S HAND puts a PEN to PAPERWORK made out in the name “GEORGE JEFFERSON,” writes INITIALS “G J” in two spots, before signing: “GEORGE JEFFERSON.”CITY NATL MANAGERAnd... dotting that ""I,"" and if I might just get you crossing that ""T""...(finishes TYPING)Your accounts with us are officially closed, with everything transferred to your Caribbean account. The Killer rises. Manager stands as well, smiling.CITY NATL MANAGERI do hope we may be of service again in the near future, Mr. Jefferson. May I mention, our wealth management advisors would be more than happy to discuss our more ""select"" investment opportunities. She extends her hand. The Killer gives a limp handshake.CUT TO:OMITTED325325 111. CONTINUED 112.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MIDWESTERN CITY, BENEATH OVERPASS -- EVENING326326Between massive ROADWAY COLUMNS, a DUDE in a BEARS BEANIE and mismatched SPORTSCOAT and SLACKS heads down a decrepit, twisting STAIRCASE, The Killer following.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BENEATH OVERPASS, EMPTY LOT -- EVENING327327AT THE BOTTOM OF THE STAIRS, THE SALESMAN'S SUV is parked nearby in this trash strewn, no man's land.THE SALESMAN uses KEYS at the SUV lift-gate.THE SALESMANSticks sometimes. You gotta... jiggle it.The Killer watches. The Salesman steps back, raising the lift-gate to reveal an AMERICAN FLAG spread out across the SUV's rear interior.THE SALESMANOur democracy at work.He throws the flag back: unveiling various GUNS laid out. Mostly HANDGUNS, but also a couple of RIFLES. THE SALESMANBrowning. Smith & Wesson. Colt. If you don't see what you want, I can get it. The Killer steps up to study the selection. His eyes survey the various REVOLVERS and AUTOMATICS.THE SALESMANWhat's your pleasure? A twenty-two? Which, you know, won't do much more than make the other guy's ears ring. Maybe a gut-ripper thirty-eight, or...?(pointing)There's always the Desert Eagle, if you're looking for something relatively portable to drop an elk. She's a beauty.The Killer takes up a GLOCK, pops the CLIP, flicks the STOP, pulls back the SLIDE; confirms it's empty. He blows into it, examines.THE SALESMANMan knows his way around the Glock sub-compacts.CONTINUED 112. 113.He reconfigures the gun, replaces it. Picks up another GLOCK, feels its weight. The Salesman watches, takes off his hat and scratches his rubber-banded man bun.He takes a SILENCER from his pocket, which makes The Salesman's eyebrows rise.THE SALESMANAnd brings his own patato. Niice.He screws it onto the barrel of the small auto. The Salesman pulls his beanie back on.THE SALESMAN(gesturing to GUNS)Listen, Slim, here's what I can do. Because I like you. Buy one, and the second gun -- same price or less -- is half-off.He turns and extends his arm to hold up the silencer-adorned Glock, aiming into surrounding darkness -- looking down the gun's sights.THE KILLER This is plenty. CUT TO:OMITTED328328OMITTED329329OMITTED330330",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. MIDWESTERN CITY, SIDE STREET/AMAZON LOCKERS- MORNING331331Barely light out. The Killer strides towards a WALL of YELLOW LOCKERS, with their familiar AMAZON SIGNAGE. He uses his No-Touch-Tool to PUNCH in a CODE.He crouches at LOCKER ""13,"" opens it. Takes out a small AMAZON BOX.The Killer rips the box open... examines what he ordered: a handheld RFID CARD DUPLICATOR, looking like some sort of cheap, weird stud-finder, packaged along with a few blank KEY FOBS and RFID CARDS.CUT TO:OMITTED332332 113. CONTINUED 114.OMITTED333333OMITTED334334OMITTED335335",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MIDWESTERN CITY - ""BALI-QUINOX"" GYM - RECEPTION - 336336MORNINGThe Killer brings up and shows a QR CODE on his PHONE to the athletic FEMALE GREETER at the FRONT DESK.INSERT: On FEMALE GREETER’S COMPUTER SCREEN: there’s an IMAGE of a DRIVER’S LICENSE for “ROBERT HARTLEY” with THE KILLER’S PICTURE on it, beside “ROBERT HARTLEY” MEMBERSHIP INFO.FEMALE GREETER(SCANS code, reading)Welcome, Mr. ...HARTLEY. Your first time with us, I see. Have an excellent workout.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GYM -- MORNING336A336AThe Killer, still in street clothes and carrying his JACKET, walks thru. His eyes search the room.Amongst the rows of seemingly endless TREADMILLS and STATIONARY BIKES, the Janitor's crossing.The Killer tracks him.Janitor's stopping to collect crumpled PAPER CUPS around a WATER COOLER. He says hello to some MEMBERS, but seems pretty checked-out.What's of particular interest to The Killer......is the zip-line clipped ORANGE KEYCARD on Janitor's belt, beside the laden KEYCHAIN hooked to it.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GYM - MEN'S BATHROOM/SHOWERS -- MORNING336B336BA few MEMBERS exit. Janitor enters with his CART.The Killer follows, then crosses to a far SINK.Pretending to wash his hands, The Killer watches in the MIRROR as Janitor begins CLEANING at a middle SINK.The Killer wipes his hands on a TOWEL, tosses it, makes his move... heading back and approaching the Janitor from behind. The Killer passes close enough to...CONTINUED 114. CONTINUED 115....grab the ORANGE KEYCARD, pulling it away on Janitor's zip-cord just far enough to...IN CLOSE UP:...TWIST the keycard, SNAPPING it free.IN THE BATHROOMThe Killer feigns surprise, pretending the JACKET he's carrying has snagged the zip-cord.THE KILLEROh -- sorry...Janitor glances over his shoulder as the zip-cord zips back in place, now empty. The Killer backs away, holds his jacket up with an apologetic smile, keeps going.JANITORNo problem. Yeah.Janitor goes about his business, unaware.CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GYM - LOCKER RM - MORNING337337The Killer enters...MEN are dressing, undressing, heading for the SHOWERS. In one AISLE, The Killer spots Claybourne. The Killer sits on a BENCH, keeping his distance. At an OPEN LOCKER, Claybourne is attended to by his MALE TRAINER as Claybourne sheds his TRACK SUIT, in GYM CLOTHES and SNEAKERS underneath. Claybourne's Trainer folds the suit, places it in the locker.Trainer hands over a WATER BOTTLE from the gym bag, puts the bag in the locker. Claybourne's already heading out... passing behind The Killer, who looks as......Trainer shuts the locker, goes to follow Claybourne.The Killer faces forward. Gathers himself. Stands.CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. GYM - LOCKER RM - MORNING337A337AThe Killer holds the purloined KEYCARD to the KEYCARD READER of Claybourne's locker which... UNLOCKS.CONTINUED 115. 116.The Killer grabs Claybourne's KEYCHAIN with KEYCARD attached. SLAMS the locker.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GYM - COFFEE CAFE AREA - MORNING338338Amongst other MEMBERS, The Killer is seated in a CAFE that looks out into the vast GYM:BEYOND:...Claybourne's TREADMILLING, perspiring. Trainer gives encouragement and motivation. IN THE CAFEWorking at a side-table in the lounge, The Killer takes his newly acquired RFID CARD DUPLICATOR from his pocket and inserts Claybourne's KEYCARD into a slot. He presses ""READ."" ""BUSY"" glows YELLOW.BEYOND:Claybourne speaks to Trainer. Trainer offers a TOWEL, which Claybourne accepts and uses to daub his face.IN THE CAFEThe Killer takes a blank RFID KEYCARD from his pocket, puts it between his teeth as he watches.The duplicator LIGHTS. ""PASS."" The Killer removes Claybourne's keycard and keychain. He shoves the blank KEYCARD in the duplicator's slot. Hits the ""WRITE"" BUTTON.He awaits the result. Seems to take forever.The duplicator's ""PASS"" light goes GREEN.CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GYM - LOCKER RM - MORNING339339The Killer opens Claybourne's locker, throws Claybourne's KEYCHAIN with KEYCARD in. Elbow-SLAMS the locker shut.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GYM - RECEPTION -- MORNING339A339AThe Killer walks to the exit. On his way, unnoticed by busy GREETERS, he places the ORANGE KEYCARD on the edge of the reception DESK, walking onward, not looking back.CUT TO: 116. CONTINUED 117.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CONDO SKYSCRAPER - GARAGE RAMP - NIGHT340340GARAGE DOOR's open as a DELIVERY DRIVER exits.The Killer arrives, walks into the GARAGE.THE KILLER (V.O.)Who needs a Trojan Horse when you've got Postmates? 'Cause everything’s air-tight, till the billionaire wants Thai delivered.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GARAGE - 3RD FLOOR - NIGHT341341The Killer retraces his earlier route, up the ramp.ANGLE ON:He steps into CLOSE-UP, pressing a KEYCARD against the SECURITY DOOR's grey plastic reader -- BOOP.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GARAGE - ELEVATOR - NIGHT342342The Killer steps inside, holds his KEYCARD to the READER on the elevator PANEL. A quiet DING acknowledges.The Killer's NO-TOUCH-TOOL hits ""PH."" BUTTON LIGHTS UP.THE KILLER (V.O.)Once I see his eyes, I'll have a pretty good idea how this is gonna go.CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CONDO SKYSCRAPER PENTHOUSE - LIVING ROOM - NIGHT343343Entering from a long HALLWAY, The Killer walks to stand, silenced GUN held outstretched......a vast, multi-storied PENTHOUSE before him. Enormous WINDOWS look to a glittering CITYSCAPE. At the center of it all, is an unmanned, MAGAZINE and NEWSPAPER littered STANDING DESK with several KEYBOARDS before an array of FLAT SCREENS crazily alive with colorful day-trader MARKET INFO and NATIONAL NEWS.The Killer walks calmly through this space, attentive. Across the room, Claybourne comes padding in through a gleaming KITCHENETTE. He's wearing a big KNIT CARDIGAN and RETRO CONCERT TEE. He speaks into a BLUETOOTH EARPIECE, carries an open CARTON of SOY MILK.CONTINUED 117. CONTINUED 118.CLAYBOURNE(into BLUETOOTH HEADSET)There must be some applicable tax burden offset, and I simply expect to see heaven and earth moving...(brief pause)...hey...hey, if it doesn't work out, believe me, I'm not going to be disappointed in you, I'll be disappointed in me, and everyone involved for not having replaced you sooner. Claybourne halts, startled to as he sees The Killer. He does a bewildered double take.CLAYBOURNE(to The Killer)Who the fuck? How did you...?The Killer doesn't brandish his gun, just aims it at him.CLAYBOURNEOkay. I...I...(into EARPIECE)I'll call you back, Marvin... umm...gotta call back, Mar... I am fucking hanging up. Claybourne presses his earpiece's BUTTON to hang up.CLAYBOURNE(gesturing to GUN)Didn't notice the.. ah, at first. I'm all ears.(points at his EARPIECE)I'm--you see; so you don't...With forefinger and thumb, he makes a show of slowly reaching to take the EARPIECE out. He throws it away, holds his hands up, awkwardly.CLAYBOURNESecurity building, eh? Christmas Bonus'll be light this year. I... uh... I...(glancing around)Don't keep cash here. But I can have some delivered. Depending on what amount we're talking about, what kind of currency you're--The Killer's shaking his head.CONTINUED 118. CONTINUED 119.CLAYBOURNENo? Okay. Well... then, what is it exactly I can do for you?The Killer nods towards a SEATING AREA. Claybourne sits on the L-shaped COUCH.CLAYBOURNEWhatever you need... I'm confident we can work it out; we put our heads together.The Killer stands across from him. He motions with his weapon for Claybourne to lower his hands.THE KILLERI came to show you how easily one might get to you, Mr. Claybourne... and to ask...(pointedly)...do you and I have a problem?CLAYBOURNEDo... we... what? A problem? Of course not. No. You and I... we have no problem whatsoever. Not in the slightest.(pause, admitting doubt)Am I... supposed to know who you are. Because, I apologize -- and my memory for names and faces isn't what it used to be -- but I... don't believe we've met.The Killer takes out his PHONE with his free hand, unlocks it, thumb-types. Then he steps forward, holds up his phone. Claybourne squints at the GOOGLE MAPS IMAGE. CLAYBOURNE(of the MAP on the PHONE)Alright. It's...there's an address. ""3 Rue du Grev"" -- I... I'm still not...Then Claybourne realizes.CLAYBOURNEOh. Oh, wait... that...(looks from the PHONE to the Killer's face)You.Uh oh.CONTINUED 119. CONTINUED 120.CLAYBOURNEI didn't realize, but I'm up to speed. Please, hear me out. To answer your question, we have no problem. I harbor no ill will about anything that may have happened. Or NOT happened. Hah. Let me make that crystal clear. Right after the, uh, incident, I received a phone call. I was told that things had... gone south. My response was, actually, ""Well, nobody's perfect."" Now on that same call, I did, I admit, inquire as to what is normally done in these circumstances and they, he, the lawyer fella, Hedges suggested that in This Very Rare Case, I might wish to arrange for insurance, to prevent any ""blowback.""The Killer takes this in.CLAYBOURNEI remember thinking, ""Why in the world is this liability mine?"" I mean, you have to please understand, this entire enter.. I was very new to this kind of thing, this was an investment that didn't pay out, I bled a little ink, so yeah, selfishly, I didn't want any...""blowback"", so eventually we agreed that for an additional hundred and fifty K, the, uh, trail, could be ""scrubbed."" That was literally all I was told; ""clean up on aisle three"", HIS words, not MINE, and so I double-checked to make sure there was enough in escrow, and I never thought about it again, until...(indicates this moment)What I'm trying to say here and I can't express this strongly enough: I have NO issue with you. Zero. Far as I'm concerned: We. Are. Good.The Killer ponders, gun still leveled at Claybourne.CONTINUED 120. CONTINUED 121.THE KILLER I'm curious... how is it that I walked into your home in the middle of the night with a silenced pistol... and you had no idea why I might be here?Claybourne considers for a beat. With the merest shake of his head, he looks to The Killer, raises his hands palms up, giving a slow, sheepish, at-a-loss SHRUG.The Killer lowers the gun. He turns and crosses back the way he came, pocketing the weapon. Claybourne, remaining seated, is watching him go.The Killer stops. He remains facing away.Claybourne's eyes are anxiously on The Killer.THE KILLERIf there is a next time...The Killer turns back, looking to Claybourne.THE KILLER...it may be a radioactive speck on the lip of your favorite mug -- a slow death, mind you; from painful, facial necrosis... or a misstep into an empty express elevator shaft... or an electrical fire while asleep, but...(pause)...I do promise, I'll come up with something appropriate.With that, The Killer is gone.CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CONDO SKYSCRAPER - ELEVATOR - NIGHT343A343ATHE KILLER’S HAND takes from his pocket the THREE ROLODEX CARDS, holds them before him... TEARS the CARDS in HALF.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CONDO SKYSCRAPER - STREETS - NIGHT344344The Killer exits from the PARKING RAMP, shuts it. We watch him walking away. Far up the street, a hulking, noisy STREET CLEANER lumbers slowly along in the opposite direction, its circular, spinning WIRE BRUSHES kicking dust and a fine mist of water in the vehicle's wake. As he goes, The Killer takes his PHONE from his pocket. CONTINUED 121. CONTINUED 122.Just as the street cleaner's getting closer, he casually CHUCKS his phone (and Rolodex cards) into the street; in the vehicle's path. The street cleaner gobbles the phone up. The Killer keeps walking.CUT TO:",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. KILLER'S ESTATE HOUSE, KITCHEN -CLOSE-UPS - LATE DAY345345IN DELICATE CLOSE-UPS:-The Killer uses a PARING KNIFE to artfully cut a long, thin, curling SLIVER of LEMON PEEL from a LEMON.-He slides forward the handle of a COFFEE GRINDER, releasing finely ground COFFEE into a PORTAFILTER. -He takes up a gleaming, SILVER TAMPER, which he uses to firmly tamp the COFFEE flat in the PORTAFILTER.-He fits the PORTAFILTER to the ESPRESSO MACHINE's GROUP HEAD and twists to secure it in place.-A narrow, steady STREAM of CARAMEL COLORED COFFEE pours down from the mouth of the PORTAFILTER, filling a SMALL, flawless white ESPRESSO CUP on the DRIP TRAY.-The Killer places the CUP on its SAUCER, then balances the LEMON PEEL SLIVER on the cup's lip so it rests partially on the coffee's surface.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ESTATE HOUSE, KITCHEN -- LATE DAY346346The Killer places this perfect ESPRESSO ROMANO on a SERVING TRAY, beside a folded CLOTH NAPKIN and several small COOKIES on a WHITE DISH. He lifts the tray.THE KILLER (V.O.)The need to feel... secure. It's a slippery slope. The Killer (in SHORTS, short-sleeved-BUTTON DOWN and SUNGLASSES) crosses the lovely, spotless KITCHEN.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ESTATE HOUSE, LIVING ROOM -- LATE DAY347347The Killer carries the tray thru. This room, like the rest of the breathtaking home, is entirely restored.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ESTATE HOUSE, BACK YARD-POOL/BEACH AREA -- LATE DAY348348The Killer crosses from the house...Heading for a grouping of LOUNGE FURNITURE which faces the BEACH, not far beyond, and stunning SKIES.CONTINUED 122. 123.THE KILLER (V.O.)Fate... is a placebo. The only life path... the one behind you. AT THE LOUNGE AREAMagdala, in a CHAISE, looks up as The Killer places the serving tray on a TABLE. She's in LOUNGE WEAR, a LONG ROBE, and still some BANDAGES. As she smiles at The Killer -- accepting the espresso he offers -- the large SUNGLASSES she wears can't hide the swollen and discolored, albeit healing, condition of her face. The Killer sits in the ocean-facing CHAIR beside Magdala's. He observes as Magdala, watching waves advance and retreat, sips the dainty coffee. The Killer sits back, faces front; takes in the view.THE KILLER (V.O.)If, in the brief time we're all given, you can’t accept this... well, maybe you’re not one of the few. He keeps peering seaward, wearing his usual expression of empty resolve. The sun glints off his sunglasses.He takes off his sunglasses, keeps staring forward.It's very hard not to notice, as he's staring for the longest moment, that he does not blink -- not once.THE KILLER (V.O.)Maybe you’re just like me... Until, finally, with sunny skies reflected in those steadfast, impossibly-UNBLINKING EYES, The Killer's RIGHT EYE trembles, TWITCHING sharply.THE KILLER (V.O.)...one of the many.Here we leave The Killer and Magdala, peacefully together, facing a vision of a seemingly perfect world; a flawless line of wide, sandy beach, beyond which the slightly curving horizon line of sun-dappled water meets azure skies of blindingly white clouds.THE END 123.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JAKE'S HOUSE - BEDROOM - CLOSE ON ALARM CLOCK -1PREDAWN (4:59 AM)In a Santa Clarita housing tract. It's dark.WIDER ANGLEEyes glisten in the clock's shine, patiently watching thetime.BZZZZ! The ALARM SOUNDS. A hand that's been hoveringover the clock drops. Silence. JAKE HOYT, a fit youngman, rolls over, throws an arm over his sleeping wife --JAKEIt's time.-- she's not there, just empty blankets. He sits up,sporting a scraggly goatee, his hair growing out.HIS POVLISA, his wife, in a rocking chair in the corner.BACK TO SCENEJake is surprised. How'd she sneak off?JAKEWhat are you doing up?She pulls back the blanket, she breast-feeds their infantdaughter.LISAMooooo.She lavishes kisses on her baby.CUT TO:2",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. JAKE'S HOUSE - KITCHEN - CLOSEUP - BRASSO - DAWN2is squirted on terry cloth. A badge is rubbed against itin precise circles.(CONTINUED) 2.2CONTINUED:2WIDEN TO:Jake in T-shirt and jeans, studies the gleaming badge,snaps it in its case, clips it to his belt. He tosses aduffel on the counter. Searches through the police gear.Lisa taps a police baton on his shoulder. He takes it.JAKEThanks.LISAWrong day to forget stuff.Everyone's saying how lucky youare. Don't screw this up.He gives her a look, shoves it in the bag.JAKEShe go back to sleep?LISAMmm-hmm. Ate like a pig.Jake does a final check of gun belt. Inspecting hisBeretta and magazines.JAKEI know how lucky I am. I ace thisassignment. Department's wideopen. Get my own divisionsomeday. You should see thoseguys' houses.She grabs a pack of English muffins. Jake catches hisreflection in a mirror, rubs his chin. He doesn't likethe way he looks. Next to the mirror is his policeacademy graduation photo -- Clean-cut, almost adolescent.Lisa plays with his goatee, she likes it.LISAWant some eggs for the road?JAKEI gotta roll. Gotta beat thetraffic.He shoves his gun belt in the duffel. Zips it shut. Hegrabs a pressed uniform off a chair, and his police hat,wrapped in plastic. He kisses Lisa's cheek, her neck,her lips. Heads to the door. The PHONE RINGS. Jakestops. Lisa answers.(CONTINUED) 3.2CONTINUED: (2)2LISAHello?(beat, laughs)How nice, thank you.(beat, giggles)I will, don't worry.Jake looks at her, wondering who the hell is making hiswife giggle so much.LISAHe's right here.(to Jake)Jake. It's Alonzo.Jake reacts, steels himself and takes the phone.JAKEHello?ALONZO (V.O.)Hoyt?JAKEYessir?ALONZO (V.O.)On your way to roll call?JAKEYessir. I'm out the door rightnow.ALONZO (V.O.)Hoyt.JAKEYessir?ALONZO (V.O.)Patrol fairies go to roll call.We don't go to roll call.JAKEYessir.ALONZO (V.O.)There's a coffee shop at 7thand Witmer. See you there atten. Be in civvies. Comfortableshoes. Got a back-up gun?Something pocket-sized?(CONTINUED) 4.2CONTINUED: (3)2JAKENossir. Just my departmentissue service pistol.ALONZO (V.O.)Bring it. Cuffs, too. We'regonna be in the office all day,but who knows, maybe we'll do somebusiness. We're an aggressiveunit.JAKEI know. That's why I signed up.I want to thank you for giving methe oppor ---- CLICK! Alonzo hangs up. Jake too. He stands there,grabs his nervous stomach.LISAWhat's wrong?JAKEFeel like it's football tryouts.Wish it was tomorrow so I'd knowalready if I made his squad ornot.LISAIt's not tomorrow. It's today.And it's gonna work out. I knowit will.JAKEI gotta relax.Lisa looking at him. He gets an idea, snuggles up toher.JAKEDon't have to show up until ten.She breaks the embrace -- sore breasts -- Ouch!JAKESoon they'll be mine again.Jake chases them with cupped hands as she retreats,giggling. Their game.CUT TO: 5.3",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COFFEE SHOP - DAY3Old and tired, near Good Samaritan Hospital. Jakestruts through the door, confidently looks around.JAKE'S POVDETECTIVE SERGEANT ALONZO HARRIS, in black shirt, blackleather jacket. And just enough platinum and diamondsto look like somebody. He reads the paper in a booth.The gun leather-tough LAPD vet is a hands-on, blue-collarcop who can kick your ass with a look.BACK TO SCENEJake walks over. Slides in across. Alonzo's eyes willnever leave his newspaper.JAKEGood morning, sir.A young waitress pours Jake coffee, offers a menu. Jakewaves it away.JAKEI'm okay, ma'am. Thank you.ALONZOHave some chow before we hit theoffice. Go ahead. It's mydollar.JAKENo, thank you, sir. I ate.ALONZOFine. Don't.Alonzo turns the page. A long beat. Then:JAKEIt's nice here.ALONZOMay I read my paper?JAKEI'm sorry, sir... I'll get somefood.(CONTINUED) 6.3CONTINUED:3ALONZONo. You won't. You fucked thatup. Please. I'm reading. Shutup.Jake does -- Jeeez, sorry. Pours a ton of sugar in hiscoffee.TIME CUT TO:4",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. COFFEE SHOP - DAY4The waitress pours refills. Alonzo reads. Jake fidgets.JAKESure wouldn't mind not roastingin a hot black and white allsummer.Alonzo sighs, carefully folds his paper. Glares at Jake.ALONZOTell me a story, Hoyt.JAKEMy story?ALONZONot your story. A story. Youcan't keep your mouth shut longenough to let me finish my paper.So tell me a story.JAKEI don't think I know any stories.Alonzo waves the paper in Jake's face.ALONZOThis is a newspaper. And I knowit's ninety percent bullshit butit's entertaining. That's why Iread it. Because it entertainsme. If you won't let me read mypaper, then entertain me with yourbullshit. Tell me a story.JAKEA real one or should I make oneup?(CONTINUED) 7.4CONTINUED:4ALONZO(sighs)Where'd you do your probation?JAKEVan Nuys.ALONZORight. The Valley. No cutelittle anecdotes about writingunderage smoking cites at theshopping mall?Jake thinks. Bingo! He's got it.JAKEThere was this D.U.I. stop.ALONZOA D.U.I. stop. Wow. Go on.JAKEWe were on the mid-watch.ALONZOWe? You and...?JAKEDebbie.ALONZODebbie? The hell's Debbie?JAKEMy training officer. DebbieMaxwell --ALONZO-- Your T.O. was female?JAKEYessir.ALONZOShe white? Black?JAKEWhite.ALONZOShe dyked out or she any good?(CONTINUED) 8.4CONTINUED: (2)4JAKEShe's pretty good.ALONZO(he's hooked)So you and Debbie are pullin' amid-watch?JAKERight. It's a real quiet night.A yawner. We're rolling onVanowen. I'm driving. And thisAcura, just a beautiful car, comesout a side street. In excess.All over the median. So I lightit up and hit the wailer. Guydrives on like I'm invisible forten blocks before he pulls over.Plates ran clean. Debbie coversas I approach. Driver's this hugewhite guy. Can barely keep hiseyes open. I field test andarrest and I'm belting him in ourunit. Debbie's tossing his car.She calls me to the vehicle andshows me a snubbed .38 and twoshotguns, all loaded and locked.ALONZONo shit?JAKENo shit. She calls our supervisorand I keep searching. I find fivehundred grams of meth in the dash.Turns out our D.U.I. was on bailfor distribution. He was on hisway to smoke his ex-partner beforetrial.(proudly)We prevented a murder.Alonzo is astonished.ALONZO... amazing...Jake beams -- some story, huh?(CONTINUED) 9.4CONTINUED: (3)4ALONZOYou're driving around the Valleywith a fine bitch in your car fora year and the most entertainingstory you got is a drunk stop?Never hit her up for some Code Xin the back seat? Didn't tap it?JAKEI have a wife.ALONZOYou also have a dick.Alonzo shakes his head in disgust. Jake is crushed.ALONZOLet's go.Alonzo tosses a fifty on the table. OFF his heavywedding band we --CUT TO:5",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. COFFEE SHOP - PARKING LOT - DAY5Jake and Alonzo crossing. Alonzo sizes Jake up.ALONZOYou walk and talk like a damncop.Alonzo stops at:G-RIDEA narc-machine supreme. A clean, black 1978 Monte Carloon nice rims.ALONZOGimme that menu.Jake pulls a Chinese menu from under the wiper. Hands itto Alonzo, who folds and pockets it.ALONZOGet in. S'unlocked.Jake admires the car, climbs in. 10.6",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. G-RIDE/,SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. COFFEE SHOP - DAY6Jake buries his shoes in beer cans and coffee cups.Alonzo twists the key and pumps the hell out of the gas.After a beat, the ENGINE CATCHES -- VROOM!JAKEThis isn't from the motor pool.ALONZODon't worry. My baby puts outwhen she has to.Alonzo rubs the dash lovingly.JAKEWhere's the office? Back atDivision?Alonzo hits the switches and the G-Ride is raised byhydraulics.ALONZOYou're in it.Jake reacts. Then smiles -- This is kinda cool.A7",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. G-RIDE (7TH STREET) - MOVING - DAYA7Alonzo SQUEALS out of the lot. They pass the formidably-stylish Metropolitan Detention Center.ALONZORover's in the glove box. Wannaten-eight us?JAKEYessir.ALONZOShitcan the sirs. I'm not yourdomestic violence awarenessinstructor.Jake takes a Motorola radio from the glove box.JAKEWhat's our I.D.?ALONZONora fifteen.JAKE(into Motorola)Nora fifteen, ten-eight.(CONTINUED) 11.A7CONTINUED:A7DISPATCH (V.O.)Nora fifteen, ten-twenty.Jake checks the street signs -- 7th and Broadway.Before he can tell Dispatch, Alonzo snatches theMotorola as he makes a left on Broadway.ALONZO(into rover)Nora fifteen, South on Rampart atBeverly.DISPATCH (V.O.)Ten four.Alonzo tosses Jake the rover.ALONZOBad guys are listening. Don'ttrust the radios. Never letanyone know where you're reallyat. Ever.Jake nods and smiles -- makes sense.CUT TO:7",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. G-RIDE (BROADWAY) - MOVING - DAY7Heading north on Broadway in downtown LA. It could beSan Salvador or Guatemala City. Jake is mesmerized bythe crowds.JAKEThis looks like the Third World.ALONZOIt's my world.Jake notes several men making hand signs as they pass.JAKEThey're flashing gang signs.ALONZOThey're selling micas. FakeI.D.s. Green cards, licenses,socials.Alonzo gives Jake a fatherly look, lights a smoke.Settles in his seat.(CONTINUED) 12.7CONTINUED:7ALONZOToday's a training day. Gonnashow you around, give you a feelfor the business. I have thirty-eight cases pending trial. I havesixty-three active investigations.There's another three hundred andfifty cases on the log I can'tclear. I'm supervising fiveofficers. That's five differentpersonalities, five different setsof problems. You, Officer Hoyt,if you got the guts to succeed,will be number six. I don't havetime to baby-sit or hold hands.You have one day to show me whoyou are and what you can or cannothandle. You can't hack narcotics,feel free to work a pussy deskchasing bad checks. Hear me,Officer Hoyt?JAKEI hear you.ALONZOGood. Gonna show you reality.Think you can handle it?JAKEYeah.ALONZOWhy you wanna be a narc?JAKEI want to serve my community byridding it of dangerous drugs.Alonzo gives him a look -- Don't b.s. me.JAKEI wanna make detective.The boy is ambitious. Alonzo likes that. As theycruise down Broadway, a black and white up the streetdoes a sudden U-turn.ALONZOStick with me and you will. Ifyou can unlearn the bullshitthey've filled your head with.(MORE)(CONTINUED) 13.7CONTINUED: (2)7ALONZO (CONT'D)You gonna be passing out baseballcards and carrying old ladies'groceries like the rest of thenewfucks Washington's flooded thestreets with?JAKEI'll do anything you want me todo.ALONZOGood. Roll your window down.Can't hear the street.Jake does.ALONZOStand by, because narcotics ain'tabout staying in the car andlooking good. I bet you writegreat paper, Hoyt.(before Jake can answer)You do. I checked it out. Coveryour area, cover your ass, but notnecessarily in that order, right?JAKERight.The two cops from the black and white have their gunsdrawn on five hardcore cholos with tats on theirshoulders and heads. A white cop screams at them inEnglish, then switches to Spanish as his partner poursbeer on a cholo's head.ALONZOHow's the Espanol?JAKEMas o menos.ALONZOWork on it. People'll be plottingthe worst kind of shit behind yourback.JAKERight. Are you going to teach methat old school, hard-charging,beat up everything that movesRodney King shit?(CONTINUED) 14.7CONTINUED: (3)7ALONZONo way. I'm the new breed. I usethis...(taps his head)This is my tool.The G-Ride crosses the 1st Street Bridge, revealing EchoPark spread before them.A8",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. G-RIDE (1ST STREET BRIDGE) - MOVING - DAYA8ALONZOHow long you been married?JAKEA year.ALONZOGotta kid, right?JAKE(smiles)A nine-month-old girl.ALONZOI got four kids. All boys. Youwant a son, lemme know. I'll doyour old lady up. I can't miss.Jake angers, although he knows he is being tested.JAKELet's not talk about my family.ALONZOIt's cool. I can respect that.I'm married. I have my queen,too. I remember what it's like tohave a pretty young bride. Betyou still fuck her face-to-face.JAKE(clenched teeth)Can we not talk about my wife?(CONTINUED) 15.A8CONTINUED:A8ALONZOKick back, kid... You're so inlove it's comin' out your eyes.The day you bring the old lady tothe office is the day you don't gohome. If you don't hide your lovedeep inside, maggots out herewill find it and chew it up.Jake realizes Alonzo is right. Alonzo hands him a card.ALONZOThat's our Chaplain, LieutenantConelly. Give him a call. Invitehim and his wife over for dinner.He's a good guy and no dumbshit.You and your woman need any kindahelp, call him. I'm serious.Jake takes the card. Kind of smiles.JAKEThanks. I will.They cruise a beat.JAKEWho's Mr. Clean?Alonzo nails him with surprised look.ALONZOWhere the hell you hear that?JAKEFrom a Valley Robbery Detective.Told me to ask you that.ALONZO(smiles, shakes his head)Asshole.8",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. G-RIDE (NETO'S STREET) - DAY8Alonzo pulls onto a street of dense apartments. Parksalong the curb.JAKEWhat's here?(CONTINUED) 16.8CONTINUED:8ALONZOTransactions... See theSalvatrucha zero head on the fence,trying not to look like he'sslangin'?Jake looks, sees a young, bald cholo, Neto, just hangingout.ALONZOThat's Neto. Homeboy did threeyears in the boyna roja. Redberet.JAKEWhat's that?ALONZOBatallon de accion rapidaAtlacatl.(off Jake's look)El Salvadoran special forces.Punk's only seventeen and cankill with the best of them. Worksfor me.JAKEJesus. He an informant?ALONZOI got eyes everywhere. He gets topeddle reefer, make a little cashfor the family. I get a heads-upwhen shit goes down. The barriodot com.JAKEAnd you trust him?ALONZOGoddamn right I trust him. Sprunghis mom from I.N.S. detention.Alonzo watches his mirror, perks up.ALONZOHere we go.INSERT - MIRRORA new VW Beetle pulls onto the street, moving slow.(CONTINUED) 17.8CONTINUED: (2)8BACK TO SCENEThe VW passes the G-Ride. Jake glimpses three peopleinside, two guys in front, a girl in back. Hipsteruniversity students.ALONZOShit's going down.JAKE'S POVThe VW stops. Neto looks around, crosses to the driver'swindow, a drink cup in hand. Neto plucks a foil packfrom the cup. Trades it for the driver's ten.BACK TO SCENENeto walks away, disappears into some apartments.ALONZOSee the hand-to-hand?JAKEI saw it.The VW drives off, fast. Alonzo pulls out. Follows it.ALONZOWhen was your last felony stop?JAKECouple weeks ago.ALONZOYou need practice.JAKEThey look like college kids.ALONZOThey need a lesson. I want theBrady Bunch grabbing glass. I gotfront. You got back.Alonzo pulls his gun. Jake reaches for the Motorola.ALONZOStay off the rover.Jake puts it away, pulls his gun. Alonzo stomps the gas.The G-Ride HOWLS. The VW is at the corner, about toturn/nobreakspace-- 18.9",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. G-RIDE/VW BUS AT STREET CORNER - DAY9SCREEEEEECH! -- Alonzo slaloms to a stop, blocking itspath. His pistol aimed through Jake's window at theDRIVER.ALONZOPolice! Lemme see your hands!Jake draws a bead on the girl in back.JAKEPolice officers! Your hands!The kids gawk at the two narcs for a stunned beat.JAKEDon't look at us! Look straightahead!ALONZODriver and right front passenger!Palms on the windshield!JAKEYou in the back! Palms on theside window! Look straight ahead!ALONZODriver! Use your left hand, putthe vehicle in park.The Driver is mortified because:DRIVER... it's a stickshift...ALONZOShut up, dickhead! I'll shootyour face off! Take the keys outof the ignition. Throw 'em outthe window!The Driver does, quickly, as Alonzo jumps from the car,charges the Driver, shoves the gun in his face. Theseare just scared kids. The girl tries not to cry.ALONZOFork it over, smartman.DRIVERWhat, sir?Alonzo grabs his ear, tugs violently.(CONTINUED) 19.9CONTINUED:9ALONZOThe marijuana I just watchedyou purchase!The Driver hands over the foil pack.PASSENGERI'm very sorry, sir. I didn'tknow he was bringing me here.ALONZOShut up, dumbass. You're herenow! Gimme that pipe!There's an ornate pot pipe on the floor mat. ThePASSENGER picks it up. Reluctantly hands it to Alonzo.PASSENGERMy mom gave me that pipe.ALONZOWhat else you got?DRIVERCigarettes...?ALONZOGimme those too.He gives him a squished packed of Marlboro reds. Thekids realize Alonzo isn't your average cop. The girlsees Neto standing down the block like nothing is goingon. She lowers her hands -- bad move.ALONZOControl your suspect, Hoyt!JAKEMiss! Palms on the glass!Alonzo sees her lip quiver.ALONZOCry and I slap the eyes outta yourface!Back to the Driver.ALONZOYou aware this is a gangneighborhood?That gives him pause -- no kidding -- Alonzo grabs hisear again, shakes.(CONTINUED) 20.9CONTINUED: (2)9ALONZOI see you here again, I take yourcar. You can walk home while yourgirlfriend pulls a homeboytrain... Hear me, reefer addict?DRIVERYes, sir.ALONZOThank you for your cooperation --Safe your iron.ON VWJake holsters his gun. Follows Alonzo to the G-Ride.The kids lower their hands.ON G-RIDEAlonzo and Jake climb in. As they drive away, the girlnails Jake with a look of revulsion. Jake reacts.CUT TO:10",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. G-RIDE (NETO'S NEIGHBORHOOD) - MOVING - DAY10Alonzo laughing. Jake didn't like what happened. Itshows.JAKEWas that training? How to rouststudents for dime bags?ALONZOThey have no business being here.Sooner or later that little smart-ass white boy college puke isgonna get jacked. I saved hislife.JAKETaught him a real lesson.ALONZOSure did, buy your shit on campus.(beat)I like your moves. Someonetrained you well.Jake smiles to himself. Alonzo opens the foil, sniffs --(CONTINUED) 21.10CONTINUED:10ALONZOShitty dime. Check it out.He hands it to Jake. Who takes out a bud.ALONZOSee the small hairs? Theundeveloped seeds. How it's allstems?Jake nods.ALONZOIt was picked immature. See howflat it is? Classic brick-packMexican. See how brittle it is?It's not bud season. It's fromlast year.Jake is amazed. Alonzo snatches the bud, crumbles it inthe pipe, tosses aside seeds.ALONZOTo be truly effective, a narcoticsdetective must know and lovenarcotics. A good narcoticsdetective should have narcotics inhis blood.JAKEYou going to smoke that?Alonzo smiles devilishly, offers Jake the pipe.ALONZOYou are.JAKEHell if I am.ALONZOWhat? You a Mormon? A Jesusfreak?JAKENo. I'm not losing my job.ALONZO(re: the pipe)This is your job.JAKEI can't do it.(CONTINUED) 22.10CONTINUED: (2)10ALONZOThis isn't some kind of test.Take a damn hit.JAKEI became a cop to keep people fromusing that poison.ALONZO(laughs)This ain't a review board. Weain't doing rails. Just leafygreen bud.Jake stands firm, shaking his head.11",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. G-RIDE/ROGER'S NEIGHBORHOOD - DAY11SCREECH! Alonzo stops in the middle of the street, pullshis gun, jams it in Jake's ear. CARS behind them HONK.ALONZOIf I was a dealer, you'd be dead.Turn shit down on the street andthe Chief hands your wife acrisply-folded flag.Jake stares stubbornly at Alonzo. Alonzo pockets thegun. Lights the lighter. And takes a huge hit, blowssmoke in Jake's face.ALONZOI don't want you in my unit. Noteven my division. Go back toValley. Get the fuck out of mycar.A staring contest. Jake decides to play the game.JAKE... Okay...He takes the pipe, takes an absolutely huge hit --ALONZOAlright. That's how it's done,son.-- And is racked with a spasm of coughing.ALONZOBetrayed by your virgin lungs.(CONTINUED) 23.11CONTINUED:11Jake takes another hit -- a passing driver watches --blows the smoke in Alonzo's face. Alonzo laughs, resumesdriving, takes a hit. They pass the pipe around a fewtimes before Alonzo tosses it on the dash.ALONZOIt's cashed.A12",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. G-RIDE (ECHO PARK) - DAYA12They cruise in a strange otherworldly silence. Jake isclearly messed up, his head lolls from side to side.ALONZOShit, you took some man-sizedhits. You gonna be okay? When'sthe last time you smoked out?JAKE... Twelfth grade...B12",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. G-RIDE (SUNSET BOULEVARD) - DAYB12ALONZOLeft that out of your servicejacket. Knew you had secrets,everyone does. Didn't know youdig dusters.JAKEWhat are dusters?ALONZOYou know, dusted bud. Dippers?C'mon, dipped in P.C.P. Primos.Sherm, kool, P-dog, angel dust...Didn't you smell it? Taste it?JAKE(horrified)... I've never done it...ALONZONow you have. Remember the smellfor next time. Think I'd inhalethat shit?Jake is scared as hell, pale, sweaty.JAKEOh, no. No. No. No.(CONTINUED) 24.B12CONTINUED:B12ALONZOGonna kick the shit out of Neto.Motherfucker's lacing crappy budto get that unsuspecting returnclient. Hell with his mom, I'mdeporting the bitch.JAKEI'm gonna get piss tested. I'mgonna get fired.ALONZOLieutenant's got our backs. Weknow a week before we piss.JAKE(panicking)Shit. How could you do this tome? Shit. Shit. Shit!Alonzo slams an elbow across Jake's throat.ALONZOChill and ride the high. You'rean adult. You chose to smoke.Live with your decisions. Youcool?JAKEI'm cool.ALONZOBesides, no one put a gun to yourhead.Jake shoots him a look.CUT TO:12",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ROGER'S HOUSE - DAY12A well-tended Craftsman on a steep hill of fixer-uppersin Echo Park. The G-Ride parks out front.ALONZOGet your shit together.Alonzo and Jake cross to the door. Alonzo knocks.ALONZOThis is my Road Dog's pad. Wannasee what he thinks of you.(CONTINUED) 25.12CONTINUED:12JAKEWhat do I say?ALONZOYou'll think of something stupid.The door opens revealing ROGER in a bathrobe, worn fromyears of hard living. He's happy to see Alonzo.ROGERHey, brother, get your ass inhere.CUT TO:13",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROGER'S HOUSE - LIVING ROOM - DAY13Roger and Alonzo hug.ALONZODid I wake you ?ROGERNo. C'mon in. Please have aseat.Alonzo and Jake sit in big chairs. Three beepers, threecell phones on the coffee table. Roger sits, takes abottle of whisky, three tumblers from a liquor cart.Pours booze. Jake looks around at the modest traditionalfurniture. The tacky porcelain figurines. Family photoson the wall.ALONZOAlright. Time to get my swerveon.Roger gives Alonzo a concerned look.ROGERHeard you had a beef in Vegas.There's a greenlight on your ass.ALONZOI'm cool. People talk shit.ROGERYou know I got your back.ALONZOI know. Thanks.They clink glasses. Jake doesn't. He stares into theliquid, enraptured by its smoky patterns.(CONTINUED) 26.13CONTINUED:13ALONZOJake, drink your medicine.Jake takes a sip and winces. Roger tugs Jake's goatee.Jake recoils.ROGERWent and got yourself a daisy-fresh rookie.Roger leans back in the couch. Jake is looking aroundthe room again. A BEEPER BEEPS. Roger checks it.Ignores it. Roger studies Jake.ROGERJesus, Alonzo. He's high as amotherfucker. The hell you givehim?Alonzo tosses the foil pack on the table. Roger takesit, smells the PCP and shakes his head.ROGERWhere'd you grow up?JAKENorth Hollywood.ROGERWhat's your last name?JAKEHoyt.ROGER(it clicks)You play strong safety for NorthHollywood High?JAKEYessir. How'd you know?ROGERI follow all the good players.His BEEPER BEEPS. He checks it, sighs. Dials a cellphone.(CONTINUED) 27.13CONTINUED: (2)13ROGER(into phone)It's me. Whassup?(beat)Can't do a thing for you. Yourmess. You clean it up. Don't becallin' me.He hangs up. Freshens the drinks.ROGER(to Jake)Here's a joke, boy. One day thisman walks out of his house to goto work. He sees this snail onhis porch. So he picks it up andchucks it over his roof, into theback yard. Snail bounces off arock, cracks its shell all toshit, and lands in the grass.Snail lies there dying.A BEEPER BEEPS. Roger checks and ignores it.ROGERBut it doesn't die. It eats somegrass. Slowly heals. Grows a newshell. And after a while it cancrawl again. One day the snail upand heads back to the front of thehouse. Finally, after a year, thelittle guy crawls back on theporch. Right then, the man walksout to go to work and sees thissnail again. So he says to it,'What the fuck's your problem?'Jake stares at Roger a beat. Then starts laughing.Really laughing. Maybe too much. He wipes his eyes.JAKEThat's messed up. That wasn'tfunny.ALONZOThen why are you cackling like ajackal?JAKEI dunno.ROGERFigure that joke out and you'llfigure the streets out.(CONTINUED) 28.13CONTINUED: (3)13ALONZODon't listen to him. There'snothing to figure out. Thestreet's a buncha senselessbullshit.JAKEUh-uh. I got 'em figured out.ROGERYou got the streets figured out?JAKEYeah. It's all smiles and cries.ALONZOGive up. You're too high, spacecaptain.ROGERHold on -- smiles and cries. Ihear you.JAKEYou gotta control your smiles andcries. No one can take them awayso... they're all we really have.Roger and Alonzo trade looks -- sharp kid. Alonzo patsJake's shoulder. To Roger:ALONZOThink this greenhorn can handleundercover?Roger scrutinizes Jake a beat. Smiles and nods: yes.ROGERYou were just like him.ALONZO(laughs)Bullshit.ROGERSame silly-ass look andeverything. Saving the Goddamnworld.ALONZOThat lasted a week.Alonzo stands, shakes with Roger.(CONTINUED) 29.13CONTINUED: (4)13ALONZOBrother, I gotta get back in myoffice. Thanks for the snort,dog. What're you up to today?Roger gestures at the phones and beepers.ROGERThink I get out of the house?A BEEPER BEEPS. Roger shakes with Jake.ROGERTake care, Hoyt. You're gonna dookay.CUT TO:14",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. G-RIDE (6TH STREET TO ALVARADO) - MOVING - DAY14East on Sunset. Jake senses he passed a test. Alonzosmiling at him. Alonzo offers him a cigarette. Jakeaccepts.JAKEWhat?ALONZOHe liked you.JAKEWho is he? One of your snitches?ALONZOHe's no snitch. He's a good manto know. C'mon, let's find someaction in Niggertown.(off Jake's look)That's N-wordtown to you. Whatare you, Hoyt? You ain't purewhiteboy. You mixed?JAKEItalian, Irish and Mexican.ALONZONo shit? You're all dicked up.Jake looks green, tosses the cigarette out the window.Alonzo senses what's coming and SLAMS on the BRAKES,flings open Jake's door. Jake vomits. A beat of dryheaving.(CONTINUED) 30.14CONTINUED:14ALONZOOkay, well's dry, kid.JAKESorry.ALONZOWipe your chin.Alonzo hands Jake a handkerchief. Jakes wipes his sweatyface.JAKEI'm cool. Had to unload thegroceries.ALONZOYou gotta learn how to party. Tohandle a high. It's a necessaryjob skill. I'm not kidding. It'san alcohol world down here. Yougotta be able to hang. To getwasted and talk shit with sketchysociopathic dumbasses and not passout and get your shoes stolen.JAKEI'm fine, just a little dizzy.Alonzo lights a smoke, leaning on his car, cracks a brew.ALONZOOh, damn!JAKE'S POVA beautiful Mexican woman pushing a baby carriage.CAMERA PLAYING OVER her in luscious SLOW MOTION.BACK TO SCENEJake stares, mouth open. Alonzo points out morebeautiful Latinas gracing the sidewalks.(CONTINUED) 31.14CONTINUED: (2)14ALONZOMmmm-mmmm. The brown woman is thefine woman. Give her ten morebabies to push around. Thick andtasty. Love to get up in that...Your old lady white? Nordiccheerleader, right?JACKWrong. She's Chicana. Light-skinned.ALONZOI like my meat dark. C'mon, getin the car.A15OMITTEDA15B15",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. G-RIDE (MACARTHUR PARK) - MOVING - DAYB15Alonzo sees Jake has his eyes closed.ALONZOC'mon, man. Open your eyes.You'll make it worse.Nothing.ALONZOSit your ass up. Hoyt!Jake locks bleary red eyes on Alonzo, jokingly:JAKEWho're you?ALONZOThe Goddamn zig-zag man.JAKECool. I'm a cop.ALONZOYou're a little bitty boot.Alonzo cracks beers for him and Jake.(CONTINUED) 32.B15CONTINUED:B15ALONZOC'mon. It helps. Believe me.Gives you ballast.Jake takes one. Alonzo drives over the 6th Streetbridge. Jake drops his beer, soaking his leg.ALONZODumbass.He leans his head on the window pillar, feeling better.Jake's eyes absorb the street's tableau of unworldlybeauty gliding by. Palm trees and sunshine. Paradiseand hell in one. His lids begin to drift shut. ThenJake sees a flash of movement in an alley. Suddenlyalert, he paws at the door handle.JAKEActivity on the right! Stop thecar!ALONZOSiddown, Hoyt. Everything's fine.JAKEStop the car!ALONZOC'mon, relax. You're tripping.Jake grabs the gearshift, throws it in reverse. Thetransmission GRINDS, TIRES SCREECH. The ENGINE STALLS.Jake is out like a shot --15",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. STREET/CRACKHEAD ALLEY - DAY15-- he dodges an oncoming car.ALONZOGet your ass back here!ON G-RIDEAlonzo pulling to the curb.ALONZODumb-ass kid.ON JAKERunning like a deer. He enters the alley. Sees a bookbag on the ground -- A dumpster ahead. Jake rounds it.Fast.(CONTINUED) 33.15CONTINUED:15HIS POVA devastatingly-beautiful Latina SCHOOLGIRL is pinnedagainst the wall by a tall CRACKHEAD. Her nose dotsblood on her uniform blouse.BACK TO SCENEThe Crackhead hauls back to smack her. Jake charging.JAKEPolice officer! You're underarrest!The Crackhead punches Jake's throat. Stops him cold.Jake realizes how huge this guy is. Gulp.CRACKHEAD #1Gonna fuck you too, cop.ANOTHER CRACKHEAD dives from the shadows and tacklesJake. Both go down hard. Jake gets his arm aroundCrackhead #2's neck, squeezes -- the forbidden chokehold.Crackhead #1 stomps on Jake's head.Alonzo drives the G-ride into the alley. Sits in the carand enjoys the action.Jake rides out Crackhead #1's vicious kicks as Crackhead#2 convulses from hypoxia. And finally goes limp. Jakelets go, sweeps Crackhead #1's legs out from under himand hops to his feet. Crackhead #1 stands too.CRACKHEAD #1Your ass is doomed.Jake growls, snatches him up like a rag doll, spins him,slams him hard. In a flash, Jake twists him into apretzel, drops a knee on his neck, grinds his head intothe asphalt. Clicks on the cuffs.CRACKHEAD #1We didn't do shit. Bitch is crazyand shit.Crackhead #2 coming to, starting to stand. Jake crossesto him, pins his head with his knee. Slips a pair offlexicuffs from his sock, zips them on the man's wrists.(CONTINUED) 34.15CONTINUED: (2)15CRACKHEAD #2Man, you messin' up, slick.Homegirl tradin' her ass forcookies.JAKE(bellows in rage)Shut the fuck up, sir!ANGLE ON ALONZOHe casually exits the G-ride with a smile, impressed byJake's raw skill.JAKEThanks for the help.ALONZOShoulda shot 'em.Jake crosses to the Schoolgirl.JAKEWe're police officers. You okay?You hurt?SCHOOLGIRL(to the Crackheads)You're dead! My cousins arefrom Trece Flats. They're gonnablast you fools! Pinche mayates!ALONZOMiss! Relax! Are you okay?SCHOOLGIRLWhat? No. No, I'm not okay.Lookit my nose... My mom's gonnatrip out.Alonzo gingerly examines her nose.ALONZOHoney, it's just a nosebleed. Putice on it. Don't be walkin'around here alone. Tell yourcousins to get your back. Youknow what those piecesa shit weregonna do. Probably got AIDS. Whyaren't you in school?SCHOOLGIRLI was going to a ditch party.(CONTINUED) 35.15CONTINUED: (3)15ALONZOYou almost became a ditch party.Go home. Go home, now.She grabs her book bag and gets out of there.JAKEI gotta get her statement.ALONZOUnhook 'em. We're not racking uparrests.JAKE(shocked)Kick 'em loose?ALONZONo. Get some shots in first.JAKEI have a punching bag at home. Iwant them off the street.Alonzo squats by Crackhead #1. Searches him.ALONZOHear that, bro? My dog, here,wants to lock you up. Been to thebootyhouse? Grabbin' ankles forthe big boys?CRACKHEAD #1Suck my dick, bitch. I knowpeople.ALONZOKick back, who's-who.Alonzo finds rocks in one sock. Some twenties in theother. He pockets the cash and crack. SearchesCrackhead #2.ALONZOWhere's your horn?CRACKHEAD #2Ain't got no horn.Alonzo finds a glass pipe.ALONZOSo what's this, chief? Gonna makeyou eat it.(CONTINUED) 36.15CONTINUED: (4)15Instead, Alonzo grinds it underfoot.ALONZOYou, stand up.Alonzo hauls Crackhead #1 to his feet. Unlocks thecuffs, tosses them to Jake. Crackhead #2 strains againstthe flexicuffs.ALONZO(to Crackhead #2)You get to keep those. Want to goto jail or go home?He steers Crackhead #1 to a wall -- cocks his fist.ALONZOAin't the first honey y'all pinnedto a wall, huh? Close your eyes.Crackhead #1 does. Alonzo knees his groin -- oof! -- Hefalls to the ground, whimpers in the fetal position.ALONZOLucky I got pressing business.Next time I cut your dick off andshove it up your ass.(pats Jake's back, winks)I'll leave you three alone forsome quality time. Gonna grabsome beer.Alonzo gets in the car, backs out of the alley. Jakewatches Crackhead #1 whimper; Crackhead #2 writhes in thegutter. It's futile to beat these men. Jake takes pity,walks away.CRACKHEAD #2Pussy-ass fool. Gonna see yourass again. Gonna fuck you up,bitch. Won't see shit coming.Creep like a ninja and crack yourhead open. Blow your house up.Punk-ass white boy. Now you in myworld, motherfucker.Jake stops and turns around. He stoops to pick up a pinkplastic change purse.(CONTINUED) 37.15CONTINUED: (5)15INSIDE CHANGE PURSEThe Schoolgirl's bus pass and her freshman ID from SacredConvent High School.BACK TO SCENEJake glares at the Crackheads.JAKEYou assholes! She's fourteen!CRACKHEAD #2She all woman. Tax that ass fordays.Man! Jake could kick his brains out. Somehow, he turnsand walks away.CUT TO:16",FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. G-RIDE (LONG BEACH AVE.) - MOVING - DAY16Jake steams. Alonzo offers a beer from a new sixer.Jake refuses. Alonzo counts and pockets the money hetook. Notes Jake's stare.ALONZOWanna book sixty bucks? Where'rethe suspects?JAKEYou let them go.ALONZOGet over it. You wanna go runnin'and gunnin', stay in patrol. Thisis Investigations. Leave thegarbage for the garbage men.We're professional anglers. Wereel in the big ones. Shouldadished out some shoe leather.You'd have a big 'ol smile on yourface.JAKEI get my shits and grins bookingbad guys, not beating them.(CONTINUED) 38.16CONTINUED:16ALONZOMan... The hell you doing runningalone into an alley fulla cracked-out monkey-strong motherfuckers?Those hemorrhoids woulda killedyou without mercy or hesitation.JAKEThat's why they belong in prison.ALONZOThey lost their money, their rock,got beat down and now the esesfrom Trece Flats are gonna smoke'em. Jesus, what more do youwant?JAKEJustice.ALONZOIs that not justice?JAKEThat's street justice.ALONZOWhat's wrong with street justice?JAKELet the animals wipe themselvesout, right?ALONZOGod willing. But it don't worklike that. They wipe out the goodfolks. It's always school kids,mommies and ass-bustin' family mencatching stray slugs in theirnoodles. You protect the flock bycatching the wolves. And it takesa wolf to catch a wolf.JAKEWhat?ALONZOYou protect --JAKEI heard you. Whatever.A beat.(CONTINUED) 39.16CONTINUED: (2)16JAKEWhen do you lock anyone up? Seemslike you're too busy keepingpeople out.Bad mistake. Alonzo slaps him. Glares at him.ALONZOShut up, boot! Nothin' but shit'tween your ears. They buildprisons cause a me! Judges havehanded out fifteen thousand manyears of incarceration time basedon my investigations. My recordspeaks for itself. How manyfelons have you collared?Dickhead.Now that it's clear who's the boss, they drive in tensesilence for a long beat. Alonzo digs in his pocket --ALONZOHere...-- hands Jake the rocks he found. A beat.JAKEI'm not smoking crack.ALONZOGood. I'm glad to hear that.Toss 'em in the glove box.Jake does, sees several more rocks under some papers.ALONZOComes in handy. Like a creditcard.(offers Jake a beer)You earned it. C'mon.Jake refuses.ALONZONo matter what I say, I want youto know, you did the right thing.Reminds me of when I could chasedown anyone and rock their world.You're a good cop. You got fire.That was some amazing shit backthere.JAKEThanks.(CONTINUED) 40.16CONTINUED: (3)16ALONZOThat the choke hold I saw youapplying? Isn't that a big no-no,procedure-boy?JAKEWell... I was getting my asskicked.ALONZOYou did what you had to do.Alonzo gives Jake a beer and grins at him like a prouddad.ALONZOYou got a magic eye, Hoyt. Youhave a goddamn magic eye. Up yourstreet I.Q. and you'll do somedamage, crime fighter.They clink cans. Jake smiles.CUT TO:17",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CENTRAL AVE. AND SLAUSON - DAY17If you don't know the neighborhood, stay the hell out. ARegal with four rough-looking gangsters bumps its radiothrough the intersection, oozing menace. Then the G-Riderolls through the intersection.CUT TO:18",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. G-RIDE (CENTRAL AVE.) - MOVING - DAY18The area fills Alonzo's eyes with memories.ALONZODid my probation here. Learned alot on these blocks. Kicked someass. Had my ass kicked.JAKEBack in the day.ALONZOYeah, back in the day. Been onthe job thirteen years. Today'smy date of employment.(CONTINUED) 41.18CONTINUED:18JAKENo shit. Happy anniversary.They shake hands.ALONZOThanks. Thirteen's an unluckynumber. But I figure the seven togo cancel it out.Alonzo turns on McKinley. He reaches over, digs in theglove box. Pulls out a photograph and hands it to Jake.INSERT - PHOTOA spit-and-polish, young cop in crisp blues, whitegloves, holding his pistol at inspection arms.BACK TO SCENEJake looks at the photo, then at Alonzo. Realizing:JAKEYou're Mr. Clean.ALONZOI had a few misconceptions when Istarted out.(notes a graffited wall)Shit's going down. See that?JAKEBuncha graffiti.ALONZOCrossing out each other's placaslike that. Ghettoville and theLocotes are at war.(CONTINUED) 42.18CONTINUED: (2)18Alonzo rounds a corner. A driveby is under investigation.Several black and whites, crime-scene tape. A coroner'svan. Flares block the street. A rookie gestures forAlonzo to stop.Alonzo badges him and drives around a bullet-riddledCutlass with two dead gangsters spilling out the opendoors. Jake gawks, Alonzo is utterly nonplussed.ALONZOLearn to read walls, not juststreet signs.Alonzo turns down an alley. Then pulls onto a boulevard.After a block, he pulls into a different neighborhood.Alonzo glimpses some pit bulls down a driveway. A beatlater he points out a house.ALONZOOn the left. See that house?Dude named Spooky lived there.Mean old vato loco. MexicanMafia. No one messed with Spooky.Even got respect from the cops.We'd keep an eye on his house.You like dogs?JAKEGotta six-year-old Rottweiler.Not too bright, but he's good withmy kid.ALONZORotties are good dogs. Dobermansare better. Spooky raisedDobermans. On my second week ofpatrol, when I was not knowin'shit, we roll by Spooky's onenight. I observe this old, blackfool named Too Fine, all drunk,beating the shit out of thisfemale Doberman. Beautiful dog,seven months old. Too Fine'swhoopin' her with a garden hose.This dog's just crying, shaking.I grew up with Dobermans. I waspissed. I tell my T.O. 'I'm gonnatake him.' And my T.O. is like:'No, no. It's cool.' He waves toToo Fine and this motherfuckersmiles and waves back and keepshitting the dog.(MORE)(CONTINUED) 43.18CONTINUED: (3)18ALONZO (CONT'D)Thought I lost my damn mind.Tells me Spooky gave him twentybucks to beat the shit out of it.My T.O., this good 'ol boy, looksme in the eye and says: 'Teaches'em to hate niggers.' Almost quitright there. Almost got out ofthat black and white and took thebus home.Jake looks at Alonzo.JAKEThat's fucked-up. That's one ofthe most whacked things I everheard.ALONZOJust remembered that. Every timeI'd seen it all, the street'd showme something even more twisted. Iknow you didn't see no shit likethat in the Valley.JAKENo, I haven't.CUT TO:19OMITTED19thruthru212122",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. G-RIDE (CRENSHAW BLVD.) - MOVING - DAY22Alonzo scans the infamous Boulevard searching for prey.Sees a gaunt DEALER on a corner, in a wheelchair.Alonzo hands Jake a twenty.ALONZOStill up twenty. Your turn.Put your hood up.(CONTINUED) 44.22CONTINUED:22JAKEWhat do I say?ALONZOAd lib, boy. Use your words.He pulls over. The Dealer rolls up to Jake's side.DEALERWhat you want, homie?JAKECrack. Twenty dollars' worth.DEALERFuck you, rookie.He spins and rolls away quickly. Alonzo shoots Jake alook.ALONZOFetch, boy. Fetch.Jake bolts from the car.23",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CRENSHAW BOULEVARD - DAY23ON DEALER wheeling away. He sees Jake, speeds up. Thensuddenly darts into a wig shop.A24",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. WIG SHOP - DAYA24The Dealer heads for the back. Where a door leads out toan alley. He reaches for the door handle. Jake tackleshim. Gets the Dealer in a compliance hold and cuffs him.Alonzo enters the store, badges the owner.ALONZOLove doing that, huh?Jake searches the Dealer as rows of display heads starewith blind eyes.ALONZOWho you work for, shitstain?DEALERCan't work. I'm on disability.ALONZOBullshit. You crackin'.(CONTINUED) 45.A24CONTINUED:A24Jake finishes searching.ALONZONo rocks?JAKENo rocks.DEALER(laughing)Aw, dang. See? Y'all ain't gotshit. The man comin' up shortagain.Alonzo glares.ALONZOI never come up short, fool.Open your mouth.The Dealer does. Sensing to not play with Alonzo.ALONZOLift your tongue.He does.DEALERSee. I ain't be gottin' shit.ALONZOGimme a pen.Jake does. Alonzo grabs the Dealer's neck. Forces thepen in his mouth. Down his throat. He gags -- urgh!Vomits.DEALERShit, man!Jake is stunned. Alonzo inspects the spattered sidewalk.Sees Saran-wrapped rocks.ALONZOLookie those.DEALERThat's corn.ALONZOThat's Jimmy crack corn and Idon't care. One, two, three,four, five... six. How'd youswallow that shit without water?(CONTINUED) 46.A24CONTINUED: (2)A24DEALERThis is bullshit! Civil rightsviolatin' motherfuckers.Alonzo slaps him.ALONZOGonna act like a man or a bitch?!Got you cold. Wanna go to jail?Or go home? Gimme a name.The Dealer mulls it over.DEALERHe in County.ALONZOWho?DEALERSandman. He's shot callin'.ALONZOUnhook him, Hoyt.(to Dealer)You on my team now. Be seeingyou, homie.Jake unlocks the cuffs. Alonzo steps over the vomit andcrack.ALONZOAnd collect the evidence.JAKEHell no.ALONZOYou're learning.CUT TO:24",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. G-RIDE (WATTS) - MOVING - DAY24Jake keeps looking at Alonzo, half impressed, halfappalled.ALONZOWhat?JAKEYou don't give a shit. That stuffdoesn't fly anymore. What if thatguy complains?(CONTINUED) 47.24CONTINUED:24ALONZOTo who?JAKELook, I like my badge.Alonzo gives a reassuring look, dials a cell phone.ALONZOAfternoon, Bob. It's Alonzo. Gotyour gang book?(beat)I need a res. Sandman fromMobsters... might be in custody.(beat)Okay, shoot.Alonzo jots the information on a note pad.ALONZOThank you, sir. That's gonna doit. Have a good one.Alonzo hangs up. Shows Jake the address with a grin.JAKEWe go after the Sandman?ALONZOWe go after the Sandman.Jake smiles.25",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SANDMAN'S STREET - DAY25Near 13th and Mona Blvd. Graffiti on a wall: ""MOBSTERSHOOD -- SANDMAN."" The G-Ride glides INTO FRAME and OUT.ANGLEThe G-Ride parks in front of a house. Alonzo and Jakeexit. Alonzo pops the trunk. Inside is a microwave box,toaster, a boom box, a TV.JAKEGonna open a Circuit City?(CONTINUED) 48.25CONTINUED:25ALONZOIt's unclaimed shit from property.I pass it out to informants,victims, witnesses. Help theirfamilies out.Alonzo fishes out an LAPD Windbreaker, ""POLICE"" acrossthe back. Hands it to Jake.ALONZOWear that. Intel says his wife'sin the residence with two femalejuveniles and a possible malejuvenile.JAKEIf he's not here, why are we here?Alonzo pulls a paper out of his pocket, unfolds it.ALONZOWe gotta serve this searchwarrant.It's the Chinese take-out menu Jake handed him earlier.JAKEWe can't do that.ALONZOYes we can, supercop. Ding-ding,that's the school bell.He slams the trunk. Pulls his gun. They cross to thedoor.JAKEGet a real warrant.ALONZOI wanna get shit done.26",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SANDMAN'S HOUSE - DAY26They step onto the porch. Take sides by the front door.ALONZODon't get me killed, new guy.He knocks on the security screen.ALONZOPolice! Search warrant!(CONTINUED) 49.26CONTINUED:26Silence. Alonzo knocks again. Nods at Jake.JAKEL.A.P.D.! Open the door.Nothing. Then:SANDMAN'S WIFE (O.S.)Kevin ain't here. He up at theHonor Ranch.ALONZOL.A.P.D.! Please open the door orwe kick it in! Ma'am?!CLICKING. The door is unlocked, opened. SANDMAN'S WIFE,an attractive black woman, stands on the other side ofthe security screen. Alonzo waves the menu.ALONZOSearch warrant. Unlock the doorand back away.She does, Alonzo snaps it open, rushes in, Jake follows.27",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SANDMAN'S HOUSE - LIVING ROOM - DAY27Jake and Alonzo swinging guns around the room -- twoscared toddlers in a playpen. Sandman's Wife sits on thecouch.JAKEStand up, ma'am.He searches the couch for a weapon.ALONZOAnyone else in the house, ma'am?SANDMAN'S WIFEMy nephew, Dimitri. He in thebedroom. The boy is ten.ALONZOCover her. Gonna clear the house.JAKEYou can sit. Please keep yourhands on your knees.Alonzo exits through a doorway into the kitchen.(CONTINUED) 50.27CONTINUED:27ALONZO (O.S.)Kitchen's clear!We hear ALONZO moving through the bedrooms.ALONZO (O.S.)Bedrooms're clear! Bringing outthe kid!Alonzo marches Dimitri, 10, into the living room. Theyoungster trembles.ALONZOS'okay, son, we're the good guys.Go sit on the couch with youraunt -- House is code-four. Gonnastart my search.Alonzo exits. Sandman's Wife glares at Jake.SANDMAN'S WIFEI wanna read the warrant.Supposed to give me a copy.JAKE(reacts)My partner has it.She looks out the window at the empty street.SANDMAN'S WIFEWhere's your back-up?JAKEMa'am, please be quiet while weconduct our investigation.SANDMAN'S WIFEYou got the gun, boss.(sotto)Crooked-ass pigs.The kids stare at Jake like an occupying soldier. Hecrosses to Dimitri, smiles.JAKEHey, little man. How's it going?Jake tries to shake. Dimitri crosses his arms, looksaway. Sandman's Wife smirks. O.S., the SOUNDS of Alonzotearing apart the bedrooms like a hurricane. Making ahell of a mess. Sandman's Wife stands.(CONTINUED) 51.27CONTINUED: (2)27JAKEMa'am. Stay seated.SANDMAN'S WIFEWho you be thinkin'? Comin' inlike you pay the rent.JAKEMa'am, sit down.SANDMAN'S WIFEBoth y'alls stink. Drinkin' allday. Gotta get liquored up to dobusiness?Alonzo is suddenly quiet. Jake backs to the doorway,peeks around it. Sees a dresser with a mirror.IN MIRRORAlonzo shoves something big down his jacket.BACK TO SCENEJAKESiddown. Now.SANDMAN'S WIFEGonna shoot me, boss? Kids, don'tlook. The drunk policeman gonnashoot me now.Alonzo enters, excited, grinning.ALONZODidn't find shit. Let's go --sorry about the inconvenience,ma'am. Thank you for yourcooperation.He and Jake head for the door.SANDMAN'S WIFEI wanna see the warrant.ALONZOHere.He hands her the menu as they exit.CUT TO: 52.28",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SANDMAN'S STREET - DAY28At the end of the block, three big gangsters buyPopsicles from an ice cream truck.ANOTHER ANGLESandman's Wife bursts out of the house, screams at Jake andAlonzo as they climb in the G-Ride.SANDMAN'S WIFEY'all jackers! You ain't no damnpolice! Get on back here with mymoney!She sees the gangsters.SANDMAN'S WIFEWhy y'all standin' there lookin'pretty?! Blast them fools!The gangsters trade looks. Start running towards --G-RIDEAlonzo sees the gangsters. Tries STARTING the CAR. Theengine won't catch.ALONZOC'mon, baby. Don't do me likethat.The gangsters getting closer.ALONZOYou bitch! Start!Jake sees a Glock pulled from a waistband.JAKEGun! Gun! Gun!VAROOM! Alonzo SQUEALS from the driveway.The armed gangster drops to one knee. The G-Ride tear-asses away in Glock's sights.POP!-POP!-POP!-POP!-POP!A ROUND SHATTERS a taillight. ANOTHER pierces thetrunk/nobreakspace-- 53.29",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. G-RIDE (SANDMAN'S STREET) - DAY29-- the back seat -- the front seat -- the six-pack -- andfinally the dash. Jake reacting to beer spray.30,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. G-RIDE (FREEWAY) - DAY30Alonzo rounds the corner, tosses the wounded cans out thewindow.ALONZOShit... Let's hit a liquor store.Jake fingers the hole in the dash.ALONZOGun! Gun! Gun!Jake startles, Alonzo laughing.ALONZOFirst time you been shot at?JAKE(lies)No.ALONZOYeah, it was. Take the jacketoff.Jake does, Alonzo takes whatever is in his jacket, wrapsit in the raid jacket and sets it at his feet.JAKEThat wasn't cool. That wasn'tcool at all. Where's the Sandman?What the hell were you doing inthere?ALONZOLooking for narcotics activity.Scales. Baggies. Guns. Coke.Bud. Etcetera.JAKECash...?ALONZOSpeak on it, son.JAKEShe was screaming about money.(CONTINUED) 54.30CONTINUED:30ALONZOBitch was talking shit. Trying toget us blasted by her homies.Jake looks at the raid jacket.ALONZOWhat?JAKEI dunno. I'm just a new guy. Adaisy-fresh boot. You tell mewhat.ALONZOI don't deny my shit stinks. Iwill never deny that. So why do Igot the best arrest and convictionrecord in the county. Why?'Cause I don't handicap myselfwith bullshit.JAKEI thought that bullshit served apurpose.ALONZOYou thought wrong. There'ssome profoundly evil peoplewalking free on the streets rightnow who've killed three, four, fivepeople. I know it, they know it,every detective on payroll knows it.Why do these turds still floataround? The rules. I take downthe duly deserving. I'm notlocking up Mr. Nine-to-five,Mr./nobreakspaceFamily Provider.Jake shaking his head angrily.ALONZOC'mon, communicate. What aren'tyou saying? Talk to me.A beat. Then Jake fixes Alonzo with a stare.JAKEI think... I think you're a roguecop.Alonzo laughs his ass off. Wipes his eyes, he laughs sohard. Ahead on the freeway, a Highway Patrol cruiser ison the opposite shoulder.(CONTINUED) 55.30CONTINUED: (2)30ALONZOHoyt, man. Know what? You'realright. You are alright.JAKEWhatever. I'm gonna be on the sixo'clock news in an orange jumpsuitand handcuffs because of you.With the scandals and whatnot,it's open season on misconduct.They'll nail us to the wall.(worried, repentant)God, what the hell did I just do?Alonzo holds up a finger for him to stop and pulls overon the shoulder opposite the cruiser. A highway patrolmanhelps a distressed female motorist change a tire.ALONZOYou're in a privileged position tolearn a thing or two if you cankeep your mouth shut and your eyesopen. If you're serious aboutdoing good in the real world,this is the place to learn how.Gun! Gun! Gun! If this shitshakes you up, go back to Divisionand cry to the Watch Commander.He'll find you a nice job lightingflares and measuring wrecks. Decidenow if you want to be a wolf or asheep. If you want on my squad,I'll sign your card.Alonzo stops the car. Alonzo puts his foot on the dash,reveals his unit's tattoo on his ankle. Jake reacts.ALONZOGet your ink.(re: the patrolman)Or get out and give him a hand.Alonzo reaches over and opens Jake's door. Jake looksaround, looks at the tattoo. Forget it, he's out. Jakeexits the car. Jake stands on the shoulder, squints atthe patrolman fighting lugnuts. Jake knows what hewants to do. He gets back in the G-ride. Slams thedoor and nails Alonzo with a steely look of resolve.JAKEI'm in.Alonzo holds out his hand. Jake shakes, serious.Solemn.(CONTINUED) 56.30CONTINUED: (3)30ALONZOWelcome to Narcotics, OfficerHoyt.JAKEI'm going to do my best.ALONZOYou do and you'll run the unitsome day.(a beat)You hungry? Let's code seven.Alonzo SCREECHES out of there.31OMITTED31thruthru373738",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. G-RIDE (JUNGLE) - MOVING - DAY38Jake nervously glances around one of the toughest partsof the city. A strong point adorned with wrought ironand concertina wire. Alonzo looks around cautiously,puts his gun in his lap, wary.JAKEWhat are you doing? We'll bekilled coming in here.ALONZOOh, you've heard about this neckof the woods?JAKEThis is the Jungle. They saidnever come in here with anythingless than a platoon.39",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. G-RIDE (CUL-DE-SAC) - MOVING - DAY39Alonzo enters a cul-de-sac of run-down houses andapartments. Formidable fences line the entire block. Afortress.ALONZOThis is the heart right here. Theheadquarters. A lot of murderinvestigations lead here. One wayin, no way out. Strictly heavyhitters. Damus don't play.(CONTINUED) 57.39CONTINUED:39Jake is really uncomfortable.JAKEI thought we were going to eat.A little kid runs out of the corner house. He eyesAlonzo, then hops on his bike and rides OUT OF VIEW intothe cul-de-sac. A beat. The little kid returns. WavesAlonzo into the cul-de-sac. Alonzo turns onto thedangerous dead-end, driving around a poorly-parked van.ALONZOLots of eyes on us right now.Never come up in here without me.For your safety. I'm serious.JAKEOkay. Why do you have a goldenpass?The little kid gives Jake an unsettling maddog stare.ALONZOBecause I'm square with 'em. Butthey know if the line is crossed,I'm leading the platoon in here.Two solid, early teen gangsters lean against a fence.One claps sharply. Alonzo gestures for Jake to look upthrough the windshield.JAKE'S POVA dozen pigeons dive from the sky, right at the G-ride.BACK TO SCENEJake reacts. The gangster claps his hands again and thepigeons pull out of their dive and arc back into the sky.The gangster smiles at Alonzo.JAKEWhat the hell was that?ALONZOThey're flipping pigeons to letfolks know I'm here.Jake looking at Alonzo, lost. Alonzo grins.At the far end of a driveway, more gangsters work out anddrink. One of them is benching over 300 pounds.(CONTINUED) 58.39CONTINUED: (2)39Alonzo parks at the end of the cul-de-sac. Jake andAlonzo get out. Cross to a gate where two more GANGSTERSkick it. They look at Jake.GANGSTER'Sup, Lonz. Thanks for helpingmy cousin.ALONZOI got your back, dog.(re: Jake)He's my people.Alonzo pushes open the gate. The gangsters regard himcoldly as he passes.NEW ANGLEBehind Alonzo's back, the gangsters' disposition becomesdisdain.GANGSTERSick'a that pig actin' like king-shit.40",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. APARTMENT COURTYARD - DAY40Kids play in the bare dirt yard. A huge pit bull is chainedto a tree.JAKE(re: the gangsters)And those guys?ALONZOPunk ass fools. I got all thesebusters under my thumb.An old woman sweeps her doorstep and glares at Jake.ALONZOBuenas tardes, Dona Lucila.The old woman smiles, nods. Jake and Alonzo cross tosome stairs, climb the steps. A 15-year-old girl exitswith a laundry basket. Alonzo leers.ALONZOGonna throw her dad in jail.Raise her up myself. Like veal.Jake reacts, unsure if Alonzo is joking. 59.41",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SARA'S APARTMENT - DAY41Alonzo knocks on a door.JAKEWhat's here?ALONZOA loving touch.WOMAN (O.S.)Quien...?ALONZOPolicia, senorita.The door opens, there stands SARA, a ravishing Salvadoranin a housedress. She hugs Alonzo, plants a big kiss onhim.(CONTINUED) 60.41CONTINUED:41SARAHi, papi.She notices Jake and backs off.ALONZOHe's just my new guy.She holds out her hand. They shake.SARAHi. How are you?JAKEGood, thank you.SARACome in, come in. Welcome to myhouse.Alonzo enters, Jake follows.CUT TO:42",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SARA'S APARTMENT - LIVING ROOM - DAY42The living room is filled with Salvadoran kitsch. It'sbright, airy, a refuge. A 2-year-old boy on the couchwatches cartoons. Alonzo motions for Jake to sit.ALONZOYou had a rough morning. Relaxand let her hook you up.He disappears into the bedroom. Sara hands Jake theremote.SARAHere. Take this. I have cable.You watch what you want. This isyour house. Don't be shy.She crosses to the kitchen. Sounds of POTS, DISHES.Jake is about to change the channel. The kid gives him alook. He puts away the remote.Sara returns with a massive tray of food, chicken stew,beans, rice, salad, tortillas, the works. She sets themouth-watering spread before Jake.SARAThis is El Salvador food. I hopeyou like it.(CONTINUED) 61.42CONTINUED:42JAKEThank you. This is great. I'mstarving.She hangs a beat, embarrassed.SARAI'm sorry. I have to...Jake knows. She runs off.CUT TO:43",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SARA'S APARTMENT - LIVING ROOM - DAY (LATER)43Jake dozes, his plate wiped clean, an arm around thelittle kid, still watching cartoons. Alonzo enters,invigorated, he kicks Jake's foot.ALONZOLet's go. We're rollin'. Gottameeting in fifteen.Jake stirs, stretches. Stands. Alonzo shows him thedoor.ALONZOGo to the car.JAKEI'd like to thank her for thefood. It was great.ALONZOI'll tell her, don't worry.Jake tussles the kid's hair.JAKESee you later, little man.Jake exits. Alonzo picks up his son. Hugs him tight.ALONZO(subtitled)Hey. Como esta, mijo? Te portasbien? Esta creciendo, papasito.(How are you, son? You're gettingbig.)Sara watches from the bedroom doorway. Seeing Alonzolike this rips her apart.CUT TO: 62.44",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. G-RIDE (6TH STREET) - MOVING - DAY44Heading east on 6th Street. The buildings of downtownloom ahead. The noon sun high and bright.JAKEWhat about your queen?ALONZOSara's my princess.JAKEI like her. She's a really coollady.ALONZOSo are her two sisters. They lookdamn good and they party. How'dyou like to be in the middle of abitch sandwich? Come to Vegaswith us.JAKENo, thanks. I get mine at home.ALONZOYou're missing out. I shouldknow.JAKEHer kid looks just like you. He'snumber five?ALONZONumber six.JAKESix kids. That's all? Or youholding royal court in a few morehouses?ALONZOI'm only aware of six.JAKEIt's easy to make a baby --ALONZO-- and hard to take care of one.Fuck you, okay? No one's goinghungry. Everyone gets plenty ofwhat they need: toys, shoes,clothes.JAKELove?(CONTINUED) 63.44CONTINUED:44Alonzo shoots a look at Jake.ALONZOLet's not talk about my family.CUT TO:45",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. G-RIDE/PACIFIC DINING CAR - DAY45The G-Ride pulls up to the downtown L.A. landmark.Alonzo's CELL RINGS.ALONZOGet out.Jake does. Alonzo talks on his cell a heated beat.Jake overhears:ALONZOYou'll get the damn money.Alonzo hangs up, exits the car uncharacteristically shaken.He and Jake cross to the entrance. Alonzo slips an oldman polishing shoes a twenty. Alonzo, the raid jackettucked underarm, hands Jake some eyedrops.ALONZOUse it.Jake does. Alonzo opens the door.JAKEWho's here?ALONZODon't speak unless spoken to.CUT TO:46",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PACIFIC DINING CAR - BACK ROOM - DAY46Leather booths and big, padded chairs. It's empty. Savefor a corner table. Three scary 40ish bruisers inimmaculate suits, DOUG, STAN, and LOU, share a top-notchcabernet.Doug and Stan see Alonzo, react like they've seen aghost. Lou turns, sees Alonzo. And quickly stands.It's tense. Like there could be a gunfight. Jake'shand creeps to his gun. Alonzo and Lou converge,trading serious questions and answers with their eyes.Jake watches Stan and Doug. They watch him. Alonzo andLou grab hands grimly.(CONTINUED) 64.46CONTINUED:46LOU(softly)I don't know why I'm meeting you.I don't talk to dead men.ALONZO(smiles, winks)Ain't dead yet, you prick.They shake vigorously, smile big. Everyone relaxes.LOUWho the hell is Ricky Rookie?Alonzo grabs Jake's shoulder, pulls him into the huddle.Jake notes none wear shoes.ALONZOThis is Jake Hoyt, first day in mysquad.Jake shakes Lou's hand. Sees an LAPD Captain's badge onhis belt. Jake realizes these guys are policeadministrators.ALONZOJake, this is Lou Jacobs. Youever have to talk to a fed,talk to this man first. He'llget your back.JAKEPleased to meet you, sir.ALONZOThis is Stan Gursky, runs theD.A.'s shooting team. Thinkabout him before you pull atrigger, okay? Stan will rockyour world if you make a bad call.JAKE(shaking with Stan)Pleased to meet you, sir.ALONZOAnd this is Doug Rosselli, doeshigh-dollar theft cases for thepoodle crowd. Your Picasso takesa trip, Doug'll find it or dietrying.Doug stares at Jake like he's a bug as they shake. Jakewithers a little.(CONTINUED) 65.46CONTINUED: (1A)46JAKEPleased to meet you, sir.Lou takes Alonzo's arm.LOUHave a seat, guy.(CONTINUED) 66.46CONTINUED: (2)46Alonzo slides into a leather chair at their table.ALONZOShoo, boy. Shoo.He points out the corner table for Jake. Jake crosses,sits, his back to their table.LOUSeems like a good kid.ALONZOWhy the long face, Doug? Fedsseize your house or something?Chuckles from Lou and Stan.DOUGSpent twelve months trying tocatch this serial burglar. Areal slickster, gave up nothing.Captain rode my ass the entiretime. What broke it? Luck.Caught in the act by a patrolman.We had him. Prosecutor's firstmajor case but he slam-dunked it.From a stepladder. Jury deliberateshalf a day. Comes back guilty onten out of eleven counts. Theshitbag was looking at atwenty-five minimum.STANMinimum. Bye-bye, toilet-licker.DOUGSentencing was today --LOU-- Judge is female.DOUGRight. Landers.ALONZOI know her. Sharp lady.DOUGBefore this guy goes to thehearing, he gets a hold of somepeanut butter and packs his asscrack with it.(MORE)(CONTINUED) 67.46CONTINUED: (3)46DOUGBefore the arraignment hearingtoday, the guy gets a hold ofsome peanut butter and packs hisass crack with it. He's standingtall before the bench to give hisstatement, shoves his hand downhis pants and comes out with agob of fuckin' extra-chunky Jiff.Coulda heard a pin drop. Bailiffswouldn't come near him. He looksthe judge right in her eyes andlicks his fingers clean. Holyshit. The judge, she screams.All these homeowners are thereto read statements, they run outscreaming.Alonzo is breaking up. Stan and Lou too.ON JAKElaughing too.DOUGNo wait, here's the punchline.Judge orders him to psychiatric.STANFucker'll do six months in thepuzzle factory before they sayhe's normal and kick him loose.DOUGWon't do a day in prison.ALONZOIf the asshole's clever enough toplay the system like that, I sayhe earned his freedom.DOUGI see him on the street, I'm gonnafuckin' do him.ALONZOTake his bullets, Stan.Laughs.(CONTINUED) 68.46CONTINUED: (4)46ALONZOHey, listen, been showing my newguy around town. Scored somereefer for him to smoke. But hewouldn't. So I run through thewhole bit, the gun to the head.Everything. 'Okay,' he says. Ilight up and it stinks like burntrubber, right? Nevertheless, Ipass it to him.The detectives grin knowingly.STANYou're an asshole.DOUGKid's gotta learn.ALONZOWe're in MacArthur Park and hestarts screaming and jumps outof my car.The detectives are hooked. So is...JAKEListening, sipping water.ALONZOSo I chase him down this alleyand, holy shit, he's jamming twohuge crackheads and there's thismamacita with a bloody nose. Kidstopped a rape.STANNo shit.LOUKid's got a magic eye.ALONZOThat's what I told him. Kid's aprince.Jake beams with beer-buzzed pride.(CONTINUED) 69.46CONTINUED: (5)46ON DETECTIVESALONZOHis first day on the squad andknow what he tells me?(pathetic voice)'You're a rogue cop.'Roars of laughter from the Detectives.ON JAKEHe turns, sees it's a serious pow-wow. Overhears:STANHeard you had an expensive weekendin Vegas. How'd you screw up sobad?ALONZOHow could I know? Vegas ain't mytown. I'm not omniscient.LOUYou should hop a jet outta here.ALONZOWhy? It's an easy fix.LOUHow?ALONZOI can cash out an account.STANWhose?ALONZOOne of mine. My first.The three suits shudder, trade looks.LOUYou're messed up.(CONTINUED) 70.46CONTINUED: (6)46ALONZOHe's a security risk. Who's gonnakeep him off the radar if I'mgone. You? I'm taxing him.A beat. Stan acquiesces.STANIt's your call. Do not dick thisup. I do not want you on thefront page with the rest ofthose assholes.Alonzo smiles. And the men speak in hushed tones. Jaketurns to look.JAKE'S POVLou, Doug, Stan and Alonzo stare back at him.BACK TO SCENEJake snaps his eyes to his plate. The men murmur. TheWaiter arrives with Jake's steak.WAITERYou should know when not tolisten.Jake reacts. The Waiter quickly exits. Jake looks athis steak. Pushes away the plate.CUT TO: 71.47",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PACIFIC DINING CAR - DAY47Alonzo and Jake exit. It's obvious something big isgoing down. Alonzo is excited, happy, the raid jacketunderarm. He crosses to the valet.ALONZOGimme the keys for the grey one.Alonzo receives a key ring. Alonzo crosses to one ofthree plush unmarked police sedans in the lot. Jakewatches him open the trunk and empty his jacket inside.Alonzo returns the keys to the valet.CUT TO:48",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. G-RIDE (6TH STREET INTO DOWNTOWN) - MOVING - DAY48Alonzo drives away. Dials his cell phone.ALONZOIt's me. We gotta green light.Fax the warrant to the clerk andtell her to get the judge to signit. I want you and Paul to bringit to location one. Have Jeff getsome picks and shovels. Sign 'emout from maintenance. Copy that?(beat)Good. Hurry up.He hangs up.JAKEHow much was in your jacket?ALONZOForty G's.JAKEWhat for?ALONZOYou wanna know?JAKEI wanna know.ALONZONothing's free in this world. Noteven an arrest warrant.Jake didn't want to know.(CONTINUED) 72.48CONTINUED:48JAKEWho's it for?ALONZOA real bag of shit. A genuine badguy. Been investigating this vilebastard for ten years. He's a bigfish in a big pond. Today I fryhim. The squad's gonna get someglory. Talkin' name-making shit.We'll be getting handshakes fromthe Chief and Mayor. Wanna piece,new guy?A beat. Jake smiles. Sounds good.JAKEHell, yeah. I wanna piece.ALONZOKnew you would.CUT TO:49",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PARKING GARAGE - DAY49Near downtown. An unmarked police sedan waits. TheG-Ride parks next to it. Alonzo and Jake exit.Out of the sedan steps MARK, a Chicano clothes horse inItalian silk. And PAUL, a steely-eyed, heavyset blackguy. JEFF and TIM exit, clean-cut white guys, Jeff hasa mullet. Tim is generic but tough-looking.JEFFNice suit, Mark.TIMBeautiful suit.Now Alonzo and Jake get out. Six cops huddled in analley. Jake fits right in with the motley bunch.Mark hands Alonzo the warrant.ALONZOThanks.(to Jeff and Tim)My picks and shovels?JEFFIn the trunk.(CONTINUED) 73.49CONTINUED:49MARKGonna dig a ditch?ALONZOYou are. Great suit.MARKShut up.ALONZO(shakes with Paul)Howdy, killer.PAULAlonzo, what the hell's going on?I've been hearing things. Yougood?ALONZODon't worry. I talked to thethree wise men. It's all good.His men trade looks, they have total trust in him. Jakeis a little nervous.PAULYou say we get away with it, let'shit this fool -- Who's this?JAKEJake Hoyt. First day in the unit.I'm coming from Valley patrol.He holds out his hand. Paul scoffs.PAULYou're a long way from Starbucks.(to Alonzo)Why's he in on this shit?ALONZOGotta pop his cherry sometime.PAUL(to Jake; peeved)Stay the hell outta my way, littlepuppy. This is big dog work.Alonzo notes Jake's unease, shows him the warrant.(CONTINUED) 74.49CONTINUED: (2)49ALONZOIt's the real deal. Signed by thejudge. Thank the Sandman.(addresses everyone)Our safety comes first. He givesus shit, we give him lead. Let'sdo this right so everyone can gohome and do the wife and girlfriend thing tonight.(checks his watch)Suit up, ladies. Time to punchin.CUT TO:50",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ROGER'S HOUSE (ALLEY) - FENCE - DAY50Five cops crouch outside a gate with shotguns, MP-5s.Assault vests and helmets worn over civvies. Jake andJeff to one side. Paul, Mark and Tim to the other.Alonzo crosses to the gate with boltcutters and snaps thepadlock. The five cops open the gate and run to --51",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. ROGER'S HOUSE - BACK YARD - DAY51The back door of the little house. Paul and Mark kick itopen. Wood splinters. The five cops rush inside.52,FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROGER'S HOUSE - DAY52The cops run through the kitchen into a familiar livingroom. A familiar one -- This is Roger's house. Jake issurprised, confused.Roger reads on the couch, the morning paper. He'snonplussed to find himself surrounded by police, weapons.MARKFreeze up! You need to not move,breathe, think or blink.ROGERWhat are you clowns doing here?PAULShut up! -- New guy! His handsmove, blast him.Jake aiming his shotgun at Roger's head.(CONTINUED) 75.52CONTINUED:52JAKEI'm on him.Roger, holding his newspaper, recognizes Jake.ROGERYou know what you're doing, son?Jake nods: yes. The truth is; he doesn't.PAULDrop what's in your hands. Beforezero. Five. Four. Three. Two.CLUNK-CLUNK! Two tiny derringers hit the coffee table.Roger had been palming them. Paul sweeps them aside withhis foot. The cops relax a little. Roger folds hispaper. Sets it down, takes off his reading glasses. Aprincipal besieged by truants.ROGERAlonzo's gonna kill you guys.Alonzo enters the shattered door. Holding picks,shovels. He drops the tools. They crash to the floor.Roger crosses his arms and glares at his friend.ROGERWhat's going down, Alonzo?ALONZOI had lunch with the three wisemen. You gotta render untoCaesar.Roger sees the tools and knows exactly what they are for.ROGERThose goddamn vampires want mypension.ALONZONo, man, it's not like that.You're just getting taxed. Theygot their boat payments and Godknows what. I'm sorry. They'remakin' me do it. I'm just a lowlycivil servant.ROGERBullshit. You're their bitch.What happens with me?(CONTINUED) 76.52CONTINUED: (2)52ALONZODon't worry, bro. I promisedyou'd never go back to prison. Igot your back. You won't evenmiss what I'm gonna take. I hatedoing this. Orders is orders.Sorry, dog.ROGERNo, you ain't. Cop.ALONZO(to Tim and Jeff)You guys are gonna work. Get thetools.(grabs Jake's shotgun)Gimme the boomer.Tim and Jeff gather the tools. Alonzo hands Jake a pickand leads the three men to the kitchen. Roger pours aslug of Crown Royal as Paul and Mark guard him.ROGERWho's paying for my floor?ALONZOThe city.53",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROGER'S HOUSE - KITCHEN - DAY53Alonzo flips the table. Taps the floor with his toe.ALONZOOpen the floor. Right here.Jake, Tim and Jeff begin chopping. It's quick work totear a large hole in the wood.ALONZOHop in, Hoyt. Couple a feet down,there's a locker.Jake jumps in. Attacking dirt with his pick.CUT TO:54",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROGER'S HOUSE - KITCHEN - DAY (10 MINUTES LATER)54Jake, Tim and Jeff haul a trash-bag-wrapped footlockerout of the hole.(CONTINUED) 77.54CONTINUED:54JAKEWhat's in it?ALONZOOpen it.Jake tears away trash bags. Alonzo takes a pick andsnaps the lock. Jake opens the lid -- taped bundlesinside.JAKEIt's coke?Alonzo hands him a penknife.ALONZOCut the damn thing open.Jake does -- it is a brick of fifty dollar bills. Alonzois relieved to see the money. Jake likes its heft.JAKEThis is sweet.ALONZOThat's a hundred grand in your hotlittle hands. There's fourmillion bucks in there.Alonzo slaps Jake's back.ALONZOFirst day on the job and you're inon a three million dollar seizure.JAKEYou said four.ALONZOTold you, nothing's for free.Gotta grease the rails to make thebig moves.Alonzo grabs a shopping bag. Tosses bricks of fiftiesin it. Hands it to Jake.ALONZOHere. Lucky to get this, day-one-motherfucker.JAKEWhat's this?(CONTINUED) 78.54CONTINUED: (2)54ALONZOSweet green clean legal tender.Start the kid's college fundearly. Get the old lady aminivan.However pleasant the heft, Jake could never accept. Hereturns the shopping bag to Alonzo.JAKENo way. Only checks I cash sayCity of L.A. on 'em.JEFFSomeone didn't sleep throughEthics.ALONZOYou said you wanted a piece.JAKENot like this.ALONZOI understand. I'll hold on to itfor you. Not everyone'scomfortable the first time --Let's wrap up.Alonzo drops the bag in the locker. Exits. Jake,Tim and Jeff follow.CUT TO:55",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ROGER'S HOUSE - LIVING ROOM - DAY55Roger reads a Vegas odds paper. Alonzo, Tim, Jeff andJake enter. Roger glares at Alonzo.ROGERWhat have I done to those guys?Are they nuts? Am I supposed tostand still and let them horsefuckme?ALONZONo. We can put you out of yourmisery.Alonzo tosses Jake the shotgun.(CONTINUED) 79.55CONTINUED:55ALONZOLemme tell you a secret, Hoyt. Ifyou kill someone on duty, theyhave to be your slave in theafterlife.(points to Roger)There you go. Start an entourage.JAKEYou want me to shoot him?Paul, Mark, Tim and Jeff snicker, crack smiles. Rogertoo. Jake plays along, points the shotgun at Roger.ROGERYou'd be doin' me a favor, kid.JAKEBang -- There.He lowers the weapon.ALONZONot gonna do it?JAKEOf course not. This isn't funny.Alonzo smiles. Takes the shotgun from him.ALONZOMan, youngsters these days. Can'tget shit done unless you do ityourself.Alonzo aims at Roger. Roger suddenly understands.ROGERThis is all you...BOOM! Roger is punched ragged with BUCKSHOT, lifted offhis couch, knocked into the wall.Jake jumps back. A peal of laughter from Tim.Contagious giggles from the others. Roger gurgles. Jakestares wide-eyed at Alonzo.JAKEHoly shit!Jake's shock elicits more giggles from the squad.PAULFinish him.(CONTINUED) 80.55CONTINUED: (2)55Jake watches Alonzo cross to Roger, blindly gasping.ALONZOHe's finished.Alonzo takes one of Roger's derringers from the floor.Slaps it in the dying man's hand.ALONZOC'mere, Jeff. You took firecoming through the door.Jeff smiles, gets in position so Alonzo can shoot him.JEFFAlright. Gonna get some time off.He braces himself. Alonzo aims Roger's hand. Pop! ABULLET THWACKS harmlessly into Jeff's VEST. He removeshis sunglasses from a pocket.JEFFWatch my shades.Jake looking at Roger, it's hard to watch a man die.Again Jeff braces. Pop! The THWACK of another BULLET.ALONZOHow's that?Jeff probing his hand under the vest.JEFFFine.Alonzo drops the gun in an envelope marked: EVIDENCEHANDGUN. Jake can't believe what he just saw.ALONZOListen up. This is the scenario.Mark and Paul kick the door. Jeffis first through. Roger opensfire. Hits Jeff twice.Jeff coughs -- bright foamy blood in his hand.JEFFOh, shit.ALONZOOne go through?Jeff answers by coughing more blood. Tim runs to him.(CONTINUED) 81.55CONTINUED: (3)55TIMSiddown, dude.Jeff does. Tim opens the vest -- a hole in a seam on theedge. Underneath, bruised puckered flesh drools blood.TIMYou shot him!JEFFYou shot me!TIMCall a rescue.ALONZOYou're fine. You'll get a medal.JEFFCall the R.A.!ALONZOLet me quarterback the goings onand I will. Okay -- Mark and Paulkick the door. First through isJeff. Bang. Bang. Gets hit.Wounded. Second through is ournew guy, Hoyt. He drops thesuspect with some fine shotgunwork.(points at Mark)Who shot Roger?MARKThe new guy. Came in spraying.ALONZOPaul?PAULThe boot shot him.ALONZOWhat'd you guys see?TIMHoyt blasted him.JEFFHoyt went for it -- Now will youget me a damn rescue ambulance?(CONTINUED) 82.55CONTINUED: (4)55Jake looks at these guys. They look back, smiling,smirking. He feels dizzy, sick as the nightmare sinksin.Jeff coughs blood. Alonzo tosses his rover to Paul.PAUL(into rover)Eleven forty-nine. Nine-nine-eight. Shots fired. Shots fired.Officer down. Fifty-nine fifty-one Baxter Street.ALONZO(slaps Jake's back)Good job, son. Congratulations.Gonna get a medal of valor.JAKE... I didn't shoot him...ALONZORoomful of cops says you did.JAKEI don't care. I didn't shoot him.You did.Alonzo pulls his gun. Aims at Jake's face.ALONZO(as a newscaster)A Los Angeles Police Departmentnarcotics officer was killedserving a high risk warrant inEcho Park today. An L.A.P.D.spokesperson said the youngofficer was survived by his wifeand infant child.(himself)Shit gets deeper. Get thepicture?JAKEI got the picture.Jake strikes -- twists back Alonzo's gun sharply --sweeps away his legs with a kick. Alonzo findshimself on his back, Jake's knee on his neck,staring down the maw of his own pistol.(CONTINUED) 83.55CONTINUED: (5)55JAKEThat's the second time you'vestuck a gun in my face. Won't bea third.ALONZOThat's what I'm talking about.You guys watching this? That'sit, Jake.Paul presses his Beretta against Jake's temple.PAULBe my pleasure putting ahydrashock in your melon.Tim, Jeff, Mark gawk at the Mexican standoff.PAULBut I'm gonna be cool. Open yourhand slowly. Drop the weapon.Jake's free hand inches to his holstered gun --JAKE(super-calm)Hey, sorry, man. Relax, okay?-- and snatches it -- He swings on Tim -- who swings his.45 on Jake. A three-way standoff.JAKEWanna shoot me, Paul? Go ahead.Because these two are gonna bewiping my ass in the netherworld.A beat. Then:TIMAlonzo. This is bad.PAULThis dude's a fed.ALONZOHe's no fed. Just a choirboy withheart who got the drop on youfools. Everyone, let's take adeep breath and defuse this --Jake? You hear me?JAKEYou can't just spring this shit onme. I never signed up for this.(CONTINUED) 84.55CONTINUED: (6)55ALONZOI hear you. I know you'reangry/nobreakspace-- Paul, Tim, please putdown your guns.TIMHell no.PAULChoirboy first.SIRENS APPROACH. Lots of them.ALONZOBoth of you: guns down. Now.Paul and Tim reluctantly lower their weapons. Jake liftshis knee off Alonzo's neck, stands and backs away, aimingboth pistols at Alonzo, who climbs to his feet.ALONZOJake, use your ears and listen.Sometimes we take shit all theway. That's the nature of thegame. We don't do this every day.No one will ever again ask you topull a trigger you don't wantto/nobreakspace-- Mark, where're youtransferring to?MARKWestside Homicide.ALONZOWestside Homicide -- Just madedetective. Jake, give meeighteen months and I'll giveyou a career. We make the bigarrests. We make the bigseizures. When someone's in myunit they're in all the way or notat all. I thought you were manenough to handle this shit.Alonzo calmly pours himself a glass of Roger's whisky.ALONZOFive proven, decorated officerssay you were the shooter.Investigators are gonna pull atube of your blood and test forintoxicants. Remember all theP.C.P. you smoked today?(CONTINUED) 85.55CONTINUED: (7)55Jake does, wincing at his stupidity.JAKEYou've been planning this all day.ALONZOI've been planning this all week.You start talking crazy shit, Iwill make sure your dirty bloodmakes it to the lab. Still wannawalk your babynuts around theblock? You won't make it to thecorner. But if you're cool.You're a hero. A virgin shooterabove suspicion.Jake looks at Roger, gasping like a beached carp. TheSIRENS are getting CLOSER.Alonzo gulps his drink and/nobreakspace-- Pfffffst! Spits the boozein Jake's face. Jake is blinded. Paul seizes Jake'swrists and aims the pistols at the ceiling. Alonzowrenches the pistols from his hands. Jake wipes hiseyes, looks at the roomful of crazy cops, scared. Paulpoints at Roger's other derringer, laying on the carpet.PAULAlonzo, there's two shots in thatstinger. Let's kill your boyright now and say Roger dumped himcoming through the door.Mark, Tim, Jeff like the idea. Jake doesn't. And luckyfor him, neither does Alonzo, who stands protectively infront of Jake.ALONZONo. We're not killing him. He'sa good guy. Man's got the magic.Just having a little freakout isall. We've all been there. I sayhe's cool. No one's gonna hurthim.Jake and Alonzo trade a look. The SIRENS are close.ALONZOHoyt, you gotta decision to make.In ten seconds, this place will beoverrun with blue suits. Gooutside and clear your head.(returns Jake's gun)Or shoot me now.(CONTINUED) 86.55CONTINUED: (8)55Jake is only too happy to get out of there. Jake crossesto exit, pauses, an afterthought:JAKEHey, Paul.Crack! Jake nails his jaw. Paul staggers, almost falls.To Jake as he exits:PAULYou're dead! I'm takin' you out.I don't care.ALONZOKick back, Wyatt Earp. Gottarespect a cat who puts you onqueer street with one punch.(catches his men trading looks)Kid's got more balls than all youfaggots combined.CUT TO:56",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. ROGER'S HOUSE - LONG SHOT - DAY56from a distant hilltop. The ambulances and black andwhites out front shimmer in golden afternoon heat. Twodistance-distorted LAPD paramedics wheel out Roger on astretcher.ZOOM IN.Amidst the heat mirages, Alonzo talks to a uniformedsergeant. Two more paramedics wheel Jeff outside on astretcher. Mark, Tim and Paul following. Roger islifted into an ambulance. Alonzo dismisses Jeff'sparamedics and huddles with his men.CUT TO:57",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. ROGER'S HOUSE - ALLEY - DAY57Alonzo crosses to the G-ride with an armload of gear.Pops the trunk. Dumps everything inside. He shuts thetrunk. Dials his cell phone and gets in the car.(CONTINUED) 87.57CONTINUED:57ANGLE ON JAKEleaning against a phone pole. Watching as Alonzo pulls aclipboard from under his seat and puts on readingglasses. Alonzo begins writing a major incident reportas he talks on his cell. A beat. Alonzo STARTS theG-RIDE. Motions for Jake to get in.58,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. G-RIDE (ROGER'S HOUSE - ALLEY) - DAY58Jake gets in, on the verge of freaking out. Alonzo withhis reading glasses, the clipboard on his steering wheel,filling in the report, talking on his cell phone,laughing.ALONZO-- you're gonna be scrubbing thebathtub, homie. Later.Alonzo hangs up. Preoccupied with filling in littleboxes on the report.ALONZOWhy didn't you take off?JAKEThere's nowhere to run.ALONZORoger was D.O.A. at GoodSamaritan. Let's get the paperrolling now.Alonzo looks at Jake, sees his torment.ALONZOJustifiable homicide in the lineof duty. Anyone'd be proud tohave that in their jacket.JAKENot this way. Say I don't playalong?ALONZOAt this point it behooves you notto dick around.Jake has a lump in his throat. A beat of silence.ALONZOWhat happened today was --(CONTINUED) 88.58CONTINUED:58JAKE-- was murder and armed robbery.Wait. We had badges. It'sdifferent.ALONZODammit, boy! Why can't you openyour eyes and see?Jake can see. Too clearly. Softly:JAKEThat man was your friend and youkilled him like a fly.ALONZO(laughs)Friend? Because I drank hiswhisky and he knew my name? Shit.I was playing his ass. That's myjob. That's your job. Roger solddope to kids. World's better offwithout him. He's the biggest majorviolator in L.A. I've been watchingthe cocksucker operate with impunityfor ten years. Now I got him.This shit's chess not checkers.Can't just slap cuffs on a catlike that.That's the truth. And Jake knows it.ALONZOLook, keep the money.JAKETold you, I don't want it.ALONZOJust take it. Throw it in theocean. Barbecue it. Just takeit. It would make the boys feelbetter.JAKEFuck their feelings.ALONZOYou're not making anyone feelyou're on the team.(CONTINUED) 89.58CONTINUED: (2)58JAKEThe team? You guys are insane.I'll go back to Valley and cutparking tickets.Jake stares out the window a beat, clenching his jaw.He looks at dozens of birds sitting on the powerlines, backlit by the setting sun.Jake finally looks at Alonzo, stares into Alonzo's scary,empty eyes. Amazed to be utterly trapped by them. Wecan almost hear Jake's heart breaking.JAKEIt can't be like this.A beat.ALONZOIt is like this. I'm really sorryI exposed you to all that. It wasugly but it was necessary. Neverseen no one die before? Too damnsoft. Bet you never missed a mealin your life.JAKE(glares at Alonzo)Missed a lot meals growing up.Why?(pantomimes shooting up)Because the folks had to do theirshit.OFF Alonzo's amazed look:JAKEThat's right. I'm in the copbusiness to lock up the criminals,the poisoners. Not to be one.Alonzo sizes up Jake anew, laments not knowing thatearlier. He tries a different tack.ALONZOAll the shit you're feeling now,it's going to go away. I knowyou're scared.JAKEI'm not scared.(CONTINUED) 90.58CONTINUED: (3)58ALONZOYou're terrified. I know you are.I went through the same shit.Everyone has. Sooner the world inyour head matches the real world,the better you're gonna feel.(a beat)Jake, there's gotta be dirt on youif anyone's gonna trust you.After this is behind you, a wholenew life will open up. I walk ahigher path. I can give you thekeys to all doors.JAKEWhat are you talking about?ALONZOI'm not the asskicker I once was,but you are. Want to run my unit?My guys are good but not one ofthose clowns is a leader. Youare. Want my job? You got it.Wanna lock up criminals? This isthe best place to do it. Do yourtime and make detective. Play thegame, grow wise and change thingsfrom the inside.Jake looks at him. And realizes Alonzo is right. AlonzoSTARTS the CAR, exits the alley.ALONZOLet's get to the hospital and talkto Stan. He'll tell you what tosay to the D.A.'s guys.CUT TO:59",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. CESAR CHAVEZ BLVD. - SUNSET59The G-ride crosses the river into East L.A. GeneralHospital looms ahead.60,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. BOYLE HEIGHTS - SUNSET60The tough old barrio is before the huge hospital. Cholosdrink on the sidewalk. Play grab-ass and listen toMUSIC.CUT TO: 91.61,SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. G-RIDE (SMILEY'S NEIGHBORHOOD) - MOVING - SUNSET61Alonzo parks near the gangsters.JAKEWhat's here?ALONZOInformant of mine's in Chino.Promised I'd help out his family.Alonzo points out a well-tended, quiet, quaint house nearthe cholos. Alonzo gets out. Opens the trunk. Loads uphis arms with appliances.ALONZOSometimes I bring food. Believeit or not, I like to help out thecommunity whenever I can.(a box falls)Shit. Hoyt, help me with this.CUT TO:62",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SMILEY'S STREET - SUNSET62Jake gets out, takes some boxes. And they cross to thehouse. With Jake following. Past staring cholos.ALONZO(re: Jake)He's with me.A drunk PeeWee maddogs Jake. Jake maddogs back.PEEWEEYou know where you're at, fool?A VETERANO shoves the PeeWee aside.VETERANOOutta the way, punk. It'sbusiness.He shakes with Alonzo.VETERANO'Sup, dog. Thought you weremissing in action.ALONZO'Sup, man. You know I'm neverlost. 92.63",FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SMILEY'S HOUSE - SUNSET63Jake and Alonzo cross to the house. AD LIBS of ""Those'recops,"" spread through the cholos. At the house's door,Alonzo knocks. A beat. A little girl cracks it.ALONZOHi. Got some stuff for yourfamily.She closes it. A beat. The door opens to reveal SMILEY,a huge, drunk veterano sleeved with prison tattoos. Helooks at the two cops. Massive, impassive. Smiley neversmiles.SMILEYKitchen's this way.Alonzo enters. Jake hesitates. Then follows.CUT TO:64",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SMILEY'S HOUSE - LIVING ROOM - SUNSET64The little girl does homework on a computer. Two finecholas watch the Spanish newscast. An old man dozes in achair. Family photos on the wall -- A proud line ofwarfighters, lots of military uniforms. Alonzo and Jakefollow Smiley into:65",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SMILEY'S HOUSE - KITCHEN - SUNSET65SNIPER and MORENO, big and intimidating like Smiley, havebeen playing poker around a beer-bottle-covered table.Smiley, Alonzo and Jake enter.SMILEYPut it on the counter.Alonzo and Jake place the boxes on the counter. Sniper,Moreno, ignore Alonzo. And vice versa.ALONZOCan I use the head?SMILEYGo for it.ALONZO(to Jake)I'll be two seconds. We'realready late.(CONTINUED) 93.65CONTINUED:65Alonzo exits to a hallway. Smiley opens a box. Pullsout a nice CD player.MORENOThat's nice. Lemme get that.SMILEYYou get the blender. This ismine.Smiley opens a microwave box. Jake reacts.JAKE'S POVThe box contains the bag of cash Jake refused.BACK TO SCENESMILEYDreamer! Got your bony ass inhere!DREAMER, 19, an attractive young lady, enters. Smileyhands her the bag of Jake's money.SMILEYCount that shit in the bedroom.DREAMERThanks, eh. I was doing stuff.You learn to count, math whiz.She gives him a dirty look and exits. Smiley takes hisseat and picks up his cards. He eyes Moreno.SNIPERYou looked at 'em.MORENONo I didn't.Smiley tosses them to Sniper.SMILEYDeal again.SNIPERPlay cards, cop?JAKENot really.(CONTINUED) 94.65CONTINUED: (2)65MORENOBeer?Moreno offers one. Sniper deals in Jake.JAKENo thanks.SNIPERC'mon and play a hand.MORENODon't be rude, dude. One hand.SMILEYDon't sweat it. We ain't playin'for money.JAKEWe gotta go.SMILEYAlonzo's taking a dump. Go aheadand have a seat.Sniper finishes dealing. Jake looks at the cardsintended for him.JAKEOkay. One hand.Jake sits. Now he can see a shotgun against the wall byMoreno. The three cholos check their hands, signal formore cards. Jake checks his cards.MORENOHow long you been a cop?JAKENineteen months.MORENOLike it?JAKEI shoulda been a fireman.SNIPERWaddaya got, dog?JAKEHuh?(CONTINUED) 95.65CONTINUED: (3)65SNIPERYour hand, homes.Oh -- Jake lays down his cards.JAKEThree of a kind.SMILEYMan... didn't get squat.He tosses away his hand, Moreno, too. Sniper shows hiscards with a grin.SNIPERTwo pair.Sniper collects the cards. Shuffles.SMILEYWhat are you doing? The cop won.SNIPERI got two pair.SMILEYThree of a kind beats two pair,dumbass.MORENOSee why we don't play for money?Moreno shakes his head, points at Jake's waist.MORENOLemme see your cohete.SNIPERYour gun, dude. Let him see yourgun. Under your shirt.Jake is outnumbered, outsized, outgunned. All he can dois take the pistol from his holster and show Moreno.MORENOThat's down. What is it? A threeeighty?JAKEThree eighty stainless. Doubleaction. Nine round mag.(CONTINUED) 96.65CONTINUED: (4)65MORENOLemme see it. Ain't gonna blastno one.Jake hands it over. Moreno examines it with skilledhands.MORENOFuck a vato up with this.He hands it back. To Jake's relief. Jake looks down thehall. Getting up:JAKEWe have to go. I'm gonna getAlonzo.SMILEYKick back and party.Smiley pulls aside the curtain.JAKE'S POVAn empty street. The G-Ride is gone.SMILEY (O.S.)Ain't nobody out there for you.ON JAKEHe feels like a toddler lost in a department store.He sits back down. Moreno laughs.MORENOAlonzo played you like a booger.Smiley slides the deck to Jake.SMILEYYour deal.Jake shuffles. Smiley lights a jo",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int. Offers it to him.SMILEYIt's P.C.P. Wanna hit?JAKENo thanks. I already smoked outtoday.(CONTINUED) 97.65CONTINUED: (5)65SNIPERShit. I'll step on that P-dog.Sniper takes it, inhales. Jake dealing cards. The jointrounds the table.SNIPERGimme two cards.Jake does. Dreamer enters.DREAMERIt's all there.SMILEYYou sure?DREAMERYou count it if you don't believeme.SMILEYOkay. Thanks -- Gimme three.Dreamer grabs a beer and exits. Jake deals three.SMILEYAlonzo pulled off a miracle, huh?Times are tight. Scared up alotta cash.SNIPERWho'd he jack?JAKE(dealing cards)I dunno.SMILEYHe jacked Roger. Blasted thedude.Moreno guffaws. Sniper chuckles.MORENODamnnnn. Alonzo's scandalous.SNIPERThat's some cold shit. Vato'lljack anyone.MORENOAlonzo's a low-down, dirty,ruthless vato.(CONTINUED) 98.65CONTINUED: (6)65SMILEYThat's why I never shake his hand.He don't respect shit.(to Jake)Know what the money's for?JAKENo.SMILEYAlonzo's a hothead. Last weekin Vegas some Russian dude wastalking shit. Alonzo spazzed outand beat his ass to death. Oops.Turns out the dude was somebody.Alonzo's into the Rooskies formillion, wasting that cat likethat.JAKEHow do you know?Smiley gives Jake a look.SMILEYThey gave Alonzo till today topay up. But his name's alreadyon a list. No one thought hecould get cash that big. Goodthing he got his blood money,'cause a crew's waiting onstandby. He don't get downtownand pay up by midnight and nota minute after, Cinderfellaturns into a corpse.MORENOIt's all about punctuality, ese.SNIPERDude made a pact with the devil orsome shit 'cause only a miraclecoulda saved his ass.JAKEIt's no miracle.SNIPERAlonzo takes care of business.SMILEYCops get crafty in a clinch.(CONTINUED) 99.65CONTINUED: (7)65SNIPERAnd get away with it.MORENOMakes me wanna turn out a cop --Ever had your shit pushed in?JAKEWhat?MORENOI had my shit pushed in.SNIPERMe too. My shit's been pushed in.Smiley?SMILEY(grins)I'm always gettin' love from thehomies.Smiley caresses Jake's thigh under the table. He almostleaps from his chair. Everyone laughs.SMILEYJumpy motherfucker.SNIPER(disgusted)He's a buster.MORENOYou never been booty-busted?Jake tries to laugh. But it's getting weird.SMILEYHey, cop. Win this hand and wewon't bust you out.MORENOUnless you want us to.Laughs. Sniper reveals his cards.SNIPERI got two pair again.MORENO(tossing his cards)Didn't get shit.(CONTINUED) 100.65CONTINUED: (8)65SMILEY(grins)Gotta straight.SNIPERUh-oh. This jura's gonna bewearin' a dress.Everyone looks at Jake -- Well? He lays down his cards.JAKEFull house.SMILEYLucky.SNIPERYou won. Deal again.Smiley taps the deck. Jake looks at it. At them.MORENODeal, homie.Jake picks up the deck. Starts dealing. Smiley arrangeshis hand.SMILEYGimme three.MORENOFuck this buster. Let's get thisshit over with.Looks of agreement are traded. Moreno grins at hisshotgun. Sniper shifts his weight. Smileywhiteknuckling his beer.SMILEYHurry up, cop. Gimme three.Jake reaches for the deck. This happens fast: Jakeflings the deck in Sniper's face. Smack! Cards scatter.Jumps up from his chair, flips the table into Moreno.Smiley SMASHES a beer BOTTLE on Jake's head. Morenograbbing the shotgun. Crack! -- Jake socks Smiley's jaw.He goes down, amazed to find himself on his ass.Crack! -- Sniper uppercuts Jake. Smiley grabs Jake'slegs, yanks him to the deck -- kerchack!(CONTINUED) 101.65CONTINUED: (9)65JAKE'S POVThe bore of a 12 gauge and Moreno's leering face.BACK TO SCENEJake gives up, his broken scalp gushing blood.JAKE... uncle...Dreamer pops her head in.DREAMERDang! You guys fucked him up.MORENOGet outta here. Take the girlsnext door. Or you're n",FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","ext.She gives him the finger, pops out. Smiley pats Jakedown. Pockets his gun.SMILEYYou tripped, fool. You know that.He finds Jake's handcuffs -- clicks his wrists togetherbehind his back. He takes his badge, clips it on hisbelt.SMILEYLook. I'm a cop. Gonna starttaxing.Smiley commences kicking the hell out of Jake:SMILEYYou're under arrest. For being acop. For being a buster. Fordogging me in the mouth in my ownpad. And for bleeding on my cleankitchen floor. You have the rightto be kicked. And the right to beslapped.Smack! He slaps him. Everyone laughs. Smiley finishes,panting.SMILEYThere. Get him in the bathtub.Moreno grabs Jake's hair, Sniper grabs an arm, they jerkhim to his feet.(CONTINUED) 102.65CONTINUED: (10)65SMILEYGotta fuck this vato up.They run him out of the kitchen, Smiley follows.66OMITTED66&&676768",FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SMILEY'S HOUSE - BATHROOM - NIGHT68Pink carpet and porcelain kitties. They throw Jake intothe tub -- shove his face in the drain. Smiley turns onthe water -- Jake's blood whirlpooling away. Smileygrabs the shotgun from Moreno. Thumps the butt againstJake's head, flips it, shoves the muzzle in his ear.Snicks the shower curtain shut to catch the spatter.SNIPERDo it, eh.SMILEYIt's gonna be loud. Close thedoor.Moreno does. Sniper plugs his ears. Smiley braces forthe recoil. Jake is dazed, like steer in aslaughterhouse chute.MORENOWait. Lemme get his money first.Smiley nods. Moreno searches Jake's pockets, takes hiswallet. Pockets forty bucks. Finds the Schoolgirl'spink change purse. Opens it, reacts.MORENO... dang...He hands it to Smiley.MORENOHere, ese... You are gonna tripout.Smiley opens it. His face goes dead blank. He handsMoreno the shotgun. Whips aside the shower curtain.Starts slugging Jake. Emphasizes each word with a kidneypunch.(CONTINUED) 103.68CONTINUED:68SMILEYPinchi... game... playing...cop... where'd... you... get...this?JAKEGet what? Get what? Oh, God.Smiley slaps him with the change purse.SMILEYThis, stupid. Alonzo give it toyou?JAKENo! I found it!SMILEYWhere?JAKEMacArthur Park!SMILEYWhat? Bullshit!Snick! The curtain closes. Smiley takes the shotgun.Holds it to Jake's temple. Moreno angles for a peek.MORENOWait up. I can't see.SMILEYIf you're religious, go ahead andget in that last prayer.JAKE(sobs)Omigod... she was going to beraped. I was driving with Alonzo.These two crackheads were gonnarape her. I saw them hit her. Istopped them. They were gonnarape her. I swear to God. Istopped it... I gotta kid --SMILEY-- Shut up, faggot!Smiley opens the curtain -- stomps Jake's back -- closesit.SNIPERBlast the fool.(CONTINUED) 104.68CONTINUED: (2)68Smiley aims, braces for the recoil. Jake croaks:JAKE... I gotta little girl...Smiley pauses. He eases off the trigger. Pulls a cellphone. Dials.SMILEYWe're gonna get to the bottom ofyour bullshit. She's my cousin.She's a civilian. Ain't rightinvolving her.He sits on the toilet. Still holding the shotgun toJake's head, he waits for an answer.INTERCUT:69",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LETTY'S BEDROOM - NIGHT69The Schoolgirl works out Algebra II proofs on a ""HelloKitty"" bedspread in a pink T-shirt. Boy band posters.She grabs her RINGING PHONE.SCHOOLGIRLHello?SMILEYWassup, Letty. Whatcha doin'?LETTY (SCHOOLGIRL)Hey, Smiley! Just here doinghomework. Wanna talk to Tony?SMILEYNo. I wanna talk to you. Go toschool today?LETTYYep. Yep.SMILEYAll day? You didn't ditch?LETTYNope. I went to every class...Why?SMILEYI heard different.(CONTINUED) 105.69CONTINUED:69LETTYNuh-uh.SMILEYCops talk to you today?LETTYNo.SMILEYTell me what happened. Don'tbullshit me.LETTYI got jumped by two niggers.SMILEYYou got jumped?LETTYWell... I think they wanted torape me. I kinda got hit. I meanhe just slapped me. But nothinghappened, okay? 'Cause this copcame and kicked their butts. Theyalmost killed him but he kickedtheir asses.A beat.SMILEYWhat did this cop look like?LETTYHe was a white boy. He lookedyoung.Smiley looks at Jake. That's him.SMILEYSure you're okay?LETTYI'm fine. Nothing happened.SMILEYThat don't sound like nothing.Wanna go to the doctor?LETTYNo. I said I'm fine.SMILEYLetty.(CONTINUED) 106.69CONTINUED: (2)69LETTYYeah?SMILEYWhat were you doing in East Los?LETTYI was just kicking back at myfriend's pad. There weren't noguys or nothing. I swear to God.SMILEYLetty.LETTYYeah?SMILEYYou go there again, I'm gonna beatyour ass. I got your bus pass andI.D. Gonna send 'em over. Andwe're gonna talk more about this.A70",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SMILEY'S HOUSE - BATHROOM - NIGHTA70He hangs up. Looks at Jake a long beat. Soaked, bloody,shivering. Click. He safeties the shotgun. Tosses itto a disappointed Moreno.MORENOAin't you gonna blast him?SMILEYThe vato was tellin' the truth.Life's a trip, huh?SNIPERThis is some trippy-ass shit.Smiley hands the change purse to Sniper.SMILEYGet this to Letty.Smiley stands, turns off the water. He helps Jake to hisfeet. Unlocks the handcuffs as Jake sways, woozy.SMILEYThanks for getting my cousin'sback.Jake half-smiles, not really sure if he's alive or not.Smiley tosses him a towel.(CONTINUED) 107.A70CONTINUED:A70SMILEYPut that on your head. You'regonna stain the carpet. Wherethey at? Where you book 'em?JAKEI didn't.SMILEYWhy not?JAKEAlonzo let them go.Smiley scowls. Regards Jake a beat, the wheels turning,Smiley's a smart guy. He offers Jake his hand.SMILEYYou know this shit was justbusiness.JAKEI know.They shake.CUT TO:70",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SMILEY'S HOUSE - NIGHT70Smiley and Jake exit, the Cholos on the street, they watchhim with their jaded, curious eyes.SMILEYAlonzo wants your ass destroyed.Supposed to burn you up on thefreeway by your house.Jake looks at Smiley. Sucks some blood from his teeth.SMILEYYou went Sega today, rookie.You're at that next level. Justplay their games and do what yougotta do and you'll be cool.They'll make you Chief.He trades a look with Smiley and walks toward the nearbyboulevard.SMILEYSure you don't wanna ride?(CONTINUED) 108.70CONTINUED:70JAKEI'm sure.Smiley watching him go, impressed.SMILEY(beat)Hey, cop!Jake stops, turns. Smiley smiles. The first time.SMILEYRemember me.Jake looks at Smiley, grins at the absurdity.CUT TO:71",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT./,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MTA BUS - NIGHT71The driver hits the button and the door opens. Jakeclimbs aboard; the driver is looking at his battered face.Jake taps the badge on his belt. Pulls sixty bucks fromhis pocket.JAKEI need one of your shoes.The driver gives him a look, unties her shoe. Hands it toJake.JAKEGo straight to the Jungle. Stoponly when I say.Cool. Jake jerks his head -- ""Hurry up."" He picked theright driver; her sock-clad foot stomps the gas pedal.The bus lurches forward.The bus drives away under Jake's walking feet. He turnsand is scooped right into the back seat. Jake's ridden alot of busses.CUT TO:72",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT./,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MTA BUS - NIGHT72Jake pulls his gun. Gives it a quick function check. Hepulls the shoelace from the shoe. Ties the gun to hishand. Jake catches his reflection in the window,contemplates himself.(CONTINUED) 109.72CONTINUED:72JAKE'S POVA battered stranger. His reflection moving across thestreetlife in b.g.CUT TO:73",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. STREET (NEAR CUL-DE-SAC) - NIGHT73The city bus FILLS FRAME. Then pulls away to reveal Jake.JAKE'S POVDown the block is the cul-de-sac. No man's land. Quietand dark, the streetlights have been shot out.CUT TO:74",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. CUL-DE-SAC - NIGHT74Jake enters, wary. He rounds the misparked van. TheG-ride parked in a grassy lot. Jake glimpses the LittleKid on the bike disappear down a driveway. Jake notes aglowing cigarette on an apartment rooftop. Across thestreet, Jake sees rooftop movement, as someone takes cover.CLICK-CLACK as a rooftop shadow cocks a RIFLE.Jake is on a mission, undeterred.ON HOUSEA porchlight turns off. The curtain moves in the window.COUPLE G'Skick it on a wall. Veteran soldiers ready for anything.They watch Jake pass with tough stoic faces.Jake continues toward Sara's building. Where a GANGSTERstands with crossed arms, Jake's an irritant, not a threat.GANGSTER'Sup, rookie. You got businesshere?Jake looks up at Sara's apartment.JAKEYeah. I'm here for Alonzo.(CONTINUED) 110.74CONTINUED:74The Gangster opens the gate for him. Jake climbs thestairs to Sara's apartment.CUT TO:75",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SARA'S APARTMENT - LIVING ROOM - NIGHT75The TV is ON in the living room. Sara's boy plays on thefloor. TAPPING AT the WINDOW. The boy sees it's Jake,who smiles, points at the door. The little boy crosses,unlocks the door. Jake enters quickly, grabs the boy andhides him in a bookcase with little doors at the bottom.JAKEShhh. It's okay. Lay down.The boy looking at Jake as he closes the door. Jakehears GIGGLING O.S. Crosses to the bedroom door. Wham!Jake kicks it open.76",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SARA'S APARTMENT - BEDROOM - NIGHT76Jake barges through the door, gun ready. Sara jumpsfrom the bed, clutching a sheet. Alonzo is dressed down,ready for his important rendezvous. Finishing countingand repacking Roger's money into a war bag of police gear.Twenty-two pounds worth of Benjamin Franklin. Alonzospins, reacting as he recognizes the ghost before him.He raises his hands, impressed. Unable to reach his gunsitting on the dresser by his wallet.JAKESmiley didn't want the job.ALONZOGoddamn, Jake. Lemme shake yourhand. You did it, you passed thetest. You a man now.Alonzo offers his hand. Jake scoffs. Alonzo reaches forthe war bag. Real slow. He fishes a smoke from the packinside. Lights it.ALONZOShit I've been through. Shit I'veseen. Took me a long time to getwhere you are. Now you on, Jake.Now you're a real narc. I heldyour hand through hell. You justgonna stand there holding yourshit on me? Wassup?(CONTINUED) 111.76CONTINUED:76Alonzo glances at a clock, it's 11:30, time's wasting.Jake follows his eye-line to the clock.JAKEFuck your little rendezvous.Alonzo reacts, surprised Jake knows all.JAKEI got your number, homie. You'reworse than a gangster. They ain'thiding behind badges.ALONZO(holds out his hands)Then hook and book me. For what?You shot Roger when you were whackedon P.C.P. and ran off like a maniac.Got witnesses? Smiley? My squad?My loyal troopers? Tell your tales.We'll tell the truth. It's notwhat you know, it's what you canprove. Where's your evidence, Jake?JAKEThere's my evidence.Jake nods at the cash. THWACK! Alonzo flicks hiscigarette at Jake's face. A blinding explosion of SPARKS.Alonzo dives over the bed, grabbing the war bag of cash.In a rack under the bed is a sawed-off, pump SHOTGUN.Alonzo jerks the trigger -- BOOM! -- PELLETS SIZZLE pastJake's feet as he dives out of the room.ALONZOJake. Doing good, man. Firstgunfight.77",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SARA'S APARTMENT - HALLWAY - NIGHT77Jake scrambles for the kitchen. KERCHACK -- BOOM!Dives behind the counter as FORMICA EXPLODES around him.ALONZOKnow that I am surgical with thisbaby. Wanna closed casket? Oryou want one below the belt?IN LIVING ROOMSara's boy bolts from his hiding place. Sees Jake andruns toward him. When the child reaches the hall --(CONTINUED) 112.77CONTINUED:77Jake swings his pistol on him. Alonzo swings the shotgun.Both men aiming at the terrified child, frozen in the hall.Alonzo smiles, squats in the hall outside the bedroom doorand beckons his son closer.ALONZOShhh, mijo. No llores. Ven aqui,mijo. Vente no llores. Escuchaa tu papi.The child looks at Jake. A connection. Jake motions thechild toward him. But the child looks to his father.ALONZOMijo. No, es malo. Es el cucuy.Te va a pegar. El cucuy, mijo.Quiere pegarle a tu mami. Vente,papasito.(Translation: Son, he's bad. He's the boogeyman. He'sgoing to hit your mommy and you. Come here, little man.)Jake must act. He scrambles to his feet, exposing himself.BOOM! Alonzo PEPPERS the FRIDGE.POP-POP! Jake FIRES as he scoops up the boy and dives intothe living room.Alonzo seizes the moment to depart, dropping the emptyshotgun and disappearing into the bedroom.A78",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SARA'S APARTMENT - BEDROOM - NIGHTA78Jake scrambles into the bedroom, gun ready.JAKE'S POVSara points toward the open window. Alonzo and the moneyare gone.CUT TO:78",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SARA'S APARTMENT - ROOFTOP - NIGHT78Alonzo flings the money on the roof, climbs the railing.And pulls himself on the roof.(CONTINUED) 113.78CONTINUED:78A beat later, Jake exits the window, climbs onto therailing and follows Alonzo onto the roof.79",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SARA'S APARTMENT - ROOF - NIGHT79Alonzo's silhouette running along the treacherousrooftop, takes cover alongside a pigeon coop coveredwith elaborate graffiti. Alonzo FIRES at Jake.Jake drops, rolls and FIRES back blindly. Alonzo runsfor the adjacent roof.Alonzo jumps onto a balcony.Jake runs at full tilt. Toward the edge of the roof.Where nasty coils of razor-wire lay in wait.Jake jumps -- His foot hits rotten plywood -- Jake fliesawkwardly through space.80",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. OTHER ROOFTOP - NIGHT80Another pigeon coop. Chairs, a card table, pottedplants; a little oasis. The edge of the roof approachingfast, and its concertina of razor-wire. Jake's chest hitsit -- oof! An iron spike atop a fence a mere inch fromhis ear. Jake pulls himself onto the roof.Smack! Alonzo nails Jake's face with the war bag ofcash.Jake is stunned, Alonzo grabs the gun tied to Jake's handand both hit the deck. They wrestle as Alonzo gets afinger in the trigger guard -- POP-POP-POP-CLICK!Emptying Jake's PISTOL.Using his gun as brass knuckles, Jake punches Alonzo'shead. Alonzo head-butts Jake, knees him in the crotch.Jake gasps in agony.Alonzo stands, begins stomping Jake's head. Jake rollsout of the way. Alonzo kicking. Jake rolling...Right off the edge of the roof.Jake falls a story to -- THUD! -- a roof below.Alonzo looks down at Jake. Who looks half-dead. Alonzolooks at his watch -- he has 25 minutes. Alonzo spits onJake and moves on. Alonzo crosses to a stairwell anddisappears. 114.81",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. CUL-DE-SAC - NIGHT81Alonzo climbs in the G-ride and backs out. The money inhis lap.82,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. G-RIDE (CUL-DE-SAC) - MOVING - HIGH ANGLE THROUGH82FRONT WINDSHIELD - NIGHTSomething is falling toward the G-ride -- it's Jake, hejumped off the roof.WHAM! Jake hits hard, denting the roof.(CONTINUED) 115.82CONTINUED:82Alonzo reacts, punches the gas, whips the wheel hard.Jake rolls onto the hood. Before he smacks the street,Jake extends a hand and snags the windshield wiper. Hetries to pull himself up, but the sheet metal wiper bendsback on itself.JAKE'S FEET drag along the street. RUBBER GRINDING off his heels.INSERT - WIPERIt cuts Jake's hand, now slick with blood. Stress cracksin the sheet metal. The METAL TEARS...BACK TO SCENEThe wiper snaps off. With three desperate fingers, Jakegrabs the window stanchion, pulls himself back onto thewindshield, his bloody face pressed against the glass,crimson streaks cascade down.Jake begins whipping Alonzo with the wiper in his lefthand. Pffck! Pffck! Opens a gash on Alonzo's face ashe backs down the street.Alonzo presses a button and a GUN slides out of the dash,Alonzo grabs it, presses the muzzle against the glasswhere Jake's face is. Jake jerks his head -- BAM! Anear miss.BAM! Another hole in the glass. But fortunately notJake's head.WHAM! The G-RIDE backs into a car. The gun flies fromAlonzo's hand, out the window. Jake tumbles off the caronto the street. The G-ride stalls. It didn't get farat all. Alonzo is pretty beat up from the crash. Jakescrambles for the gun, then leans in the window of the G-ride and punches Alonzo several times. Jake grabs thewar bag, pulls open the door and yanks Alonzo out ontothe street, Jake backs up, sets the war bag at his feet.The porch lights of two houses come on. Steel doorsopen. People tentatively step outside. Women andchildren, mothers with babies on their hips. Blue-collarfathers in shop uniforms. The Old Woman appears with twopretty girls. More porch lights come on.A dozen gangsters boil out of a driveway like angryhornets. Lead by the imposing Bench Presser.(CONTINUED) 116.82CONTINUED: (2)82Gangsters encircle the G-ride. Alonzo stands, facesJake.JAKENo fun when the rabbit has thegun, is it?ALONZOSomeone dome this white boy rightnow.Jake casts wary sideways glances. The Bench Pressersmirks, holds back his people with massive arms.BENCH PRESSERPolice business.Alonzo shoots him a look.ALONZOFirst head that drops this foolis gonna be a rich man!To Alonzo's astonishment, no one moves. He's on his own.Jake's eyes are cooler and blacker than a shark's, pistolat his side.JAKEThey're not like you. Know whatI learned today? I'm not like you.ALONZOGood. Now what? Gonna kill me?Gonna break your cherry with acop? Ever done a little killin',Jake? Just stepped on some ants?Ain't easy. Do it clean, righthere, Jake.Alonzo taps his forehead as he takes a step toward Jake.ALONZO'Cause if I live, I'll be up inSanta Clarita, taking care of thatgal I talked to this morning.Sweet voice. She's Chicana,light-skinned. Like to know how agood woman like that feels on theinside.Jake smolders. He aims at Alonzo. Right between theeyes. No. He can't. Jake lowers the gun. Alonzolaughs.(CONTINUED) 117.82CONTINUED: (3)82Jake realizes Alonzo is stark raving mad. And it's kindof funny. Alonzo sees he isn't getting anywhere. Alonzoturns to the G's.ALONZOC'mon. Someone dump this man.A gun is tossed at Alonzo's feet. A tired old workhorse.Drilled-out numbers, taped-up grips.BENCH PRESSERPut in your own damn work.Jake and Alonzo looking at the gun. Alonzo smiles. Heslowly reaches for it.JAKEDon't do it.Alonzo turns his back, steps closer to the gun.ALONZOWait, shoot me in the back.Guarantee yourself the gaschamber. Know it smells likepine oil?Alonzo reaching for that gun.BAM! Jake SHOOTS Alonzo in the upper thigh. Alonzogrowls, taking the pain. He hops on one leg.ALONZOSonufabitch. You shot me in theass.JAKENext one kills you.Jake grabs the war bag. Loose bills fall around Alonzo.He desperately scrapes them off the street.ALONZOGimme the money, Jake. C'mon,son.JAKENot gonna happen.ALONZOOh, now you dirty? Straightjackin' me, huh?(CONTINUED) 118.82CONTINUED: (4)82JAKETold you. It's my evidence. Myproof. Wanna go to jail. Oryou wanna go home?Jake smikes at Alonzo.JAKEIt's street justice. Nothingwrong with that. Right?Alonzo's eyes narrow in hatred. Alonzo rages at thegangsters.ALONZODisloyal fool-ass bitch-madepunks! Put cases on all y'all!Whole crew's going to Folsom.Solitary for life. No humancontact. Fuck y'all.Alonzo looks diminished, broken.Jake's eyes fall to the badge around Alonzo's neck. Hesmirks at the irony. Then yanks the badge from Alonzo'sneck.JAKEYou don't deserve this.Jake looks at the gangsters, their faces, the faces ofthe people around him. He sees satisfaction. Hearsmurmurs of approval. Jake meets the Bench Presser'sgaze, who leans against the G-ride. Pulls a beer fromhis pocket and cracks it.BENCH PRESSERBetter get on outta here.The Bench Presser gives Jake a slight nod of respect andJake leaves. Alonzo watches Jake go in outraged amazement.Alonzo moves to follow Jake and gets the Bench Presser'sgun in his face. The crowd surrounding the G-ride driftsaway. People return home.ALONZOThat's right. That's right. I'llburn this down. Take it all down.Walk away. See what happens.(CONTINUED) 119.82CONTINUED: (5)82No one listens. Alonzo has been abandoned save for thegangsters guarding him. He despairs in his defeat.ON JAKEwalking away, the money in hand, his innocence gone.Though there is a heavy burden on his shoulders, thereis much strength in his gait.CUT TO:83",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SEPULVEDA BOULEVARD - NIGHT83The G-ride barrels west toward LAX. A 747 in the landingpattern overtakes it, its ENGINES HOWL as it descends.84",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. G-RIDE (STREET NEAR LAX) - MOVING - NIGHT84Alonzo tears open the head liner, exposing a Glock duct-taped inside the roof. He lays the weapon on the seatnext to him, where a ROVER plays routine POLICE CHATTER.Alonzo tears back the head liner more, finds a manilaenvelope, dumps it on the seat -- there's plane tickets,cash, pesos, passports, travelers' checks, IDs, apartmentkeys. His getaway kit.A red light ahead. Light cross traffic. Alonzo notesheadlights following him. Stops at the light. He takesa pull on a pint of vodka. Wipes his lips with a shakyhand.A van pulls into the intersection to make a left. Toofar into the intersection. Alonzo eyes it, wary.The headlights pull up behind him -- another VAN --SCREECHING to a stop at an angle, blocking him. The sidedoors on both vans slide open. Gun steel glimmers.This is it. It's going down. Alonzo reaches for hisGlock. Hesitates. It's over. Alonzo lifts his chinand braces for what is coming...BRRRDDDDDDDT! Two men in each van open FIRE with heavyAUTOMATIC WEAPONS -- AKs and HK-91s. Muzzle flashesstrobe across bandanna-covered faces and shiny eyes.These pros know their weapons.BULLETS PUNCH into Alonzo, the G-Ride. Passing straightthrough the car, SHATTERING GLASS. Shattering Alonzo.(CONTINUED) 120.84CONTINUED:84After forever, the weapons are empty. Gun smoke waftsthrough the intersection. Alonzo, his beloved G-ride,are shredded. Alonzo leans forward, his head hits theHORN.The DOORS of the vans SNAP SHUT. The vans take off indifferent directions.FOOM! A small FIRE STARTS under the G-ride, leaking fueland fluids. The flames spread, the interior burns.CLOSE ON FINGERS OF FIREas they probe out from the bullet holes.CUT TO:85",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. JAKE'S CAR - MOVING - NIGHT85Jake slowly approaches his house.HIS POVIn his driveway is a plush unmarked police sedan.BACK TO SCENEJake grabs his service nine from his duffle. He parksand gets out.CUT TO:86,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. JAKE'S HOUSE - NIGHT86Jake shoves the nine in his waistband and crosses to thesedan. Lou, Doug and Stan exit the car. They've beenwaiting.STANWhere's the money, Jake?JAKEThe evidence room at headquarters.Jake slaps Alonzo's badge on the trunk.STANThat's not necessary.(CONTINUED) 121.86CONTINUED:86JAKEThat's not mine.Doug picks up Alonzo's badge, impressed, pockets it.Before Doug can say anything.JAKENow leave me the hell alone.With the last of his strength, a battered and mauled Jakelimps away. The three wise men climb in their car. Theplush sedan backs out of Jake's driveway. Jake entershis house.PULL BACK.Jake's home becomes indistinguishable in a sea of houses.FADE OUT:THE END",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BOAT - NIGHT - STERN2 2 A stack of oil drums rests on the stern. They are stacked on a palette with ropes at each corner that attach it to a huge crane on the dock. One of the barrels has been punctured atit's base. Gasoline trickles freely from the hole. The flame is racing now towards the barrels. Keaton smiles weakly to himself. The flame is within a few yards of the barrels when another stream of liquid splashes onto the gas. The flame fizzles out pitifully with a hiss. Two feet straddle the flame. A stream of urine flows onto the deck from between them. BLUE 06/01/94The sound of a fly zipping. Follow the feet as they move over to where Keaton rests at the wheel house. CRANE UP to the waist of the unknown man. He pulls a pack of cigarettes out of one pocket and a strange antique lighter from the other. It is gold, with a clasp that folds down overthe fl",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int. The man flicks up the clasp with his thumb and strikes it with his index finger. It is a fluid motion, somewhat showy. Keaton looks up at the man. A look of realization crosses his face. It is followed by frustration, anger, and finally resignation. VOICE (O.S.) How are you, Keaton? KEATON I'd have to say my spine was broken, Keyser. He spits the name out like it was poison.The man puts the lighter back in his pocket and reaches under his jacket. He produces a stainless .38 revolver. VOICE (O.S.) Ready? KEATON What time is it? The hand with the gun turns over, turning the gold watch on its wrist upward.2. The sound of sirens is closer now. Headed this way. VOICE (O.S.) Twelve thirty. Keaton grimaces bitterly and nods. He turns his head away and takes another drag. The hand with the gun waits long enough for Keaton to enjoy his last drag before pulling the trigger. GUNSHOTThe sound of Keaton's body slumping onto the deck.YELLOW 06/11/94MOVE OUT ACROSS THE DECK. Below is the stream of gasoline still flowing freely. The sound of the gasoline igniting. The flame runs in front of us towards the barrels, finally leaping up in a circle around the drums, burning the wood of the pallet and licking the spouting stream as it pours fromthe hole. MOVE OUT ACROSS THE DOCK, away from the boat.The pier to which the boat is moored is littered with DEAD BODIES. Twenty or more men have been shot to pieces and lie scattered everywhere in what can only be the aftermath of afierce fire-fight. A BARGE COMES INTO VIEW.On the deck of the barge is a tangle of cables and girders. The mesh of steel and rubber leaves a dark and open cocoon beneath its base. MOVE INTO THE DARKNESS.Sirens are close now. Almost here. The sound of fire raging out of control. SIRENS BLARING. TIRES SQUEALING. CAR DOORS OPENING. FEET POUNDING THE PAVEMENT.3. MOVE FURTHER, SLOWER, INTO THE DARKNESS Voices yelling. New light flickering in the surrounding darkness. SUDDENLY, AN EXPLOSION.Then silence. TOTAL BLACKNESS.We hear the voice of ROGER ""VERBAL"" KINT, whom we will soon meet. VERBAL (V.O.) New York. - six weeks ago. A truck loadedwith stripped gun parts got jacked outside of Queens. The driver didn't see anybody, but somebody fucked up. He heard a voice. Sometimes, that's all you need. YELLOW 06/11/94BOOM",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DARK APARTMENT - DAY - NEW YORK - SIX WEEKS PRIOR TO3 3 PRESENT DAY The black explodes with the opening of a door into a dark room. Outside, the hall is filled with blinding white light.Shadows in the shapes of men flood into the room. We can make out men in hoods with flashlights. They are laden with weapons. VOICES POLICE. SEARCH WARRANT. DON'T MOVE. It is a blur of violent action and sound.'Beams of flashlights cut the darkness in all directions. FINALLY:A dozen flashlights land on one man. He lies naked in bed, Merging from a deep sleep. He squints at the flood ofblinding white light, more annoyed than frightened.4. He nearly laughs at the sound of countless guns cocking. He is McMANUS. Age twenty-eight. VOICE (O.S.) Mr. McManus? MCMANUS Yeah. VOICE (O.S.) Police. We have a warrant for your arrest. McMANUS Will they be serving coffee downtown? Two dozen black gloved hands grab him and yank him out of bed.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. AUTO BODY SHOP - DAY4 4 An old paint mixer vibrates furiously. TODD HOCKNEY, a dark, portly man in his thirties is working on an old Fire-bird. A YOUNG HISPANIC KID mixes paint a few feet away. SUDDENLY, the garage door opens TO REVEAL: YELLOW 06/11/94A row of five men silhouetted by the bright sun. Hockney squints. YELLOW 06/11/94 HOCKNEY Can I help you? Hockney's voice is gruff. MAN Todd Hockney' Hockney reaches for something just inside the door of the Fire-bird. HOCKNEY Who are you?5. All six men INSTANTLY PRODUCE GUNS and aim them at Hockney. MAN Police. Hockney withdraws a filthy towel and wipes grease and sweat from his forehead. HOCKNEY We don't do gun repair.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. STREET - NEW YORK - DAY5 5 FRED FENSTER, a tall, thin man in his thirties strolls casually down the street. He is dressed conspicuously in a loud suit and tie with shoes that have no hope of matching. He smokes a cigarette and chews gum at the same time. He happens to glance over his shoulder and notice a brown Ford sedan with four men in it cruising along the curb. He picks up his step a little. The Ford keeps up. He looks ahead at the corner. He tries to look as comfortable as he can, checking his watch as though remembering anappointment he is late for. The Ford stays right on him. SUDDENLY, he bolts. He gets no more than a few yards before cars pour out of every conceivable nook and cranny. Brakesare squealing, radios squawking, guns cocking. Fenster is surrounded instantly. He stops short and flaps his hands on his thighs in defeat.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MONDINO'S RESTAURANT - DAY6 6 An attractive man and woman walk quickly through the front of a small New York cafe. They are charged with nervous, excited energy. YELLOW 06/11/94The man is DEAN KEATON, a well dressed, sturdy looking man in his forties with slightly graying hair. He looks much betterthan he did in the opening scene.6. The woman with him is EDIE FINNERAN, age thirty-three, poised and attractive - Easily the calmer of the two. BLUE 06/01/94They come to a staircase at the back of the restaurant leading down to a dark room. Edie takes Keaton's arm andstops him. EDIE Let me look at you. Keaton is uncomfortable in his suit, or perhaps the situation. Still, he smiles with genuine warmth. Ediestraightens his tie and picks microscopic imperfections from his lapel. EDIE Now remember, this is another kind ofbusiness. They don't earn your respect. You owe it to them. Don't stare them down but don't look away either. Confidence.They are fools not to trust you. That's the attitude. KEATON I'm having a stroke. EDIE You've come far. You're a good man. I love you. Keaton blinks then stammers, looking for a response. PAUSE EDIE Live with it. She kisses him and runs down the steps with Keaton close behind. Keaton playfully grabs her ass and she nearly stumbles down the stairs.7.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RESTAURANT - DOWNSTAIRS7 7 They come to the bottom of the steps giggling and jabbing each other. Once off the stairs they instantly transform as though hit with cold air. They assume a cool, professional exterior and walk two feet apart. One would look at them andsee only two business associates here to ply their trade. They walk across the dimly lit dining room to a table in the far corner where two men are already waiting. The first is MR. FORTIER, age thirty-five, the other is MR. RENAULT, agesixty. Both men are impeccably dressed with a distinguished air. They stand and smile. YELLOW 06/11/94 FORTIER Edie, nice to see you. EDIE Sorry we're late. FORTIER Nonsense. Sit, please. RENAULT (struggling with English) You must be Mr. Keaton. EDIE I'm sorry. Dean Keaton Renault's hand is already out. RENAULT Monsieur Renault. A pleasure. KEATON How do you do? They shake hands. Keaton takes Fortier's hand n",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","ext.8. FORTIER Monsieur Fortier. So nice to finally meet you. Everyone sits at the table. All faces are smiling.LOW ANGLE: UNDER TABLEEdie's hand reaches out and finds Keaton's leg. Her hand runs high up his inner thigh and squeezes firmly. Her face isabsolutely calm, giving no hint of what her hand is doing. Keaton smiles and clears his throat.",ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. MONDINO'S RESTAURANT8 8 Follow a waiter past the flight of steps. PAN DOWN TO REVEAL: Five sets of feet arriving at the bottom. The feet in the middle wear shoes notably nicer than the rest. YELLOW 06/11/94 PAN UP TO REVEAL: SPECIAL AGENT DAVID KUJAN (Pronounced Koo-yahn), U.S. CUSTOMS. Thirtyish, dark-haired and determined. SCENE DELETED9 9 PINK 06/07/94",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RESTAURANT - DOWNSTAIRS10 10 FORTIER Edie brought us your proposal and I'll be honest. We're very impressed. A bitskeptical, I must admit, but impressed. KEATON Skeptical.9. RENAULT We find the concept brilliant, but New York is difficult for new restaurants. How can we be certain that our money willbe returned in the long run? Keaton looks at Edie and smiles confidently. KEATON It's simple gentlemen, design versatility. A restaurant that can changewith taste without losing the overall aesthetic. Our atmosphere won't be painted on the walls. FORTIER This was the part of the proposal that intrigued us, but I'm not sure I follow. KEATON Let's say for example - VOICE (O.S.) This I had to see myself. Keaton looks up. He sees David Kujan. Behind him are the very serious looking guys in suits. Keaton is not happy to see them. KEATON Dave. I'm in a meeting. KUJAN Time for another one. KEATON This is my attorney, Edie Finneran. (gesturing)10. BLUE 06/01/94 KEATON This is Mr. Renault and Mr. Fortier. Everyone, this is David Kujan. KUJAN Special Agent Kujan. U.S. Customs. (Gestures to men behind him) These gentlemen are with the New York police department. You look great,Keaton. Better than I would have thought. RENAULT Is there a problem, Mr. Keaton? KUJAN The small matter of a stolen truck-loadof guns that wound up on a boat to Ireland last night. Renault and Fortier's confusion is giving way to suspicion. FORTIER Mr. Keaton? KEATON If you will excuse us for a moment, gentlemen. KUJAN We need to ask you some questionsdowntown. You'll be quite awhile. Renault starts to get up. RENAULT We should leave you to discuss whatever this is. KEATON Please. Sit.11. Keaton stands up and throws a wad of money on the table to cover the check. He looks at Edie. She moves to stand, but he sits her back down with a hand on her shoulder. KEATON Enjoy the meal. (To Edie) I'LL call you. Kujan takes him by the arm, but Keaton yanks away.YELLOW 06/11/94He looks out over the dozens of other faces in the restaurant. Everyone is looking at him with some level ofsurprise. If Keaton is humiliated by the whole affair, he hides it well.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LOCK-UP HALLWAY - NIGHT11 11 A police officer steps into the frame and opens the steel door. FOLLOW A PAIR OF FEET as they shuffle across the cement floor. The shoes are shabby and worn, as are the wrinkled pants that hang too low and loose at the cuffs. The right foot is turned slightly inward and falls with a hard limp. Itis clear that the knee does not extend fully. The sound of a steel door opening. The bottom corner of a steel cage comes into view. Another set of feet falls into step with the first. Another steel door and another set offeet. Another door, another and another. Five pairs of feet walk single file down the hall. The lame feet are in the front of the line. They come to another steel door, this one solid and covered with dents andrivets. CRANE UP TO REVEAL:ROGER KINT, VERBAL to his few friends. He has a deeply lined face, making his thirty-odd years a good guess at best.12. From his twisted left hand, we can see that he suffers from a slight but not debilitating palsy. Behind him are Dean Keaton, Fred Fenster, McManus and Todd Hockney. Verbal steps through the door, followed by the rest. VERBAL (V.O.) It didn't make sense that I be there. I mean these guys were hard-core hijackers, but there I was. At that point, I wasn'tscared, f knew I hadn't done anything they could do me for. Besides, it was fun. I got to make like I was notorious.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LINE-UP ROOM12 12 The five men are ushered into the room in front of a white wall painted with horizontal blue stripes. Each has a number at either end to denote the height of the man in front of it. Between these lines are thinner blue lines to tell thespecific height in inches. SCRIPT DATE 5/25/94Bright lights shine on all of them. They squint, eyes adjusting. Keaton leans forward a bit and looks at the men in line with him. He shares a look of familiarity with Fenster and thenMcManus. Hockney smiles at all of them. MCMANUS (To Keaton) ) Where you been, man? VOICE (O.S.) SHUT UP IN THERE. Alright, you all know the drill. When your number is called, step forward and repeat the phrase you'vebeen given. Understand? The men all nod.13. VOICE (O.S.) Number one. Step forward. Hockney takes a step forward. He looks directly into a mirror on the other side of the room. It is three feet square and we can make out faint lightbehind it. It is a two-way. He speaks in a complete dead-pan. HOCKNEY Hand-me-the-keys, you-fucking-cock- sucker. VOICE (O.S.) Number two. Step forward. McManus steps up and makes a gun with his thumb and forefinger. He mocks criminal intensity, pointing at the mirror. He camps up his line. MCMANUS Give me the keys, you motherfucking, cocksucking pile of shit, or I'll rip off your VOICE (O.S.) KNOCK IT OFF. Get back in line. McManus steps back.The rest of the men do their bit as Verbal speaks.BLUE 06/01/94 VERBAL (V.O.) It was bullshit. The whole rap was a setup. Everything is the cops' fault. Youdon't put guys like that in a room together. Who knows what can happen?",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. INTERROGATION ROOM - NIGHT13 13 McManus sits in a chair in front of a white wall. He smiles at someone off-screen.14. OVERLAPPED: MCMANUS This has to be embarrassing for you guys, huh? I mean you know and I know this is a load of shit, but at least I don't have acaptain with his dick in my ass making me play along. That has got to suck. VOICE (O.S.) Are you done? MCMANUS Do you work for a broad? That would have to be the worst. VOICE (0.S.) Are you done? MCMANUS Still, I guess dignity is a small pries to pay for medical and a pension. A small pension, mind you, but a pensionnonetheless. VERBAL (V.O.) They drilled us all night. Somebody was pissed about that truck getting knockedoff and the cops had nothing. They were hoping somebody would slip. Give them something to go on. They knew we wouldn'tfight it because they knew how to lean on us. They'd been doing it forever. Our rights went right out the window. It wasa violation. I mean disgraceful. BLUE 06/01/94 VERBAL (V.O.) They went after McManus first. He was a good guy. Crazy though. A top notch entryman.15. VOICE (O.S.) So where'd you dump the truck? MCMANUS What truck? VOICE (O.S.) The truck with the guns, fucko. MCMANUS You kill me, you really do. Where's my phone call? VOICE (O.S.) Right here. Suck it out. MCMANUS Clever guy. VOICE (O.S.) You want to know what your buddy Fenster told us? BLUE 06/01/94 MCMANUS Do I look stupid enough to fall for that? Jesus Christ. Beat me if you gotta, but no more of the candy-land tactics, man. VOICE (O.S.) WHERE'S THE FUCKING TRUCK?",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. INTERROGATION ROOM14 14 Now Fenster is in the seat. He sweats profusely. FENSTER I want to call my lawyer. I don;'t know about any truck. I was in Connecticut allnight on Friday. VOICE (O.S.) That's not what McManus said.16. OVERLAPPED: FENSTER Who? VOICE (0.8.) McManus. Be told us another story altogether. FENSTER Was it the one about the hooker with dysentery I swear , she never mentioned money until I came. VOICE (O.S.) Be fold us about the truck. FENSTER To be honest, it was more like a mobile home. She made a lot of money. VOICE (O.S.) Who took the guns off your hands? FENSTER Hey, are we talking about the same thing? VOICE (O.S.) I'm losing my patience. BLUE 06/01/94 VERBAL (V.O.) Fenster always worked with McManus. He was a real tight-ass, but when it came to the job, he was right on. Smart guy. Agopher. Got whatever you needed for next to nothing. FENSTER You guys got nothing on me. Where's yourprobable cause?17. VOICE (O.S.) You're a known hijacker. You're sweating like a guilty motherfucker. That's my p.c. Save us the time. Tell us where the truck is. Fenster knocks on the table. FENSTER HELLO? Can you hear me in the back? P.C. He looks under his chair. FENSTER Where is it? I'm lookin'. It's not happening. What's going on with that? I want - BLUE 06/01/94",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. INTERROGATION ROOM15 15 Hockney's turn in the chair. He laughs it all off. HOCKNEY - my lawyer. I'll have your badge,cocksucker. OVERLAPPED: HOCKNEY I know you. You don't think I know you're on the take. This whole fucking precinctis dirty. You don't have a fucking leg to stand on. VERBAL (V.O.) Hockney was just a bad bastard. Good withexplosives. Mean as a snake when it mattered.18. VOICE (O.S.) You think so, tough guy? I can put you in Queens the day of the hijacking. HOCKNEY I live in Queens. What the fuck is this?You come into my store and lock me up in front of my customers. What the hell is wrong with this country? Are you guysgonna charge me or what? VOICE (O.S.) You know what happens if you do another turn in the joint? HOCKNEY I'll fuck your father in the shower. Charge me, dick-head.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. INTERROGATION ROOM16 16 Now Keaton sits in the chair, cool and indifferent. VERBAL (V.O.) Keaton was the real prize for them, forobvious reasons. VOICE (O.S.) I'll charge you when I'm ready. BLUE 06/01/94 KEATON With what? VOICE (O.S.) You know damn well, dead-man. KEATON Hey, that was your mistake, not mine. Did you ever think to ask me? I've been19. YELLOW 06/11/94 KEATON walking around with the same face, same name - I'm a businessman, fellas. VOICE (O.S.) What's that? The restaurant business? Notanymore From now on you're in the getting- fucked-by-us business . I'm gonna make you famous, cocksucker. Keaton shows justa flicker of contempt. The threat has hit home. KEATON Like I said. It was all your mistake.Charge me with it and I'll beat it. Let's get back to the truck. A FIST flies into the frame and connects with Keaton's jaw. His head snaps back, blood flowing freely from his mouth. DELETED17 17",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CELL BLOCK18 18 Keaton is brought in to a holding where he joins Fenster, Hockney, Verbal and McManus. He sits in a corner and keeps to himself. Fenster is in mid-tirade. FENSTER Somebody should do something. What isthis shit - getting hauled in every five minutes? Okay, so I did a little time, does that mean I get railed every time atruck finds its way off the planet? McManus is silently staring at Keaton, who sits on a bench, looking away. HOCKNEY These guys got no probable cause.20. SCRIPT DATE 5/25/94 FENSTER You're fuckin' A right, no P.C. Well screw P.C. No right. No goddamn right. You do some time, they never let you go.Treat me like a criminal, I'll end up a criminal. HOCKNEY You are a criminal. FENSTER Why you gotta go and do that? I'm trying to make a po",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int. KEATON Then make it. Christ, you're making metired all over. McManus looks at Keaton. MCMANUS I heard you were dead, Keaton. KEATON You heard right. HOCKNEY The word I got is you hung up your spurs, man. What's that all about? MCMANUS What's this? HOCKNEY Rumor has it, Keaton's gone straight - cleaning house. I hear he's tapping Edie Finneran. MCMANUS Who?21. HOCKNEY She's a heavy-weight criminal lawyer from uptown. Big-time connected. She could erase Dillinger's record if she tried. Ihear she's Keaton's meal ticket. (To Keaton) Is it true? MCMANUS What about it, Keaton? You a lawyer's wife. What sort of ""retainer"" you giving her? SCRIPT DATE 5/25/94Keaton shoots McManus a fiery glare. FENSTER I'd say you've gotten on his main and central nerve, McManus. KEATON Do your friend a favor, Fenster, keep himquiet. MCMANUS You're clean, Keaton? Say it ain't so. Was it you that hit that truck? FENSTER Forget him. It's not important. I was trying to make a po",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int. KEATON (Ignoring McManus) This whole thing was a shakedown. MCMANUS What makes you say that? KEATON How many times have you been in a line-up? It's always you and four dummies.22. The P.D. pays homeless guys ten bucks a head half the time. No way they'd line five felons in the same row. No way. Andwhat the hell is a voice line-up? A public defender could get you off of that. FENSTER So why the hell was I hauled in and cavity searched tonight? KEATON It was the Feds. A truck load of guns gets snagged, Customs comes down on N.Y.P.D. for some answers - they come up with us. They're grabbing at straws. It'spolitics - nothing you can do. FENSTER I had a guy's fingers in my asshole tonight. HOCKNEY Is it Friday already? SCRIPT DATE 5/25/94 FENSTER Fuck you. I'11 never shit right again. So who did it? Own up. KEATON I don't want to know. MCMANUS Nobody asked you, workin'-man. HOCKNEY Fuck who did it. What I want to know is,who's the gimp? ALL EYES suddenly turn on Verbal. He has been quietly listening the whole time without uttering a word.23. KEATON He's alright. HOCKNEY How do I know that? How about it, pretzel- man? What's your story? KEATON His name is Verbal K",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int. I thought you guys knew him. MCMANUS Verbal? VERBAL Roger really. People say I talk too much. HOCKNEY Yeah, I was gonna tell you to shut up. KEATON We've met once or twice. Last time wasin... VERBAL County. I was in for fraud. KEATON You were waiting for a line-up then, too.What happened with that? VERBAL I walked. Ninety days, suspended. YELLOW 06/11/94 HOCKNEY So you did it? VERBAL To your mother's ass.24. Verbal looks away from Hockney, awaiting a violent response. Everyone slowly starts to laugh. Hockney looks as if he is about to boil in his own skin. KEATON (To Hockney) Let it go. Verbal smiles at Keaton appreciatively. McManus stands and walks to the toilet in the corner of the cell. He starts taking a leak; MCMANUS Look, we've all been put out by this, I figure we owe it to ourselves to salvage a little dignity. Now Fenster and I gotwind of a possible job - KEATON Why don't you just calm down' HOCKNEY What do you care what he says? MCMANUS Yeah, I'm just talking here, and Hockney seems to want to hear me out. I know Fenster is with me - (to Verbal) How about you, guy? McManus finishes pissing. VERBAL I'm interested, sure. MCMANUS There, so you see, I'm going to exercise my right to free assembly. McManus taps the bars of his cell and the others LAUGH.25. KEATON I'm not kidding. Shut your mouth. YELLOW 06/11/94 MCMANUS You're missing the po",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int. YELLOW 06/11/94 KEATON No, you're missing the po",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int. Shut up. Idon't want to hear anything you have to say. I don't want to know about your ""job"". Just don't let me hear you. I wantnothing to do with any of you - (beat) I beg your pardon but all of you can goto hell. MCMANUS Dean Keaton, gone the high road. What is the world coming to? McManus and Keaton stare at one another for a long and tense moment. Finally McManus turns to the others. MCMANUS Forget him then. (whispering) Now I can't talk about this here in any detail, but listen up... Everyone but Keaton gravitates toward McManus's cell as he begins to speak in low, hushed tones. VERBAL (V.O.) And that was how it began. The five of us brought in on a trumped-up charge to be leaned on by half-wits.26. What the cops never figured out, and what I know now, was that these men would never break, never lie down, never bendover for anybody. .. Anybody.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PIER - DAY - SAN PEDRO - PRESENT DAY19 19 It is morning in the aftermath of the opening scene. Harsh sunlight shines on a line of body bags on the dock. Police swarm everywhere, photographers are taking pictures of the scene while a team of men in rolled up sleeves andplastic gloves pick at the remains. Two men on a fire boat operate a water cannon, dousing the smoldering remains of a burned-out ships hull. Watching this from the edge of the pier is a man in a dark suit. He is SPECIAL AGENT JACK BAER of the F.B.I. He is talland fit, in his late thirties. He gazes out over the water thoughtfully. YELLOW 06/11/94A UNIFORM COP trots up to him. COP Who are you? Baer holds up his badge without looking at the man. BAER Agent Jack Baer, F.B.I. How many dead? Before the cop can answer, Baer turns and walks along the line of body bags. COP Fifteen so far. We're still pulling somebodies out of the water. Baer eyes the corpses on the dock, burned beyond recognition. COP Looking for anyone in particular?27. Baer looks at the cop for the first time, unamused. BAER I don't want any of the bodies taken away until I've had a chance to go over this, understood? COP I have to clear the scene. I've got word direct from the Chief. Baer lights a cigarette, only half listening. BAER (unimpressed) Yes, the chief. Spooky stuff. Any survivors? COP Two. There's a guy in county hospital,but he's in a coma. The D.A. has the other guy - A cripple - from New York I think. Listen, the Chief said - BAER Excuse me. Baer walks away from the cop, ignoring him completely. He wanders through the carnage on the pier. YELLOW 06/11/94MT. OCEAN20 20 A half mile out from the pier.The sea is choppy, stirred by the wind. An object floats into view a few feet away, bobbing in the water. It is A DEAD BODY - a man, face down, wearing a CHECKERED BATHROBE. He drifts quietly toward the open ocean.28.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HEARING ROOM - DAY - LOS ANGELES PRESENT21 21 Verbal Kint sits in a chair in front of a microphone attached to a tape recorder, his brow beaded with sweat. On the wall behind him is the seal of the STATE OF CALIFORNIA. He is cleaner, better kept, in a well-cut suit and neatly trimmed hair. He looks older than he did in New York - worndown. A flurry of voices banter off screen. Verbal's eyes follow the voices back and forth. VOICE #1 (O.S.) My client offers his full cooperation inthese proceedings. In exchange, his testimony is to be sealed and all matters incriminating to himself are to berendered inadmissible. VOICE #2 (O.S.) The district attorney's office will comply provided - VOICE #1 No provisions, nothing. My clients testimony for his immunity. VOICE #2 May-I be frank, Counselor? I suspect yourpolitical power as much as I respect it. I don't know why Mr. Kint has so many faceless allies in City Hall, and I don'tcare. The embarrassment he helped cause the city of New York will not happen here. VOICE #1 Immunity.29. YELLOW 06/11/94 VOICE #2 Counselor, I will prosecute your client. VOICE #1 Then prosecute. I will be very impressed to see if the District Attorney managesto bring in twenty-seven simultaneous counts of murder against one man with cerebral palsy. I would think a man withyour job would agree with these alleged ""faceless people in City Hall"" you mention. VOICE #2 1 One would think the counsel is veiling a threat. VOICE #1 Counsel isn't veiling anything. VOICE #2 I'11 take my chances then. I'11 feel safer without a job if a man like Mr. Kint is behind bars. VOICE #1 Mr. Kint will plead guilty to weapons possession. VOICE #2 You're joking. VOICE #1 Weapons. Misdemeanor one. VOICE #2 Counselor, you're insulting me. VOICE #1 Counselor, you're bluffing. Shall I pushfor misdemeanor two?30. Voices mumble off screen. Verbal fidgets in his chair. VOICE #2 Misdemeanor one. Fine. This is ludicrous. A tiny smile and a genuine look of disbelief flash across Verbal's face. YELLOW 6/11/94 22B VOICE #2 (clearing throat) As for the rest of the charges grand larceny, arson... murder - the district attorney will accept the subject'stestimony in connection with the above mentioned events and in exchange will offer complete immunity. Thetranscript... The transcript of said testimony will be sealed and all matters incriminating to Mr. Kint will berendered inadmissible. Verbal lets out a long-held sigh of relief.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. POLICE STATION - HALLWAY - DAY22 22 David Kujan is walking quickly beside SERGEANT RABIN, a dark and weathered looking man in his late thirties. They move up a staircase into the heart of police headquarters. KUJAN What do you mean I can't see him? RAB IN The D.A. came down here last night ready to arraign before they even moved him tocounty. Kint's lawyer comes in and five minutes later, the D.A.31. comes out looking like he'd been bitch- slapped by the boogey man. They took his statement and cut him a deal. KUJAN Did they charge him with anything? RAB IN Weapons. Misdemeanor two. KUJAN What'the fuck is that? Rabin motions for Kujan to lower his voice. He points out that they are walking through a bullpen filled with desks where a number of other police are working within earshot. RABIN I give the D.A. credit for getting thatmuch to stick. This whole thing has turned political. The Mayor was here - the chief - the Governor called thismorning, for Christ's sake. This guy is YELLOW 06/11/94 RABIN protected - From up on high by the prince of fucking darkness. KUJAN When does he post bail? RAB IN Two hours, tops. KUJAN I want to see him. Rabin comes to an office door with his name on it. He opens it and lets Kujan in before following. PINK 06/07/9432.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RABIN'S OFFICE23 23 RABIN Dave, please. Rabin's office can only be described as a disaster area. The desk is cluttered with weeks, perhaps months or even years of paperwork that could never conceivably be sorted out. Above his desk is a bulletin board. It is a breathtaking catastrophe of papers, wanted posters, rap-sheets, memos and + post-its. This is in the neighborhood of decades. Rabin is a man with a system so cryptic, so far beyond thecomprehension of others, he himself is most likely baffled by it. RABIN Even if I was to let you talk to him, hewon't talk to you. He's paranoid about being recorded and he knows the interrogation rooms are wired. KUJAN This won't be an' interrogation, just a... friendly chat to kill time. RABIN (enunciating) He won't go into the interrogation room. KUJAN Someplace else, then. RAB IN Where? Kujan looks around Rabin's messy office. RABIN No, no, no, no, no.33. KUJAN If it was a dope deal, where's the dope, if it was a hit, who called it in? RABIN And I am sure you have a host of wildtheories to answer these questions. KUJAN You know damn well what I think. YELLOW 06/11/94 RABIN That's crazy, Dave and it doesn't matter.He has total immunity and his story checks out. He doesn't know what you want to know. KUJAN I don't think he does. Not exactly, but there's a lot more to his story. I want to know why twenty-seven men died on thatpier for what looks to be ninety-one million dollars worth of dope that wasn't there. Above all, I want to be sure thatDean Keaton is dead. RABI +N He's dead. KUJAN Two hours. Just until he makes bail. RABIN They're all dead. No matter how tough you r. say this Keaton was, no one on that boat could've made it out alive. PINK 06/07/9434.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOSPITAL - DAY24 24 A door marked INTENSIVE CARE. The door BURSTS OPEN. SUDDENLY, the hallway is a flurry of activity. DOCTOR LISA PLUMBER, age fifty, walks quickly beside JACK BAER. Baer walks with all of the determination of a battalion of Chinese infantry. DOCTOR RIDGLY WALTERS, a young intern in his late twenties rushes up to them. PLUMBER Ridgly, this is Special Agent Jack Baer from the F.B.I. Agent Baer, this isDoctor Ridgly Waiters. RIDGLY Nice to meet you. BAER Is he talking? RIDGLY He regained consciousness less than an hour ago. He spoke - not English - then he lapsed. BAER Hungarian? YELLOW 06/11/94 RIDGLY I don't BAER It was Hungarian. Most of them wereHungarians. Any fluent Hungarians on your staff?35. RIDGLY We have a Turkish audiologist. Ridgly opens a door and Baer barrels through.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOSPITAL ROOM25 25 (<< .. DENOTES LINES SPOKEN IN HUNGARIAN)Baer comes to an abrupt halt at the foot of a bed surrounded by a massive tangle of medical equipment. In the center of itall is the as yet unnamed ARKOSH KOVASH, mid-thirties. His body is nearly mummified in bandages and plaster from waist to chin. BOLD IS OVERLAPPED: KOVASH <> BAER Will he die? PLUMBER There's a chance. Baer walks over to Rovash and kneels down on the bed beside him. He looks closely at his battered and scalded face. He listens to him far a moment. Kovash goes on incessantly. KOVASH <>36. YELLOW 06/11/94 Baer pulls a cellular phone out of his jacket and dials. BAER Call hospital security and put a man on the door until the police get here. KOVASH <> BLUE 06/01/94Ridgly runs out of the room. Kovash babbles louder and louder, trying to get Baer's attention. Baer sticks a finger in one ear to block him out and hear the phone. PLUMBER Is he dangerous? BAER Yes. Someone picks up on the other end of the phone. BAER Joel, it's Baer. I'm down at L.A. county. The guy they pulled out of the harbor isARKOSH Kovash... Yes, I'm sure... No, he's all fucked up... What? I can't hear you.37. (to Arkosh) Shut up, Hugo, I'm on the phone. (into Phone) Yes... No... Not until I put someone on him. Listen, I need you to send me someone who can speak Hungarian. He'sawake and talking like a Thai hooker... How should I know? Get me someone who can talk to him - Baer is suddenly distracted by something Kovash has said. In the middle of a long string of unintelligible dialect, he has spouted two words that have gotten Baer's attention. He turns and looks down at the tattered man in the bed. Kovash realizes Baer is listening and says the two wordsagain. KOVASH Keyser - Soze. BAER What? He waves his hand, gesturing for Kovash to say it again. KOVASH Keyser - Soze. BAER No shit? (into Phone) Joel, call Dan Metzheiser over at Justice and find Dave Kujan from Customs. YELLOW 06/11/94",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HALLWAY - POLICE STATION26 26 Rabin walks out of a small room. Behind him, we catch a glimpse of a workroom with a bench covered with wires. Kujan comes out a moment later, gently fixing his tie.38. Rabin opens the door to his office and Kujan enters. Rabin follows, looking up and down the hall before closing the door behind them. As the door closes we can just make out the back of Verbal's head. He is seated in Rabin's office, smoking a cigarette.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RABIN'S OFFICE27 27 Kujan and Rabin sit down across from Verbal.YELLOW 06/11/94 KUJAN (exasperated) Verbal, you know we're trying to help you. VERBAL Sure. And I appreciate that. And I want to help you, Agent Kujan. I like cops. I would have liked to have been a Fedmyself but my C.P. was - KUJAN Verbal, I know you know something. I know you're not telling us everything. VERBAL I told the D.A. everything I know.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. WORKSHOP28 28 Rabin stands over LOUIS, a messy looking technician at his workbench in a room full of electronic equipment. He adjusts several dials on a receiver until the voices of Kujan andVerbal come clearly through a tinny speaker on the wall. Rabin reaches over for a nearby pot of coffee. KUJAN (VOICE) I know you liked Keaton I know you thinkhe was a good man.39. VERBAL (VOICE) I know he was good. KUJAN (VOICE) He was a corrupt cop, Verbal.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RABIN'S OFFICE29 29 VERBAL Sure. Fifteen years ago, but he was agood thief Anyway, the cops wouldn't let him go legit. KUJAN Keaton was a piece of shit. VERBAL You trying to get a rise out of me, Agent Kujan? YELLOW 06/11/94 KUJAN I just want to hear your story. YELLOW 06/11/94 VERBAL It's right here. He taps a finger on the stack of paper that Kujan brought in. Kujan picks it up and thumbs through it. KUJAN According to your statement you are ashort-con operator. Run of the mill seams. Everything you do, you learned from somebody else. VERBAL That's been suppressed. Anything in there is inadmissible.40. KUJAN Oh, I know. Sweet deal you have. Total immunity. VERBAL (laughing) Well I do have the weapons charge. I'm looking at six whole months hard time. KUJAN (smiling) You know a dealer named Ruby Deemer, Verbal? VERBAL You know a religious guy named John Paul? KUJAN You know Ruby is in Attica? VERBAL He didn't have my lawyer. KUJAN I know Ruby. He's very big on respect.Likes me very much. Verbal sees this getting to something. His smiles fades. KUJAN Now I know your testimony was sealed. Ruby is well connected. He still haspeople running errands for him. What do you think he'd say if he found out you dropped his name to the D.A.? SCRIPT DATE 5/25/94 VERBAL There's nothing in there about Ruby. KUJAN I'11 be sure to mention that to him.41. Verbal is not smiling anymore. He stares at Kujan with utter contempt, knowing he is being shafted. KUJAN The first thing I learned on the job, know what it was? How to spot a murderer.Let's say you arrest three guys for the same killing. Put them all in jail overnight. The next morning, whoever issleeping is your man. If you're guilty, you know you're caught, you get some rest - let your guard down, you follow? VERBAL No. KUJAN I'11 get right to the po",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int. I'm smarter than you. I'11 find out what I want toknow and I'11 get it from you whether you like it or not. VERBAL I'm not a rat. Kujan puts his hand on the transcript of Verbal's confession. Rabin walks in with a cup of coffee. Verbal takes it with his good hand and sips it with a relish. VERBAL Ahhh. Back when I was picking beans in Guatemala we used to make fresh coffee. Right off the trees I mean. That was good. This is shit, but hey... RAB IN Can we get started again? KUJAN Now what happened after the line-up? Verbal sneers at Kujan, unable to change the subject.42. BLUE 06/01/94",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. POLICE STATION - NIGHT - NEW YORK - SIX WEEKS PRIOR30 30 Keaton stops at the top of the front steps of the police station and lights a cigarette. Edie comes out behind him, fuming mad. EDIE ...and the desk Sergeant is actuallytrying to tell me he can't release you? Can you believe that? You weren't even charged. New York police - Jesus. I wantto take pictures of your face to bring to the D.A. first thing in the morning. KEATON Just forget about it. He looks across the street and sees Fenster and McManus talking by a newsstand. McManus is thumbing through magazines. EDIE Absolutely not. Keaton looks to his right and sees Hockney trying to hail a cab. EDIE I'11 have this thing in front of a grand jury by Monday. KEATON Edie, please. I don't want to hear this right now. What did Renault and Fortier say? EDIE They want more time to think about investing.43. KEATON Goddamnit. EDIE They just said they wanted time. KEATON Time for what, Edie? Time to look into mea little more, that's what. No matter how well you cover my tracks now, they'll find out who I am. SCRIPT DATE 5/25/94 EDIE Give me some credit. I got you this far, let's go to the grand jury. This is never going to stop if we - KEATON No. It's never going to stop, period. It won't take more than a week before every investor in this city is walking awayfrom us. It's finished. I'm finished. Just then, Verbal bumps into him on his way out the door. He excuses himself and hobbles down the steps, oblivious to who he has bumped into as he tries to navigate the stairs. EDIE Don't give up on me now, Dean. KEATON They'll never stop. EDIE I love you. KEATON (to himself) They ruined me tonight.44. EDIE Dean, I love you. Do you hear me? Verbal gets to the sidewalk and stops. He turns, realizing it is Keaton on the steps. EDIE Let's just go to my place. We'll worryabout this tomorrow. Keaton and Verbal look at one another for a moment. Keaton then looks over to the newsstand and sees Fenster looking at him. KEATON Huh? McManus notices Fenster and glances up from his magazine to see what he is looking at. EDIE Come home with me, please. Dean? SCRIPT DATE 5/25/94Keaton looks at Hockney who has one foot in a cab. He is looking at Fenster and McManus who are looking at Keaton. This makes Hockney look up at Keaton as well. SUDDENLY, Edie tunes in to what is going on. She notices the others on the street. She reaches over and takes Keaton bythe arm, pulling gently. She glares at the others. EDIE Come home, Dean. KEATON (distant) Alright. Verbal looks at everyone else from where he stands on the street.45. Fenster, McManus and Hockney all look at him and then at each other. It is a strange moment of unspoken understanding. All eyes finally turn to Keaton, high on the front steps of the police station as he walks away with Edie.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HALLWAY - DAY31 31 Verbal stands in front of an apartment door. He hesitates for a long moment before he knocks. After a moment, the door opens and Keaton stands on the other side of it. He is wearing a bathrobe and smoking a cigarette. He looks at Verbal without any expression whatsoever. KEATON What are you doing here'! How did youfind me? VERBAL I just asked one of the detectives downtown. He seemed pretty happy to tellme. Keaton curses under his breath and motions for Verbal to come in.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. EDIE'S APARTMENT32 32 Verbal walks in and sits down on the couch, watching Keaton cautiously. He looks around the large apartment, beautifullyfurnished and decorated. SCRIPT DATE 5/25/94Edie walks into the room in a man's button-down shirt and sweat pants. EDIE Dean, who was at the -- She stops when she sees Verbal. Verbal stands and smiles nervously.46. VERBAL How do you do? KEATON Verb - Roger, this is Edie Finneran. Edie, this is Roger Kint, he was at -- EDIE (cold) I know who he is. VERBAL I hope I didn't disturb you. EDIE I hope so, too, Mr. K",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int. Can I get you something to drink? VERBAL A glass of water would be nice. Edie shoots a look at Keaton on her way out of the room. Keaton tries to hush his voice despite his anger. KEATON What the hell do you want? VERBAL I wanted to talk to you. The other guys - KEATON I did you a favor by standing up for you last night, but don't think we're friends. I'm sorry, but I have otherthings - VERBAL They're gonna do a job. Three million dollars, maybe more. Keaton is speechless. Verbal sits on the couch again.47. SCRIPT DATE 5/25/94 VERBAL They sent me to offer you a cut. We could use a fifth man - a driver - That's all you'll do. Edie walks in with a glass of ice water and hands it to Verbal. VERBAL Thank you. Verbal drinks slowly. Edie stands over him, her face blank. It is an awkward moment. She deliberately makes Verbaluncomfortable. LONG PAUSE - FINALLY: EDIE So what is it you do, Mr. Kint? VERBAL Umm ... EDIE A hijacker like Dean, here? Or something more creative? KEATON That's enough, Edie. EDIE (angry) I don't know what you came here for, but we won't have any part of it. KEATON Edie, please. Keaton takes Edie by the arm and tries to guide her toward the other room. She pulls away, anger turning to rage.48. EDIE I've spent the last year of my life putting his back together again - I won't have you come in here and - What makesyou think - GET OUT. GET OUT OF MY HOME. HOW DARE YOU COME HERE? Keaton is pulling her now. She yanks her arm away and shoves him. YELLOW 06/11/94 EDIE Don't touch me. Just don't -- She turns and walks out of the room. Somewhere in the back of the apartment, a door slams. Keaton turns and glares at Verbal. Verbal cringes. KEATON Get out. VERBAL If you'll just let me - SUDDENLY, KEATON LUNGES. He grabs Verbal by the lapels and lifts him off the couch, moving him effortlessly across theroom and slamming him into the wall next to the front door. He opens it. VERBAL Don't hurt me. KEATON (seething) Hurt you, you sonofabitch? I could kill you. Keaton starts to shove Verbal out the door. VERBAL (Quickly) They're going to hit the Taxi Service.49. Keaton freezes. LONG PAUSE. VERBAL New York's Finest Taxi Service. KEATON They - That's bullshit. They don't operate anymore. VERBAL McManus has a friend in the Fourteenth Precinct. They're coming out for one job - Thursday. They're picking up a guysmuggling emeralds out of South America. Fenster and McManus have a fence set to take the stuff. YELLOW 06/11/94 KEATON What fence? Who? VERBAL Some guy in California. His name is Redfoot. KEATON Never heard of him. Keaton moves to throw Verbal out. Verbal grabs Keaton and holds tight. VERBAL You have to come. KEATON What's with you? What do you care whether I come or not? VERBAL They - They don't know me. You do. Theywon't take me unless you go. Look at me. I need this.50. KEATON Tough break. VERBAL Don't tell me you don't need this. Is this your place? Keaton is unable to answer. VERBAL They're never going to stop with us, you know that. This way we hit the cops where it hurts and get well in the mean time. Keaton lets Verbal go and steps back, thinking. VERBAL As clean as you could ever get, they'll never let you go now. SCRIPT DATE 5/25/94 VERBAL I'm not knocking you. You look likeyou've got a good little seam going with this lawyer - WHAM. Keaton punches Verbal in the stomach and drops him to one knee. Verbal coughs and tries to find his breath. KEATON You watch your mouth. VERBAL (Gasping) Okay, okay. You say it's the real thing?That's cool. Keaton reaches for Verbal. Verbal flinches. Keaton gently helps him up and guides him to the couch. They bath sit. Keaton reaches for a pack of cigarettes and lights one for each of them.51. KEATON I apologize. Verbal takes one and has a few drags, catching his breath and rubbing his stomach in pain. FINALLY: VERBAL I was out of line. KEATON You okay? VERBAL I'11 be alright. KEATON Well, I'm sorry. VERBAL Forget it. (beat) I'11 probably shit blood tonight. Keaton laughs. Verbal thinks about it for a moment and laughs with him. Keaton's laughter trails off. He thinks for a moment.SCRIPT DATE 5/25/94 KEATON How are they going to do it? VERBAL McManus wants to go in shooting. I saidno way. KEATON Fenster and Hockney?52. VERBAL They're pretty pissed off. They'll do anything. Now I got a way to do it without killing anyone: but like I said,they won't let me in without you. KEATON Three million? VERBAL Maybe more. KEATON No killing? VERBAL Not if we do it my way. LONG PAUSE KEATON (Llst in thought) I swore I'd live above myself. Verbal smiles, knowing he has him.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. KENNEDY AIRPORT - DAY33 33 VERBAL (V.O.) New York's finest Taxi Service was not your normal taxi service. It was a ringof corrupt cops in the N.Y.P.D. that ran a high-profit racket, driving smugglers and drug dealers all over the city. For afew hundred dollars a mile, you got your own black and white and a police escort. They even had their own business cards. OSCAR WHITEHEAD, a tall gray-haired man in his fifties comes out of the international terminal in a white linen suit. He holds a large suitcase in his right hand.53. BLUE 06/01/94 VERBAL (V.O.) After a while, somebody started asking questions and the taxi service shut down. Ever since then, Internal Affairs hadbeen waiting to catch them in the act. Oscar stands on the curb long enough to light a cigarette. After a moment, a POLICE CRUISER pulls up to him. He opens the back door and gets in. VERBAL (V.O.) And that was how we started. McManus came to us with the job; Fenster got the vans; Hockney supplied the hardware; 'I camethrough with how to do it so no one got killed - but Keaton - Keaton put on the finishing touch. A little ""Fuck you"" fromthe five of us to the N.Y.P.D. The car drives out of the airport. A VAN follows at a distance.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. POLICE CAR34 34 SERGEANT JIM STRAUSZ, a meaty, imposing looking man in his forties drives the car. Beside him is a thin, greasy lookingPATROLMAN, STEVE RIZZI. They are two drivers for New York's Finest Taxi Service. RIZZI How was the flight? Oscar hands Rizzi a thick envelope. OSCAR Will that get me to the Pierre? Rizzi counts the stack of hundred dollar bills in the envelope .54. RIZZI That'll get you to Cape God. The two men laugh. Strausz watches the road, expressionless.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. HIGHWAY35 35 The cruiser heads towards the heart of Manhattan.YELLOW 06/11/94,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. STREET - LATER36 36 The police car makes its way down a wide, abandoned street. A WHITE MINIVAN pulls out behind it and heads the same way.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. POLICE CAR37 37 Strausz looks in the rear-view mirror. The white minivan is flashing his high-beams. STRAUSZ What the... RIZZI LOOK OUT. Strausz looks in front of him. A green minivan swerves in front of them from out of nowhere. Strausz slams on thebrakes and skids to a halt. The white minivan rams them from behind. Strausz and Rizzi are stunned for a moment as two more vans screech up on either side of the cruiser, boxing it in withonly a few inches between them. The cruiser is surrounded on all sides.SUDDENLY, SHOTGUN BARRELS come through the open windows. They come to rest, one on Strausz's left temple one on Rizzi's right. RIZZI looks out of the corner of his eye. He sees the driver of the van next to him holding the shotgun with one hand. A stocking is over the driver's head.55. Strausz looks straight ahead. The minivan in front of them is missing a back window. Another man with a stocking on his head aims a sub-machine gun at them from inside. By the twisted right hand holding the front of the gun, we know it is Verbal. Strausz and Rizzi raise their hands without being asked.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. STREET38 38 The driver of the white van gets out with a gallon jug in one hand and a sledge hammer in the other. Moving like lightning, he jumps onto the roof of the police car SCRIPT DATE 5/25/94He stands on the front of the roof and swings the hammer down.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. POLICE CAR39 39 SMASHThe hammer punches three huge holes in the windshield and finally caves it in. Strausz and Rizzi are covered withpebbles of broken glass. Whitehead clutches his bag in the back seat. He trembles in terror. The man standing on the roof doubles over and sticks a gun in Strausz's face. His face hangs upside down and looks gruesome- covered from the mouth up in a stocking. By the voice, we know it is McManus. MCMANUS GIVE ME THE SHIT. STRAUSZ Give it up. Oscar hands the suitcase up front and Strausz passes it to McManus.56.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. FRONT VAN40 40 Through the front windshield of the front van we see Keaton at the wheel. Verbal is behind him leaning out the back window. Beneath Keaton's stocking mask we see he is trembling and sweating - sickened by what he is doing. He glances up at the rear-view mirror and looks at the scene outside. He looks down at the floor in shame, shaking his head.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. POLICE CAR41 41 McMANUS The money. Strausz looks at Rizzi. MCMAMJS THE MONEY. LET'S HAVE IT. Rizzi hands the money through the remains of the windshield.YELLOW 06/11/94McManus takes the money and stuffs it in his jacket. He steps back and takes the cap off of the gallon jug. He quickly pours some kind of liquid all over the roof of the car. STRAUSZ Do you know who I am? A hand reaches into the driver's side window and rips Strausz's badge off of his shirt. Strausz dares to turn his head right at the shotgun pointing at him through the window. On the other end is a masked and smiling Todd Hockney. HOCKNEY We do now, Jerk-off. McManus lights a pack of matches and drops them on the roof of the car as he jumps off. THE LIQUID IGNITES, the roof of the car is instantly in flames.57. Strausz and Rizzi attempt to bail out, but the vans are too close for them to open the doors. The vans pull away. Strausz and Rizzi escape from the car. Oscar is trapped inside, SCREAMING. Strausz and Rizzi stop, each expecting theother to go let Oscar out.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. STREET - LATER42 42 The scene is swarming with fresh police cars. Strausz and Rizzi are fielding questions from a dozen other cops. Photographers are everywhere. VERBAL (V.O.) The papers got Keaton's call that day andwere on the scene before the cops were. Strausz and Rizzi were indicted three days later. Within a few weeks, fiftymore cops went down with them. It was beautiful. Everybody got it right in the ass, from the chief on down. YELLOW 06/11/94",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. GARAGE - NIGHT43 43 Hockney, Fenster, McManus and Verbal are all laughing in a secluded garage. They are still in their black clothes from the robbery. Hockney is throwing everyone a can of beer. Keaton sits off by himself. He watches the others, unable to join in the festivities. The others sit around a cheap card table. It is covered with emeralds. Dozens of them. Everyone is in awe. McManus There's more than I thought. HOCKNEY When does the fence come? McMANUSRedfoot? He never comes to see me. I have to go see him.58. VERBAL In California? MCMANUS Yeah. It'll take a few days. Me and Fenster HOCKNEY Hold the fuckin' phone. You and Fenster? No, no, no. MCMANUS Guys, come on. HOCKNEY I'm sure you can understand my hesitation. FENSTER Then who goes? HOCKNEY We all go. How about it, Keaton? All eyes turn to Keaton. He comes out of his trance. KEATON We need to lay low for a while. YELLOW 06/11/94 MCMANUS Fine with me. PAUSEEveryone looks at each other, their moment of distrust blowing over. All eyes drift back to the emeralds on the table. Hockney begins to snicker, then McManus, then Fenster. Verbal joins in at last. McManus grabs Verbal and hugs him, shakinghim violently.59. MCMANUS My boy with the plan. SUDDENLY, everyone yells and pours beer over Verbal's head. He laughs as he is drenched in white foam, nearly choking as the others chant his name. Keaton watches from across the room, trying to smile in vain.SCENE DELETED44 44",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. WAITING ROOM - LAW OFFICE - DAY45 45 Keaton and Verbal sit side by side on a sofa. A sign on the door behind them reads: MONTGOMERY and LaGUARDIA - ATTORNEYS AT LAW. VERBAL We're going to miss the flight. KEATON We'll make it. VERBAL Don't do this. Send her a card - something. KEATON We'll make it. VOICE (O.S.) Ms. Finneran will be with you in a moment. Keaton stands and paces across the waiting room. He comes to a set of glass doors and looks through them. YELLOW 06/11/94Keaton realizes he is standing on a balcony overlooking a library below. He sees Edie working in the library with an old woman. The two women talk for a moment.60. SUDDENLY, Keaton turns with a start. Verbal is standing behind him. VERBAL We're gonna miss the plane. (beat) She'll understand. YELLOW 06/11/94Edie is smiling and laughing with the old woman. Keaton's face is marked with guilt and anguish. Keaton turns and walks out of the waiting room. Verbal takes one last glance at Edieand turns back to Keaton.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. LIBRARY46 46 Edie seems to sense something behind her. She turns and looks through the glass doors and up into the waiting room. NOTHING IS THERE. She goes back to chatting with the old woman.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RABIN'S OFFICE -DAY - LOS ANGELES - PRESENT47 47 KUJAN Heartwarming. Really, I feel weepy. VERBAL You wanted to know what happened after the line-up, I'm telling you. KUJAN Oh come on, Verbal. Who do you think you're talking to? You really expect me to believe he retired? For a woman?Bullshit. He was using her. VERBAL He loved her.61. KUJAN Sure. And I'm supposed to believe that hitting the Taxi Service wasn't his idea either. VERBAL That was all Fenster and McManus. KUJAN Come on. Keaton was a cop for four years. Who else would know the Taxi Service PINK 06/07/94 KUJAN Better? That job had his name all over it. VERBAL You keep trying to lay this whole ride ont Keaton. It wasn't like that. Sure he knew, but Edie had him all turned around. r I'm telling you straight, I swear. KUJAN Let me tell you something. I know Dean Keaton. I've been investigating him for three years. The guy I know is a cold-+ blooded bastard. L.A.P.D. indicted him on three counts of murder before he was kicked off the force, so don't sell methe hooker with the heart of gold. VERBAL You got him wrong. KUJAN Do I? Keaton was under indictment a totalof seven times when he was on the force. In every case, witnesses either reversed their testimony to the grand jury or diedbefore they could testify.62. When they finally did nail him for fraud, he spent five years in Sing Sing. He killed three prisoners inside - one witha knife in the tailbone while he strangled him to death. Of course I can't prove this but I can't prove the bestpart either. Kujan pauses to drink some coffee. KUJAN Dean Keaton was dead. Did you know that? r He died in a fire two years ago duringan investigation into the murder of a witness who was going to testify against him. Two people saw Keaton enter awarehouse he owned just before it went up. They said he had gone in to check a leaking gas main. It blew up and took allof Dean Keaton with it. Within three months of the explosion, the two witnesses were dead, one killed himselfin his car and the other fell down an open elevator shaft. PINK 06/07/94SCENE DELETED48 48 SCENE DELETED/DIALOGUE MOVED - BOTTOM SCENE 4749 49 PINK 06/07/94",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. WORKSHOP50 50 Rabin and Louis look at one another as they listen. KUJAN (on speaker) Six weeks ago I get an anonymous call telling me I can find Keaton eating at Mondino's with his lawyer, and there heis.63. Now because he never profited from his alleged death and because someone else was convicted for the murder we tried topin on Keaton, we had to let him go.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RABIN'S OFFICE51 51 KUJAN He was dead just long enough for a murder rap to blow over, then he had lunch. SCRIPT DATE 5/25/94 VERBAL I don't know about that. KUJAN I don't think you do. But you say you saw Keaton die. I think you're covering hisass and he's still out there somewhere. I think he was behind that whole circus in the harbor. My bet is he's using youbecause you're stupid and you think he's your friend. You tell me he's dead, so be it. I want to make sure he's dead beforeI go back to New York. VERBAL (Blurting) He wasn't behind anything. It was thelawyer. KUJAN What lawyer? PAUSE KUJAN What lawyer, Verbal? Verbal stammers for a moment, looking around wildly.64. VERBAL Back when I was in that barber shop quartet in Skokie, Illinois I used to have. Kujan grabs Verbal's shirt and yanks him half out of his seat. KUJAN You think I don't know you held out on the D.A.? What did you leave out of thattestimony? I can be on the phone to Ruby Deemer in ten minutes. VERBAL The D.A. gave me immunity. KUJAN NOT FROM ME, YOU PIECE OF SHIT. THERE IS NO IMMUNITY FROM ME. You atone with me or the world you live in becomes the hellyou fear in the back of your tiny mind. Every criminal I have put in prison, YELLOW 06/11/94 KUJAN every cop who owes me a favor, everycreeping scumbag that works the street for a living, will know the name of Verbal K",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int. You'll be the lowest sort ofrat, the prince of snitches, the loudest cooing stool pigeon that ever grabbed his ankles for the man. Now you talk to me,or that precious immunity they've seen so fit to grant you won't be worth the paper the contract put out on your life isprinted on. Verbal looks at Kujan with utter contempt. VERBAL There was a lawyer. Kobayashi.65. KUJAN Is he the one that killed Keaton? VERBAL No. But I'm sure Keaton's dead. KUJAN Convince me. Tell me every last detail. SCENE DELETED52 52",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOSPITAL - DAY53 53 (<< >> DENOTES LINES SPOKEN IN HUNGARIAN)Kovash's room is now filled with people. Jack Baer stands next to DANIEL METZHEISER, a balding man in his forties. Next to him is Doctor Plumber. Across from her is Ridgly Waiters. Sitting beside the bed is TRACY FITZGERALD, a casuallydressed woman in her late twenties. She holds a 15x20 inch drawing pad on her lap. Police fill the hall. People are talking loudly outside. LIONEL BODI, a cop in his mid-twenties pushes his way in. BAER Are you the translator? BODI Patrolman Lionel Bodi, sir. YELLOW 06/11/94 PLUMBER Agent Beer, this is getting out of hand. BAER I'11 see to it we're gone before he blows his porch light, Doctor. Baer gestures toTracy.66. BAER (to Bodi) This is Tracy Fitzgerald. She's a composite sketch artist from county. The young couple smile at one another nervously. BODI Hi. TRACY Hi. METZHEISER (impatient) I've got a noon meeting, Baer. PLUMBER Agent Baer, please. BAER Everyone calm down. (to Bodi) Ask this man about the shoot-out in the harbor. BODI <> Kovash smiles with relief when he hears his own language. KOVASH <> BODI <> KOVASH <>67. YELLOW 06/11/94 BODI He says they were buying It doesn't make sense. I'm sorry, I'm a little rusty. They were there to buy something. BAER Dope, we know. KOVASH <> BODI Not dope. Something else. Some what?.. He doesn't know what they were buying. Butnot dope... people. KOVASH <> YELLOW 06/11/94 METZHEISER Your witness is whacked, Baer. BODI He says he'll tell us everything he knows if we protect him. .BAER Tell him fine. BODI <>68. KOVASH <> BODI No good. He needs guarantees. He says... his life is in danger... He has seen theDevil... looked him in the eye. METZHEISER I'11 be on my way. Baer grabs Metzheiser by the arm. BAER (to Bodi) Tell him to tell this man what he was telling me before. Who is the Devil? Who did he see? BODI <> KOVASH Keyser Soze He was in the harbor shooting everyone in sight.>> Metzheiser is suddenly interested. BODI He says he saw him in the harbor. He was shooting... Killing... Killing many men. METZHEISER Did he say Keyser Soze? He saw Keyser Soze?69. YELLOW 06/11/94 BODI He says he saw him in the harbor. He was shooting... Killing... Killing many men. METZHEISER Did he say Keyser Soze? He saw Keyser Soze. KOVASH <> BODI He says he knows his face. He sees it when he closes his eyes. YELLOW 06/11/94 METZHEISER Ask him what this Devil looks like. BAER (to Tracy) Ready? Tracy holds up her pad and pencil. She nods.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. LOS ANGELES SKYLINE - DAY - FIVE WEEKS PRIOR54 54 VERBAL (V.O.) McManus' fence was this guy namedRedfoot. He had a good reputation around L.A. Seemed like a good guy - Looked like a cowhide full of thumbtacks.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. FRIENDSHIP BELL - NIGHT55 55 All five guys stand in a group. It is utterly quiet. An old but well kept Cadillac creeps into the lot from the far end and idles up to them. The windows are tinted too much to see in. The car passes within a few feet of them and drives on.70. A moment later, a chrome and leather monster of a Harley Davidson pulls into the lot. The rider is dressed in an almost comical array of leather, silver and suede. He waves to the Caddy as it parks a few yards from Keaton and the others. It sits quietly, almost menacing. As he gets closer, we can see he is wearing one black boot and one red. Keaton is still looking at them when the bike pulls up to them and stops. REDFOOT and McManus shake hands. REDFOOT How've you been? MCMANUS Good. You? REDFOOT Alright. How's it going, Fenster? FENSTER Getting by. SCRIPT DATE 5/25/94 REDFOOT You got it? McManus holds up a briefcase.Redfoot takes it and gets off the bike. He walks over to the Caddy. The door of the Caddy opens. Redfoot hands the case toSomeone inside that we cannot see. The door closes. KEATON (whispering) Snazzy dresser this guy. A moment later, the door of the Caddy opens again. Someone hands Redfoot a different briefcase and he walks back over to McManus. He hands him the case.71. McManus hands the case back to Hockney. Hockney opens it, revealing the stacks of money inside. REDFOOT You must be Keaton. MCMANUS Jesus, I'm sorry. Redfoot, this is DeanKeaton, that's Todd Hockney, and that's Verbal K",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int. REDFOOT (to Verbal) The man with the plan. Verbal smiles. REDFOOT Are you guys interested in more work? McManus moves to answer, but Keaton cuts him off. KEATON We're on vacation. REDFOOT I've got a ton of work and no good people. MCMANUS What's the job? SCRIPT DATE 5/25/94Keaton shoots McManus a foul look. McManus pretends not to notice. REDFOOT A jeweler out of Texas named Saul. He rents a suite at a hotel downtown anddoes free appraisals. Buys whatever he can. Word is he moves with a lot of cash.72. I'11 take the merchandise, you keep the green. HOCKNEY Security? REDFOOT Two bodyguards. Pretty good. MCMANUS Give us time to check it out? REDFOOT I'd expect nothing less. MCMANUS We'll call you. REDFOOT Take your time. Enjoy L.A. KEATON A friend of mine in New York tells me youknew Spook Hollis. REDFOOT I hear you did time with old Spook. Yeah, he was a good egg. I used to run a lot ofdope for him. Fuckin' shame he got shivved. KEATON I shivved him. Now McManus is shooting the angry look at Keaton. KEATON Better you hear it from me now than somebody else later. REDFOOT Business or personal?73. SCRIPT DATE 5/25/94 KEATON A little of both. REDFOOT Ain't it a crime? Call if you're interested. Redfoot fires up his bike and takes off with the Caddy close behind. MCMANUS (to Keaton) What's your fucking problem? KEATON One job, that was the deal. MCMANUS Take it as it comes, brother. KEATON This is bullshit. McManus laughs and walks away. Fenster and Hockney follow. Verbal turns to Keaton. VERBAL What is it Keaton? KEATON (distant) Something - I don't know. (shaking himself) I ever tell you about the restaurant Iwanted to open? Keaton walks off. Verbal follows him in confusion. VERBAL (V.O.) L.A., was good for about two hours. We were from New York.74. There's no place to eat after one; you can't get a pizza that doesn't taste like a fried fruit-bat, and the broads don'twant to know you if you don't look like a broad. Within a few days the last of us was ready to go back to N.Y., but Keatonwouldn't have it, so he really didn't have a choice. We went to work. YELLOW 06/11/94",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARKING GARAGE - NIGHT56 56 McManus walks along a line of cars. He comes across a black Mercedes and stops. He looks down at the license plate andwalks over to the next car, a green Honda. He pulls a slim- jim out of his jacket and pops the lock an the Honda. He reaches in and opens the hood. He walks around and sticks hishead in the engine.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. VAN57 57 Verbal sits behind the wheel. Keaton is beside him. Hockney and Fenster are in the back. They all watch McManus from where they are parked a few dozen yards away.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. PARKING GARAGE58 58 DING-DINGThe elevator bell sounds at the far end of the garage. The doors open. Two men in ill-fitting suits get out and look around cautiously. The first is TUCCI, a big bellied, white haired menace. The other is HIGHAM, lean and bad skinned.They are bodyguards and give it away by their every careful move. They turn back to the elevator and motion to someone inside.Out walks SAUL BERG, a slightly overweight man in his forties with an open collar silk shirt and a thick gold chain on hishairy chest. He carries a LARGE ALUMINUM BRIEFCASE.75. He lets his guards do the worrying. He walks straight to his car. Saul passes McManus under the hood of the Honda. He takes out his keys and pushes a button on his key chain. The Mercedes beeps three times and tells Saul his alarm is off. Tucci keeps an eye on McManus. Higham watches Saul.McManus pretends to tinker with the car's engine. He has put a pistol just inside the grill and keeps it within reach. The van on the other side of the garage starts and pulls out of the spot. It cruises over toward the Mercedes. Tucci sees the van. He and Higham are suddenly busy trying to keep track. They hear laughing behind them and turn around. YELLOW 06/11/94FENSTER and HOCKNEY are walking towards them. They are sporting mustaches and sunglasses in addition to matching suits, each with loud plaid sport coats, decades out of style. Saul glances at Tucci and Higham. HIGHAM Just get in the car Saul. Under the hood of the Honda and out of sight, McManus pulls on a black ski mask. The van gets closer. HOCKNEY I get out of the car, and man if thething wasn't wrecked. And I see this broad in the back seat with nothing on. Saul gets in the car quickly but calmly as Fenster and Hockney laugh and talk louder. They look drunk - The desiredeffect. HOCKNEY I'm laughing so hard I can't breathe -76. Tucci and Higham try to take it all in stride. Saul's reverse lights come on and he begins to back out of the spot. HOCKNEY ...And the fat guy comes out of the car with his pants on backwards and says - SUDDENLY, the van revs and screeches to a halt behind Saul's Mercedes, blocking him in. Hockney and Fenster drop the drunk act and snap to. They both pull out guns and start screaming. HOCKNEY DON'T MOVE, YOU FUCKERS. FENSTER RIGHT THERE. FREEZE. McManus comes up from under the hood.Tucci and Higham throw their hands in the air. Hockney and Fenster grab them and reach into their belts to get their guns. Keaton jumps out of the van and runs up to Saul's car, his face covered in a ski mask. He yanks on the door handle but it is locked. Saul sits in terror behind the wheel. Keaton pulls out a pistol and smashes the window with it. YELLOW 06/11/94 KEATON Give me the case. Saul reaches over for the case. Keaton trains the gun on him.SUDDENLY, Saul comes up with a pistol and points it at Keaton. Keaton sidesteps and grabs his wrist. The gun goes off into the fender of the Honda. Hockney and Fenster both look over at the sound of the gun.Tucci and Higham seize the opportunity. Tucci grabs Hockney, Higham grabs Fenster. The four men grapple for the guns.77. Fenster's gun falls to the floor. McManus picks it up. He trains a pistol on each bodyguard and takes a breath. They are some ten feet apart and moving erratically. Hockney and Fenster constantly fall in the line of fire. McManus walks around the four men, keeping a pistol trained on each of the guards. Finally he comes to an angle where they are all in front of him. One guard is a few feet away, the other is ten feet past him. McMANUS' P.O.V.The closer of the two moves in and out of the sights of the pistol in McManus' right hand, the one farther away does the same with the left. Verbal gets out of the van and moves towards them to help.BOOMBoth of McManus' guns go off like one shot. Tucci and Higham collapse, each with a bullet in his head PAUSEThe only sound is Saul grappling with Keaton for the gun. His arm is halfway out the window. His elbow rests in the door frame. Keaton cannot get the gun out of his hand. Finally, he pushes down with all his weight. Saul's elbow breaks backwards onthe door frame. He screams in agony. The gun falls from his hand. BLUE 06/01/94All five of the men look at each other for an impossibly long moment. The confusion is only aggravated by Saul's screaming. SLOWLY, Keaton raises his pistol and aims it at Saul. His hand trembles, his eyes squint to near slits. His finger tenses and slacks off over and over again on the trigger. BOOM78. VERBAL SHOOTS SAUL. Keaton looks at him in surprise. Verbal trembles more than he does. The garage is silent. HOCKNEY What the hell? MCMANUS Bad day. Fuck it. DING-DINGThe elevator light comes on. All five men look. KEATON Move. Keaton reaches into the car and grabs Saul's case. Everyone else piles into the van. Keaton gets in as Verbal is driving for the exit.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. VAN59 59 The mood in the van is grim. Everyone is silent. Keaton pops the clasps on the case and opens it. KEATON Son of a bitch. Everyone looks in the case. It is filled with cash on one side. The other side is filled with clear plastic bags ofWHITE POWDER.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PARKING LOT - NIGHT60 60 Keaton and the others stand in silhouette in front of the lights of an oncoming car in the distance. We can make out McManus loading a gun. KEATON What are you doing?79. YELLOW 06/11/94 MCMANUS What does it look like? I'm going to kill him. KEATON We did it your way. Now I'11 deal withhim. MCMANUS You gonna kill him? KEATON I'm going to deal with him. The car, Redfoot's escort Caddy, is now in front of them. The horn lets out three short blasts. Redfoot comes around from behind the Caddy on his motorcycle. He gets off the bike, trying to hide a faint smile. McManus throws Saul's case on the ground in front of him. MCMANUS What the fuck is this, Redfoot? REDFOOT Get a grip. I didn't know. KEATON You didn't know. YELLOW 06/11/94 REDFOOT The job got thrown to me by this lawyer. KEATON Who is he? REDFOOT Some Limey. He's a middle-man for somebody. He doesn't say and I don't ask.80. KEATON We want to meet him. REDFOOT He wants to meet you. He called last night and asked me to set it up. What doI tell him' KEATON Tell him we'll meet. MCMANUS If you're lying, Redfoot... REDFOOT McManus, you're a real bad-ass, but get off my tip. McManus lunges for Redfoot.The Caddy doors instantly pop open and rifle barrels come into view from within. Fenster and Hockney draw guns and aim at the Caddy. Keaton and Verbal grab McManus and hold him back. Redfoot gets on his Harley, smiling defiantly. REDFOOT Real shame about Saul getting whacked.Lot's of cops looking for the guys that did it. I'm sure they'll get around to asking me. He starts his bike.YELLOW 06/11/94 MCMANUS Fuck you. Redfoot drives off..The Caddy waits until he is completely out of sight before following.81.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RABIN'S OFFICE - DAY - PRESENT61 61 KUJAN So this lawyer... VERBAL Kobayashi. KUJAN Came from Redfoot. VERBAL Right. KUJAN And why leave this out when you talked to the D.A.? A KNOCK AT THE DOORRabin sticks his head in. RABIN Someone to see you, Agent Kujan. Kujan steps out into the hall, shutting the door behind him.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. OUTSIDE RABIN'S OFFICE62 62 Kujan smiles instantly, recognizing the man standing with Rabin. KUJAN Jack. What are you doing here? BAER I've been looking all over for you. You still after the coke that walked out of that blood bath in the harbor? KUJAN Yeah.82. BAER You can stop looking. There was no coke. I've been in L.A. county with a guy they PINK 06/07/94 BAER pulled out of a drainpipe in San Pedroyesterday after the shoot-out. He came to this morning and started talking. He was part of a Hungarian mob there to do adeal with a bunch of goats from Argentina. He says it was definitely not a dope deal. KUJAN There was ninety-one million - BAER We know, but our man says no way on the dope. This Hungarian tells me the wholebunch was pulling stumps for Turkey the next' day. They had no time to negotiate that kind of product and no means to moveit. KUJAN What was the money for? BAER He didn't know. No one doing the dealknew except a few key people. This guy says they were real hush about it. Whatever it was it was highly sensitive. KUJAN I don't get it. BAER They tell me you got the cripple from New York in there. He mention Keyser Soze?83. KUJAN Who? BAER Bear with me here...",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. RABIN'S OFFICE - LATER63 63 BOOM - The door bursts open. KUJAN Who is Keyser Soze? Verbal looks up in shock. He drops his cigarette and trembles at the mere mention of the name. YELLOW 06/11/94 VERBAL Ahhh fuck.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOLLYWOOD ATHLETIC CLUB - DAY - TWO WEEKS PRIOR64 64 Keaton stands while the rest sit and listen. KEATON So I need to know if anyone can think ofanybody. Somebody with power. Enough to possibly track us from New York. MCMANUS Look. We've been over it for an hour now.I say we pack up and run. Let's go back to New York. At least get out of L.A. SUDDENLY, The sound of a man clearing his throat. Everyone turns to the door behind them. MR. KOBAYASHI a tall, slim,well groomed man stands in the hall. He has a briefcase in his hand. He smiles politely. KOBAYASHI Mr. Keaton?84. Keaton stands back and lets him in. Kobayashi looks them over. KOBAYASHI I am Mr. Kobayashi. I've been asked by my employer to bring a proposal to yougentlemen. That must be Mr. Hockney. I recognize Mr. Fenster from his mug shot, as well as Mr. McManus. (to Verbal) I can only assume that you are Mr. K",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int. I believe you were the one who disposedof Saul. My employer sends his gratitude. A most unexpected benefit. Everyone looks at one another in shock that he would know this. KEATON What can we do for you? BLUE 06/01/94 KOBAYASHI My employer requires your services. One job. One day's work. Very dangerous. Idon't expect all of you to live, but those who do will have ninety-one million dollars to divide any way they see fit. KEATON Who's your boss? KOBAYASHI My employer wishes to remain anonymous. KEATON Don't jerk me off. We all know what thisis. You don't work with me if I work with you without knowing who I'm working for. Now let's cut the shit. Who's the man?85. KOBAYASHI I work for Keyser Sate. A strange look crosses Keaton's face. Skepticism, mockery and just a hint of fear. Hockney, McManus and Fenster all share similar looks. KEATON What is this? VERBAL Who's Keyser Soze? KOBAYASHI I am sure you've heard a number of talltales, myths and legends about Mr. Soze I can assure you gentlemen, most of them are true. VERBAL Who's Keyser Soze? KOBAYASHI Judging by the sudden change in mood, I am sure the rest of your associates cantell you, Mr. K",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int. I have come with an offer directly from Mr. Soze. An order actually. KEATON An order. BLUE 06/01/94 KOBAYASHI In nineteen-eighty one, Mr. Keaton, you participated in the hijacking of a truckin Buffalo, New York. The cargo was raw steel. Steel that belonged to Mr. Soze and was destined for Pakistan to be usedin a Nuclear reactor. A very profitable violation of U.N. Regulations.86. You had no way of knowing this, because the man shipping the steel was working for Mr. Sate without his knowledge. (beat) Mr. Fenster and Mr. McManus hijacked a twin-prop cargo flight earlier this yearout of Newark airport. The plane was carrying platinum and gold wiring. Also set for Pakistan. Kobayashi turns and points at Hockney. KOBAYASHI Two months ago, Mr. Hockney stole a truck carrying gun parts through Queens - Everyone looks at Hockney. He smiles shyly. It occurs to them all that he robbed the truck for which they were all arrestedin the first place. KOBAYASHI - guns allegedly set to be destroyed by the state of New York. They were to be""lost"" in a weigh station and routed to Belfast. Again, Mr. Sate using pawns who had no knowledge. (turning to Verbal) Which brings us to Mr. K",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int. Verbal crumbles under his stare. KOBAYASHI Nine months ago, one of Mr. Soze lessthan intelligent couriers was taken in a complicated confidence seam by a cripple. He was relieved of sixty-two thousanddollars. Now (to all of them) - It has taken us some time to find you.Our intention was to approach you after your apprehension in New York.87. BLUE 06/01/94 KEATON You set up the line-up. KOBAYASHI Mr. Soze made a few calls, yes. You were not to be released until I came to seeyou. It seems Mr. Keaton's attorney, Ms. Finneran, was a bit too effective in expediting his release. Holding the restof you became a moot po",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int. KEATON What about Redfoot? KOBAYASHI Mr. Redfoot knew nothing. Mr. Soze rarelyt works with the same people for very long, and they never know who they're working for. One cannot be betrayed ifone has no people. FENSTER So why tell us? KOBAYASHI Because you have stolen from Mr. Soze.That you did not know you stole from him is the only reason you are still alive, but he feels you owe him. You will repayyour debt. HOCKNEY Who is this guy? How do we know you work for Soze KOBAYASHI I don't think that is relevant, Mr. Hockney. The five of you are responsible for the murder of Saul Berg and hisbodyguards.88. Mr. Redfoot can attest to your involvement, and we can see to it that he will. He is not of your ""superior"" breed. MCMANUS This is a load of shit. KOBAYASHI The offer is this, gentlemen. Mr. Soze's primary interest, as I am sure you allknow, is narcotics. He's been - competing shall we say, with a group of YELLOW 06/11/94 KOBAYASHI Argentinians for several years. Competingwith Mr. Soze has taken its toll. These Argentinians are negotiating the sale of ninety-one million dollars in cocaine inthree days time. Needless to say, this purchase will revitalize the diminishing strength of their organization. Mr. Sozewants you to stop the deal. If you choose, you may wait until the buy. Whatever money changes hands is yours.The transaction will take place on a boat in San Pedro. Mr. Soze wants you to get to the boat and destroy the cocaine onboard. Then you are free of your obligation to Mr. Soze. KEATON Give me one good reason why I shouldn'tkill you right now. Kobayashi smiles and puts his briefcase on the table in front of him. KOBAYASHI A gift from Mr. Soze gentlemen. He turns and walks out of the room.89. Keaton walks over to the case and opens it. He reaches in and pulls out five thick manila envelopes, each marked in bold black letters. ""KEATON"", ""McMANUS"", ""HOCKNEY"", ""FENSTER"" and ""KINT"" Keaton pulls out the files, revealing a map underneath.Keaton hands each man his file. He opens his first. He pulls out a thick stack of papers and thumbs through them. KEATON Jesus Christ. Open them. All of the men open their files. Inside are mug shots of each man in his respective file as well as a printout of hiscriminal record. But there is more. HOCKNEY They know everything. MCMANUS This is my life in here. Everything I'vedone since I was eighteen. BLUE 06/01/94 FENSTER Everybody I ever worked with, did time with. HOCKNEY They fucking know everything. Keaton pulls out a large black and white photograph of himself and his lawyer EDIE FINNERAN. They are laughing arm in arm by a fountain in New York. He hides the photo from theothers. KEATON This is not right.90. FENSTER I don't know. Who was that guy that used to talk about Soze in New York? MCMANUS Bricks Marlin. FENSTER Yeah. He said he did jobs for him. Indirect stuff. Always five times more money than the job was worth. KEATON Come on. The guy is a pipe dream. This Kobayashi is using him for window dressing. FENSTER I don't know. This is bad. HOCKNEY It's bullshit. This guy could be L.A.P.D. I think it's a setup. FENSTER The way I hear it, Soze is some kind of butcher. No pity. KEATON There' is no Keyser Soze. Verbal thumbs through his file. A long list of names, numbers, addresses. It is a detailed portfolio of his entire criminal and personal life. He looks up at Keaton. BLUE 06/01/94 VERBAL Who is Keyser Soze",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RABIN'S OFFICE - DAY - PRESENT65 65 Kujan leans into Verbal's face. He hangs on his every word.91. VERBAL He is supposed to be Turkish. Some say his father was German. Nobody believed he was real. Nobody ever saw him or knewanybody that ever worked directly for him, but to hear Kobayashi tell it, anybody could have worked for Soze. Younever knew. That was his power. The greatest trick the Devil ever pulled was convincing the world he didn't exist. Onestory the guys told me - the story I believe - was from his days in Turkey. There was a petty gang of Hungarians thatwanted their own mob. They realized that to be in power you didn't need guns or money or even numbers. You just neededthe will to do what the other guy wouldn't. After a while they come to power, and then they come after Soze Hewas small time then, just running dope, they say... SCENE DELETED66 66",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. SOZE'S HOME - DAY67 67 Three of the Hungarians come bursting into Keyser Soze's + home. They grab his five children and round them up in thefront room. One of the men grabs his wife and back-hands her across the face. BLUE 06/01/94 VERBAL (V.O.) They come to his home in the afternoonlooking for his business. They find his wife and kids in the house and decide to wait for Sate.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. SOZE'S HOME - LATER68 68 The front door opens and in walks Keyser Sate. We are never allowed to see his face.92. Sate's wife lies in the corner, beaten and bruised. Her dress is tattered to shreds. She cannot look up at her husband. The three Hungarians stand to greet him. Two hold guns in their hands. The third holds a straight razor. He grabs Sozeyoungest boy and holds the razor to his throat. VERBAL (V.O.) He comes home to his wife raped and his children screaming. The Hungarians knewSoze was tough. Not to be trifled with. So they let him know they meant business. The Hungarian smiles. Soze's wife SCREAMS IN HORROR. The Hungarian holds up a BLOOD SOAKED RAZOR. SUDDENLY, he grabsanother child. A little girl no older than six. VERBAL (V.O.) They tell Soze they want his territory - all his business. Soze looks over the faces of his family... Then he showed these men of will what will really was. SUDDENLY, Soze pulls out a pistol and shoots the two men with guns. He turns and aims at the third man holding his child. The man threatens to cut the child's throat, slicing just enough to draw blood. SOZE FIRES.The stunned Hungarian watches the child fall from his arms. Sate turns the pistol on the next child, then the next and the n",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","ext. He kills his children one by one in front of theHungarian. PINK 06/07/94 VERBAL (V.O.) He tells him he would rather' see his family dead than live another day afterthis.93. SOZE walks over to his wife, crying and beaten on the floor and holds up her head. She gives him the strangest look. One of trust perhaps, saturated with fear and humiliation. He puts the gun between her eyes and fires. VERBAL (V.O.) He lets the last Hungarian go, and hegoes running. He waits until his wife and kids are in the ground and he goes after the rest of the mob. He kills their kids,he kills their wives, he kills their parents and their parents' friends. A dark and looming figure of a man walks in front of a wall of fire - a black shadow blurred by waves of heat. VERBAL (V.O.) He burns down the houses they live in and the stores they work in, he kills people that owe them money. And like that he wasgone. Underground. No one has ever seen him again. He becomes a myth, a spook story that criminals tell their kids atnight. If you rat on your pop, Keyser Sate will get you. And nobody really ever believes.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RABIN'S OFFICE - DAY69 69 KUJAN Do you believe in him, Verbal? VERBAL Keaton always said: ""I don't believe in God, but I'm afraid of him."" Well Ibelieve in God, and the only thing that scares me is Keyser SOZE.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. WORKSHOP70 70 Jack Baer and Rabin listen to Verbal on the speaker with one ear.94. RABIN You give this any weight, Agent Baer? PINK 06/07/94 BAER I can introduce you to Dan Metzheiser from Justice. He has a file on Sate inD.C. It's been a hobby of his for a few years. A lot of guys equate him to that reporter on the Incredible Hulk. RABIN Had you heard of him before? BAER On the street? A few times. Outside stuff. Somebody was working for a guy whowas working for a guy who got money through Keyser Soze. That kind of shit. Could be an old badge. A hex sign to keeppeople from fucking with you back when a name meant something. RAB IN But you're here. BAER Shit yeah. I got a guy trying to walk out of the hospital on d fried drumstick to get away from SOZE. I'11 run it up theflagpole.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RABIN'S OFFICE71 71 VERBAL I came clean. I told it like it happened on the boat. So what if I left out how Igot there? It's got so many holes in it, the D.A. would've told me to blow amnesty out my ass. So you got what you wantedout of me. Big fucking deal.95. KUJAN And this is why you never told the D.A. VERBAL You tell me, Agent Kujan. If I told you the Loch Ness Monster hired me to hit theharbor, what would you say? KUJAN Turn state's evidence. Take the stand on this and we'll hear it out. BLUE 06/01/94 VERBAL I've got immunity now. What can you possibly offer me? KUJAN If there is a Keyser Soze he'll be looking for you. VERBAL Where's your head, Agent Kujan? Where do you think the pressure's coming from?Keyser Soze - or whatever you want to call him - knows where I am right now. He's got the front burner under' your assto let me go so he can scoop me up ten minutes later. Immunity was just to deal with you assholes. I got a whole new problem when I post bail. KUJAN So why play into his hands? We can protect you. VERBAL Gee, thanks, Dave. Bang-up job so far. Extortion, coercion. You'll pardon me if I ask you to kiss my pucker.96. The same fuckers that rounded us up and sank us into this mess are telling me They'll bail me out? Fuck you. You think you can catch Keyser Soze? You think a guy like that comes this close to getting fingered and sticks his head out? If hecomes up for anything, it will be to get rid of me. (beat) After that, my guess is you'll never hear from him again.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HALLWAY OUTSIDE HOSPITAL ROOM - DAY72 72 Doctor Plumber watches from out in the hall. Kovash spits out a constant river of Hungarian while Boditries to keep up, relaying everything to Tracy Fitzgerald. She sketches frantically while Daniel Metzheiser looks on.The composite sketch of Keyser SOZE is taking form.BLUE 06/01/94(<< >> Denotes liners spoken in Hungarian.) BODI <> KOVASH <> BODI (To Tracy) The nose is sharper. Smaller too. (to Arkosh in Hung.) <> KOVASH <>97. BODI <> KOVASH <> BODI (to Tracy) He says the hair is longer and lighter. PINK 06/07/94",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BEACH - DAY73 73 Waves pound across a stone jetty. A MAN sits fishing while his young son, BRANDO strolls toward the open sea. He pokes at rocks and seaweed with a fishing pole. He glances down at Something wedged between the rocks beneath his feet.He pokes at it. He notes the checkered pattern of the fabric entwined with the twisted mess. It is the bloated carcass of THE MAN IN THE CHECKERED BATHROBE. BRANDO pokes it's eye with the fishing pole. It pops. SCENE DELETED/DIALOGUE MOVED74 74 PINK 06/07/94INT RABIN'S OFFICE75 75 VERBAL That was how I ended up in a barber shop quartet in Skokie, Illinois. KUJAN This is totally irrelevant. VERBAL Oh, but it's not. If I hadn't been nailed in Illinois for running a three cardmonte in between sets, I never would have took off for New York.98. I never would have met Keaton, see. That barber shop quartet was the reason for everything. KUJAN Can we just get back to Kobayashi? VERBAL The quartet is part of the bit about Kobayashi. The quartet was in my file,along with every other thing I had done since high school, see? Aliases, middle- men. They knew me better than I did. Theyknew all of us. Kujan looks at his watch. KUJAN You're stalling, Verbal. VERBAL Give a guy a break, huh? KUJAN What happened? Verbal slumps a bit. He realizes his stalling tactic has failed. VERBAL We woke up the next morning and Fensterwas gone. He couldn't handle the idea of slumming for SOZE. He left a note wishing us good luck and took a chunk of themoney we'd scraped together. SCRIPT DATE 5/25/94 KUJAN Then what?99. VERBAL McManus was furious. He was talking about tracking him down and ripping his heart out and all sorts of shit. That night wegot the call. KUJAN What call? VERBAL Kobayashi told us where we could findFenster.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BEACH - NIGHT - TWO WEEKS PRIOR76 76 Keaton looks out over the ocean and smokes a cigarette. KEATON What do you want to do with him? McManus kneels in the sand. Hockney and Verbal stand behind him, staring at something in front of them. It is the body of Fred Fenster, literally peppered with bullet holes. McManus stares at him, fighting any flicker of emotion. MCMAMJS I worked five years with Fenster. Morejobs, more money than I can count. KEATON I'm sorry, McManus. MCMANUS I want to bury him. KEATON No time. McManus springs to his feet and points a pistol at Keaton. Keaton turns to face him and raises his head. McManus might as well be pointing a feather-duster.100. MCMANUS YOU WILL FIND TIME. You're not the only one with debts, man. YELLOW 06/11/94 KEATON No shovel. MCMANUS WITH OUR HANDS. MT. BEACH77 77 Everyone digs in the sand on the deserted beach with their hands. They are up to their waists in the hole they have scooped out. Fenster's body is a few feet away. HOCKNEY This is nuts. MCMANUS Dig. HOCKNEY This is fucking dry sand, man. When herots, the surfers'll smell him from a hundred yards out. MCMANUS DIG, YOU FUCKER. Hockney can see that McManus has truly gone over the edge for now. Keaton gives him a look that says don't argue. HOCKNEY Keaton, we gotta go. They're gonna find him. KEATON Dig. VERBAL What are we gonna do?101. HOCKNEY I can run. I got no problem with that. KEATON They don't seem to have a problem with it either. MCMANUS Nobody runs. HOCKNEY This ain't my boy we're burying. I don't owe anybody. SCRIPT DATE 5/25/94 MCMANUS We got a deal here. HOCKNEY Since when? MCMANUS Since tonight. HOCKNEY Fuck that. MCMANIJS It's payback. KEATON IT'S NOT PAYBACK. I don't answer to you.It's precaution. You want payback? You want to run? I don't care. I'm going to finish this thing. Not for Fenster, notfor anybody else, but for me. This Kobayashi cocksucker isn't going to stand over me. (beat) All of you can go to hell.102. Keaton turns and digs furiously with both hands. Hockney takes a moment and slowly starts to do the same. The four men dig for Fenster. The first to find some rest.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RABIN'S OFFICE - DAY - PRESENT78 78 Verbal smokes with his good hand shaking badly. KUJAN And after they killed Fenster nobody would run? VERBAL I wanted to. I thought we could make it. KUJAN Why didn't you say anything? VERBAL I tried, believe me, but Keaton wouldn'thave it. It was too far-fetched for him. Keaton was a grounded guy. An ex-cop. To a cop, the explanation is never thatcomplicated. It's always simple. There's PINK 06/07/94 VERBAL no mystery on the street, no arch- criminal behind it all. If you got a deadguy and you think his brother did it, you're going to find out you're right. Nobody argued with Keaton. They just settheir minds on whacking Kobayashi.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PARKING LOT - NIGHT - TWO WEEKS PRIOR79 79 Redfoot's Harley rests on the roof of the Caddy in a mangled heap. The body of the Caddy is riddled with bullet holes.103. Redfoot's dead body has been shoved head-first through a hole in the windshield up to his waist, recognizable only by the trademark red boot.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. OFFICE BUILDING - DAY80 80 Kobayashi walks through the front door of a plush office tower followed by two bodyguards. He heads toward theelevator, failing to notice Hockney a few feet away, reading a newspaper. We see a wire running from Hockney's ear to his collar. HOCKNEY He's coming up.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HALLWAY - FORTIETH FLOOR81 81 Keaton, McManus and Verbal stand by the six elevators on the fortieth floor. They are all wearing khaki overalls and tool belts with walkie-talkies. They look like servicemen. All of the elevators have been propped open and stranded.McManus moves into one of the elevators. As the doors close i behind him, he scrambles for the ceiling hatch. SCENE DELETED82 82 PINK 06/07/94SCENE DELETED83 83 SCENE DELETED84 84 SCENE DELETED85 85",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HALLWAY86 86 Keaton and Verbal listen for anything on the radio.SCENE DELETED87 87 SCENE DELETED88 88104. PINK 06/07/94,SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. LOBBY89 89 The elevator opens. Kobayashi and his bodyguards get on the elevator.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. ELEVATOR90 90 The elevator is empty except for the three men. McManus has vanished. Kobayashi presses a button and they are on the way. SUDDENLY, the ceiling hatch opens and McManus' arm comes out.POP - POP. Two shots from a suppressed pistol and the guards drop to the floor, DEAD. Kobayashi looks up with surprising calm into McManus' barrel. MCMANUS Press forty.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HALLWAY - FORTIETH FLOOR91 91 The elevator opens and Kobayashi is greeted by Keaton and Verbal. McManus drops from the ceiling hatch and pushes him out. BLUE 06/01/94Verbal and McManus grab the dead bodies and drag them out of the elevator. They drag them to the next elevator which has been forced open, revealing an empty shaft. KEATON The answer is no. KOBAYASHI Mr. Soze will be most - KEATON Listen to me, cocksucker. There is no Keyser Sate. If you say his name again,I'11 kill you right here.105. KOBAYASHI A strange threat. I can only assume you're here to kill me anyway. Pity about Mr. Redfoot. MCMANUS Fair trade for Fenster. The elevator opens and Hockney steps out. KOBAYASHI Ahh, Mr. Hockney. Do join us. KEATON We know you can get to us, and now youknow we can get to you. I'm offering you the chance to call this off. KOBAYASHI Mr. So- My employer has made up his mind.He does not change it. KEATON Neither do we. MCMANUS You got Fenster, you may get more, butyou won't get us all. Not before one of us gets to you. KOBAYASHI I believe you, Mr. McManus. I quitesincerely do. You would not have been chosen if you were not so capable, but I cannot make this decision. Whatever youcan threaten me with is... ludicrous in comparison to what will be done to me if BLUE 06/01/94 MCMANUS Just so you know. I'm the guy. I'm theone that's gonna get through to you.106. KOBAYASHI I am sorry, Mr. McManus. (to Keaton) I implore you to believe me, Mr. Keaton.Mr. Soze is very real and very determined. KEATON We'll see. McManus holds a pistol to Kobayashi's chin. The lawyer's cool eyes never falter'. KOBAYASHI Before you do me in, you will let me finish my business with Ms. Finneranfirst, won't you? SUDDENLY, Keaton grabs McManus' hand and pulls the gun away before he can shoot. KEATON What did you say? KOBAYASHI Edie Finneran. She is upstairs in my office for an extradition deposition. I requested she be put on the casepersonally. She flew out yesterday. Everyone looks at Keaton. KOBAYASHI No matter. Kill away, Mr. McManus. KEATON You're lying. KOBAYASHI Am I?107.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HALLWAY - FIFTIETH FLOOR92 92 Everyone follows Kobayashi quietly down a dimly lit, oak- lined hallway. Verbal holds a small pistol discreetly in the small of Kobayashi's back. SCRIPT DATE 5/25/94They come to a glass office foyer. Kobayashi gestures and everyone looks through the glass into the lobby beyond. EDIE FINNERAN is talking casually with the receptionist.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. LOBBY93 93 Edie glances toward the men in the hall. Keaton turns quickly on his heels, facing the others. From where Edie stands, it looks as though Kobayashi is talking to a group of harmless maintenance men. They see A LARGE MAN dressed very much like the two dead bodies left in the hall downstairs. The man notices Kobayashi and the others. He stands and stares menacingly. KOBAYASHI Ms. Finneran's escort in Los Angeles.Never leaves her for a moment. I thought you'd like to know she was in good hands. Keaton's mind races for an alternative. He can find none. Verbal lowers his gun without being told. KOBAYASHI Get your rest, Gentlemen. The boat will be ready for you on Friday. If I see you or your friends before then, or fail tocheck in every half hour with that unpleasant looking man in there, Ms. Finneran will find herself the victim ofa gruesome violation before she dies. As will your father, Mr. Hockney. and your Uncle Randall in Arizona, Mr. K",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int.108. I might only castrate Mr. McManus' nephew, David. Do I make myself clear? All of the men surround Kobayashi, aching to kill him. KOBAYASHI I'11 take care of the dead mendownstairs. We'll add them to the cost of Mr. Fenster. Now if you'll excuse me. Kobayashi walks into the office. Edie turns to greet him. Keaton slowly turns and watches as they shake hands and talk.Kobayashi says something they cannot hear and Edie laughs, her back to the window. SCRIPT DATE 5/25/94Kobayashi smiles over her shoulder at Keaton. All the while, the bodyguard watches Keaton. He nods politely before Keatonand the others leave. Verbal watches for a moment more and follows.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. HILLSIDE ROAD - DAY94 94 Keaton, Verbal, Hockney and McManus sit in a rented sedan overlooking San Pedro harbor. Another file from Kobayashi's briefcase is laid out on the dashboard. This has a map and a good fifty pages of information in it. KEATON It's a logistical nightmare. Closequarters, no advance layout, ten men, maybe twenty. HOCKNEY Can we stealth these guys? KEATON Doubtful. With all that coke, they'll be ready - which brings me to sunny spot number two.109. Even if one of us gets through and jacks the boat, we get nothing. MCMANUS And if we wait for the money? KEATON Ten more men at least. In my opinion, it can't be done. Anyone who walks into this won't come out alive. MCMANUS I'm for waiting for the money. HOCKNEY Me too. VERBAL Did you hear what he just said? HOCKNEY If I'm going in, I want a stake. YELLOW 06/11/94 MCMANUS So do I. Verbal is shocked by what he is hearing. He looks at Keaton as if to ask him for his decision. Keaton's cold stare is all the answer Verbal needs. He slumps in his seat, resigned to the others. VERBAL I just can't believe we're just gonna walk into certain death. PAUSEThey all suddenly realize the weight of their situation.FINALLY:110. MCMANUS News said it's raining in New York. No one knows quite how to respond.EXT, PIER - SAN PEDRO - NIGHT95 95 A large boat, sleek and yacht-like, but without finesse. This is a boat for business - heavy and fast. It is moored to the pier. A large crane hoists a pallet of fuel drums from the dock. It swings slowly over the boat. A man on the dock yells in Spanish to the crane operator.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BOATHOUSE96 96 Behind an old and weathered boat in dry-dock, Keaton and Verbal watch the boat from the shadows. VERBAL What-are they speaking? KEATON Russian, I think. I don't know. VERBAL Hungarian? YELLOW 06/11/94 KEATON Knock it off. DOLLY OVER TO REVEAL:McManus climbing up the side of the boathouse.CONTINUE PAST HIM TO REVEAL:A large boat. A very large boat.111.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BARGE97 97 Hockney maneuvers through a mesh of twisted steel, arriving at a vantage point near the stern of the large boat. HOCKNEY'S P.O.V.A black van pulls up and parks near the crane. Four men in suits get out. One remains with the van and the other three walk toward the boat. On the boat, five men come up from below deck. They are tense and cautious around the men in suits. Someone speaks in Spanish and someone else in Russian. It takes a moment before anyone speaks the same tongue. They settle on French for bothnegotiators. Hockney sits in the van. He handles a large shoulder bag stuffed with plastique. He tests a timer on top. He picks up a walkie-talkie. HOCKNEY Are we ready, kids? SCENE DELETED98 98 SCENE DELETED/MOVED TO BOTTOM SCENE 9799 99",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BOATHOUSE.-- ROOF100 100 McManus is positioning himself on the roof of the boathouse. He stops and grabs his radio. MCMANUS If I didn't have to stop and answer you,I would be. YELLOW 06/11/94112. MT. BOATHOUSE101 101 KEATON (into radio) Everyone shut up. I'm ready. McManus, you better be set up in ten seconds. MCMANUS (on radio) I'm there. YELLOW 06/11/94 KEATON (to Verbal) I want you to stay here. Understand? VERBAL + But I'm supposed to - KEATON If we don't make it out, I want you totake the money and go. VERBAL (confused) Keaton, I can't just - KEATON I want you to find Edie. Both of you find some place safe. Tell her what happened - Everything. She knows people. She'll knowwhat to do. If we can't get Kobayashi my way, she'll get him her way. VERBAL What if I -- KEATON Just do what I tell you. Keaton turns and takes a few steps. He stops and looks back, his face marked with guilt and agony.113. KEATON Tell her I... Tell her I tried. Keaton leaves before Verbal can respond. He walks down a ramp toward the boat. He is no more than a few yards out of the shadows before the first man sees him.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DOCK102 102 One of the men in suits starts to yell to the others. Men pull out guns and try to look as cool as they can. Keaton walks right into the face of all of these men, undaunted. His hands are in his pockets. Above him, in the darkness, McManus pokes his head out andYELLOW 06/11/94spies Keaton. He pulls his head back and sticks out the barrel of the rifle. Keaton comes to a stop about twenty feet from fifteen men all together.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BOATHOUSE - ROOF103 103 McMANUS'S P.O.V.McManus stares through the scope of his rifle at the scene. The cross-hairs breeze past Keaton and find a target. A man in a suit. MCMANUS Pow. He moves to another and then another, picking up speed and mock-shooting the men. He is steady and quick. It is clear he could take all fifteen in a few seconds.114. MCMANUS Pow-pow-pow-pow-pow-pow . Oswald was a fag.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. DOCK104 104 The men shout questions at Keaton in a number of languages.,FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BARGE105 105 HOCKNEY'S P.O.V.A few men standing on the dock near the stern of the large boat, move towards the commotion. Hockney bails out and runs quickly and quietly through the shadows, bringing the bomb with him.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BOATHOUSE106 106 Verbal remains in the darkness, looking frightened.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BOATHOUSE - ROOF107 107 McManus still wanders with his scope. MCMANUS Old McDonald had a farm, ee-aye, ee-aye, oh. And on this farm he shot some guys.Ba-da-bip, ba-da-bing, bang-boom. YELLOW 06/11/94",SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DOCK108 108 Finally two men walk right towards Keaton. The rest train guns on him. They reach for his arms, pointing their guns right at him. At the far end of the dock, Hockney throws his bomb onto the stern of the large boat. IT EXPLODES115. The men surrounding Keaton, are distracted. Keaton pulls a pistol out of each pocket and shoots the two men closest to him.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. BOATHOUSE - ROOF109 109 MCMANUS ELVIS HAS LEFT THE BUILDING. He fires as fast as he can.,SONG +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PIER110 110 The men from the boat and the men in suits try to peg Keaton, but McManus' sniping has them running.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CRANE111 111 The crane operator opens the door to bails out, leaving the crane in motion.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. BOATHOUSE - ROOF112 112 McManus runs across the roof of the boathouse and jumps down to the pier. He arrives at a thick mooring cable and climbsacross to the boat. MEANWHILE ON THE DOCK:Keaton climbs up onto a small lifeboat hanging from the side of the larger boat. From this he climbs aboard the large boat. YELLOW 06/11/94,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DOCK113 113 Hockney is firing in all directions. SUDDENLY, he realizes no one is left on the dock. PAUSE116. FINALLY, he turns and runs back for the van parked on the pier above. He finds a ramp leading from the dock to the pier. At the van, he finds the one man who has stayed behind to protect it. The man hears Hockney coming and raises his gun. Hockney runs straight at him, screaming frantically. HOCKNEY (in Spanish) <> BOOMHe shoots the man point blank in the face and runs over his body as it falls. He gets to the back door of the van and yanks it open.The inside is stacked with large wooden crates.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. VAN114 114 Hockney, suddenly oblivious to the sound of gunfire, opens one of the crates and looks inside. IT IS FILLED WITH MONEY. Cash and negotiable bonds of all kinds. He smiles. BOOMBLOOD sprays all over the money. Hockney looks at it, puzzled. Hockney raises a blood-soaked hand from his belly. He turns and stares in horror. YELLOW 06/11/94BOOM - Another shot takes off the top of his head.117.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PIER115 115 McManus runs like a wild man across the deck, heading for the hatch. He shoots in all directions as though he has eyes in the back of his head. He sees Keaton climbing onto the deck of the boat. YELLOW 06/11/34",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. WAREHOUSE116 116 Verbal is wrestling with what to do. He finally makes a break for the other side of the boathouse.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. BOAT DECK117 117 The crane continues to swing. A single bullet hits one of the barrels on the suspended pellet. Gasoline pours out through the bullet-hole. SCENE DELETED118 118,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BOAT119 119 Keaton finds the hatch and goes below, shooting a man on his way up the stairs. McManus jumps on board and runs down behind him. EXT'. PIER120 120 Verbal arrives at the top of the ramp leading from the dock to the pier. He ducks down behind a guardrail beside the ramp. He turns and sees Hockney's dead body next to the van. He looks around frantically, frozen in terror. It is quiet, except for the sounds of screaming, far off in the bowels of the boat andthe hum of the crane.118.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RABIN'S OFFICE - DAY - PRESENT121 121 KUJAN Why didn't you run? PINK 06/07/94 VERBAL I froze up. I thought about Fenster and how he looked when we buried him, then Ithought about Keaton. It looked like he might pull it off. A KNOCK ON THE DOOR.Rabin steps in and motions for Kujan to come outside.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT.HALLWAY122 122 Rabin and Jack Baer are in the hall. Rabin hands Kujan a thick manila folder. Kujan thumbs through it. BAER A boy came across a body on the beach this morning. Thrown clear when the boat burned. Shot once in the head. Two guysfrom the F.B.I. just identified him. KUJAN And? RABIN His name was Arturo Marquez. A pettysmuggler out of Argentina. He was arrested in New York last year for trafficking. He escaped to California andgot picked up in Long Beach. They were setting up his extradition when he escaped again. Get this - Edie Finneranwas called in to advise the proceedings. KUJAN Kobayashi.119. Bear nods. RAB IN I called New York County and they fared me a copy of Marquez's testimony. He was a rat. Kujan pulls out page after page from the file. KUJAN A big fucking rat. PINK 06/07/94 RABIN Arturo was strongly opposed 'to going back to prison. So much so that heinformed on close to fifty guys. Guess who he names for a finale? Kujan finds one sheet and notices a paragraph is highlighted. KUJAN Keyser Soze. BAER There's more.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. RABIN'S OFFICE - MOMENTS LATER123 123 Kujan walks in and sits down in front of Verbal. He smiles. KUJAN I'11 tell you what I know. Stop me when it sounds familiar. Verbal is confused. KUJAN There was no dope on that boat.120.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. BOAT - NIGHT - ONE WEEK PRIOR124 124 Keaton is weaving through tight, low-ceiling corridors, looking in every cabin, working his way towards the bottom of the boat. ELSEWHERE IN THE BOAT, McManus is tearing though the corridors, seemingly less interested in securing the cargo ashe is in killing everyone on board. He screams like a lunatic, shooting everything in his path, killing some men with his bare hands, shooting others, stabbing others still with a knife he has brought along.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CORRIDOR125 125 JAIME, one of the men from the boat, is half-pushing, half- helping a thin and sweaty looking MAN IN A CHECKERED BATHROBE towards a cabin at the end of the hall. The man in the robe is trembling. He seems stricken with fear. BLUE 06/01/94 MAN IN ROBE He's here. I saw him on deck. Jaime pushes him inside the cabin and shuts the door.A stereo playing softly in the room mixes with the man's panicked breathing. The man in the robe screams through the closed door, his voice echoing off of the metal bulkheads. MAN IN ROBE I'M TELLING YOU IT'S KEYSER SOZE. Jaime stands outside the door of the cabin and turns to face down the hall. Off in some other part of the boat, he can hear McManus wailing like a banshee and the ever-lessfrequent sound of gunshots.121.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. HOLD126 126 Keaton has come to the four-foot-high door to the hold. The door is open slightly. Keaton finds this strange. He pushes the door open and steps inside. The hold is empty. He hears a noise behind him. He wheels around to fire. He sees McManus in the door. His face is covered with blood. MCMANUS Did you hear what I heard? KEATON What happened to you? MCMANUS Keyser Soze is on the boat. KEATON What? MCMANUS I heard somebody screaming his nuts off. He said Keyser Soze was on the boat. KEATON Are you alright? McManus rubs some of the blood off with his sleeve.SCRIPT DATE 5/25/94 MCMANUS Huh? Oh, It's not mine. KEATON There's no coke. McManus looks around the hold as though he'll see four and a half tons of dope in some corner where Keaton might have missed it. The two men look at one another. There is a long, pregnant silence.122. MCMANUS Let's get the fuck out of here. KEATON Right behind you.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CORRIDOR127 127 Keaton and McManus step out of the hold, walking slowly and cautiously back from where they came. They hear the sounds offootsteps running on the deck above and the occasional hollered sentence in Spanish. KEATON Where's Hockney? MCMANUS I don't think he made it to the boat. They come to a corner. They can go left or right. KEATON I can't remember which way. MCMANUS Right - BOOM - BOOMGunshots fill the hallway from behind them. They do not stop to turn around. Keaton goes left, McManus goes right. They run in opposite directions with the sound of gunfire right behind them.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HALLWAY - CABIN128 128 Jaime squints and cocks his head.YELLOW 06/11/94SOMEONE IS COMING. He raises a pistol and crouches by the door.123.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. CABIN129 129 The man in the bathrobe sits on the foot of the bed watching the door. He hears the sounds of fighting somewhere not too far away. He crawls over the bed and squeezes between it and the bulkhead. Only the top of his head is visible. He starts tocry. BOOM - BOOM - Two shots just outside in the hall.SUDDENLY, the door bursts open. Jaime collapses in a heap on the floor, a bullet hole in his eye. A FIGURE LOOMS IN THE DOORThe man in the bathrobe looks up at the figure. We cannot see him. MAN IN ROBE I told them nothing. BOOMThe man in the robe falls dead.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DECK - MOMENTS LATER130 130 The boat is quiet now. Keaton walks out onto the deck. He looks out over the pier and sees Verbal standing in the middle of the carnage, frozen. Their eyes meet. Keaton wavesat him as if to shoe him away.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PIER - TOP OF RAMP131 131 Verbal hesitates and finally moves towards the van with the money. He looks back over his shoulder and sees Keaton. Keaton sees him looking and waves again, hurrying him along. Verbal turns away and focuses on the van.124.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. DECK132 132 Keaton hears a noise behind him. He swings around and points his gun at McManus again. He puts the gun down. YELLOW 06/11/94McManus smiles. He walks slowly across the deck towards Keaton. Something is not right about him. MCMANUS Strangest thing... He slumps to the deck. Keaton rushes over to him. He kneels down and sees a pipe sticking out of the back of McManus's neck.,TWIST +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PIER133 133 Verbal approaches the van, stepping over Hockney's body. He closes the back doors of the van. He looks to his left at the huge loading crane. He glances upward along the giant' arm as it swings steadily on. Somewhere, off in the distance, the sound of SIRENS can be heard.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DECK134 134 Keaton kneels by McManus, trembling with rage. After a moment he stands, looking down at McManus' dead body.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PIER135 135 SUDDENLY, Verbal realizes something. He turns and goes to call out a warning to Keaton. He is too late.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. DECK136 136 Keaton never sees the crane coming.WHAM125. The pellet of barrels hits him square in the back and sends him flying into the wheel house of the boat. Keaton is still for a moment. Finally, he tries to get up, but finds he cannot move his legs.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. PIER137 137 Verbal runs down the ramp as fast as he can. He comes to a rope ladder hanging down the side of the boat. SUDDENLY, he stops dead in his tracks, looking up at the boat. YELLOW 06/11/94From where he stands, he can just make out the figure of a TAU, THIN MAN walking along the edge of the deck. He moves quietly and calmly in the shadows towards the crane, lookingout of place in his expensive suit. YELLOW 06/11/94Something about this man terrifies him.SCENE DELETED138 138",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RABIN'S OFFICE - DAY - PRESENT .139 139 KUJAN And that's when you say in your statement that you saw... Kujan picks up his copy of Verbal's statement to the D.A. KUJAN A man in a suit with a slim build. Tall. VERBAL Wait a minute. KUJAN (looking at watch) I don't have a minute.126. Are you saying it was Keyser Soze? You told the D.A. you didn't know who it was. Verbal is drowning in Kujan's interrogation. He looks dazed. VERBAL I - there had to be dope there. BLUE 06/01/94 KUJAN Don't shine me, Verbal. No more stalling. You know what I'm getting at. VERBAL I don't. KUJAN YES YOU DO. YOU KNOW WHAT I'M GETTING AT. THE TRUTH. TRY TO TELL ME YOU DIDN'T KNOW. TRY TO TELL ME YOU SAW SOMEONE KILLKEATON. For the first time, Verbal stands and tries to move away from Kujan, but Kujan stays in his face, backing him into a corner. Verbal shields himself with his hands and shuts hiseyes. KUJAN TRY TO REEF LYING TO ME NOW. I KNOW EVERYTHING. VERBAL I don't know what you're talking about. KUJAN YOU KNOW. YOU'VE KNOWN THIS WHOLE FUCKING TIME. GIVE IT TO ME. Verbal looks into Kujan's eyes with genuine terror. Kujan's face is red, his body trembles. His locomotive breathing is the only sound in the room.127. VERBAL I don't understand what you're saying. I saw Keaton get shot, I swear to you. KUJAN Then why didn't you help him? VERBAL I WAS AFRAID, OKAY? Somehow, I was sure it was Keyser Soze at that po",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","int. I couldn't bring myself to raise my gun tohim. KUJAN But Keaton... VERBAL It was Keyser Soze, Agent Kujan. I mean the Devil himself. How do you shoot the Devil in the back? YELLOW 06/11/94Verbal holds up a shaking, twisted hand. VERBAL What if you miss?",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. BARGE - NIGHT - ONE WEEK PRIOR140 140 Verbal is hiding in the tangle of girders and cables on the barge. VERBAL'S P.O.V.Keaton's body is completely obscured. The man in a suit strides across the deck over to Keaton, stopping to relieve himself on a small fire on the deck. He walks up and standsover Keaton. The two men exchange words and the man in the suit pulls out a pistol. He points it at Keaton.128. RED AND BLUE LIGHTS FLASH BEHIND VERBAL Verbal turns. He can just make out police cars coming in the distance. BANGVerbal hears a shot from the deck of the boat. He turns in time to see the man in the suit running across the deck toward the gangway. Verbal can barely see the man from where he is now. The man in the suit is covered by shadows and the poor angle from the barge. Verbal strains to see but he cannot. The man in the suit stops long enough to pull out a lighter. He turns and walks back across the deck and out of sight. Amoment later flames leap up from on the deck. The mesh of steel and rubber leaves a dark and open cocoon at its base. MOVE INTO THE DARKNESS.Sirens are close now. Almost here. The sound of fire raging out of control. SIRENS BLARING. TIRES SQUEALING. CAR DOORS OPENING. FEETPOUNDING THE PAVEMENT. YELLOW 06/11/94MOVE FURTHER, SLOWER, INTO THE DARKNESS.Voices yelling. New light flickering in the surrounding darkness. BLUE 06/01/94",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RABIN'S OFFICE - DAY - PRESENT141 141 KUJAN Arturo Marquez. Ever hear of him? VERBAL Wha- No.129. KUJAN He was a stool pigeon for the Justice Department. He swore out a statement to Federal Marshals that he had seen andcould positively identify one Keyser Soze and had intimate knowledge of his business, including, but not exclusiveto, drug trafficking and murder. VERBAL I never heard of him. KUJAN His own people were selling him to a gangof Hungarians. Most likely the same Hungarians that Sate all but wiped out back in Turkey. The money wasn't therefor dope. The Hungarians were going to buy the one guy that could finger Soze for them. VERBAL I said I never heard of him. KUJAN But Keaton had. Edie Finneran was his extradition advisor. She knew who he wasand what he knew. VERBAL I don't. KUJAN There were no drugs on that boat. It wasa hit. A suicide mission to whack out the one man that could finger Keyser Soze so Sate had a few thieves put to it. Men heknew he could march into certain death. VERBAL But how - wait. You're saying SOZE sent us to kill someone?130. BLUE 06/01/94 KUJAN I'm saying Keaton did. Verbal cannot grasp this. He squints, trying to understand. KUJAN Verbal, he left you behind for a reason. If you all knew Soze could find you anywhere, why was he ready to send you off with the money when he could have used you to take the boat? VERBAL He wanted me to live. KUJAN Why did he want you to live? A one-time dirty cop without a loyalty in the worldfinds it in his heart to save a worthless rat-cripple? No, sir. Why' VERBAL Edie. KUJAN I don't buy that reform story for a minute. And even if I did, I certainly don't believe he would send you toprotect her. So why? VERBAL Because he was my friend. KUJAN No, Verbal. You weren't friends. Keatondidn't have friends. He saved you because he wanted it that way. It was his will.131. Verbal grinds to a mental halt, trying to grasp the implication . SUDDENLY: VERBAL No... KUJAN Keaton was Keyser Soze. VERBAL NO. SCRIPT DATE 5/25/94 KUJAN The kind of guy who could wrangle the wills of men like Hockney and McManus.The kind of man who could engineer a police line-up from all his years of contacts in N.Y.P.D. Verbal stands on wobbly legs, shaking with anger. VERBAL NO, NO, NO, NO, NO. KUJAN THE KIND OF MAN THAT COULD HAVE KILLED EDIE FINNERAN. A strange look crosses Verbal's face. Shock perhaps, or revelation. KUJAN They found her yesterday in a hotel in Pennsylvania. Shot twice in the head. It starts to sink in with Verbal. His eyes swell. VERBAL Edie...132. KUJAN He used all of you to get him on that boat. He couldn't get on alone and he had to pull the trigger himself to make surehe got his man. The one man that could identify him. VERBAL This is all bullshit. KUJAN He left you to stay behind and tell us he was dead. You saw him die, right? Or did you? You had to hide when the firstpolice cars showed up. You heard the shot, just before the fire but you didn't see him die. VERBAL I knew him. He would never - KUJAN He programmed you to tell us just what he wanted you to. Customs has been SCRIPT DATE 5/25/94 KUJAN investigating him for years. He knew we were close. You said it yourself. Where is the political pressure coming from?Why are you being protected? It's Keaton making sure you tell us what you're supposed to. Immunity is your reward. VERBAL BUT WHY ME? WHY NOT HOCKNEY OR FENSTER OR McMANUS? I'm a cripple. I'm stupid. Why me? Verbal hears the weight of his words and falls back in his chair, Kujan looks at him with some pity,; but he is too far in to stop.133. KUJAN Because you're a cripple, Verbal. Because you're stupid. Because you were weaker than them. Because you couldn't see farenough into him to know the truth. Verbal is crying now. He shakes his head, eyes closed. KUJAN If he's dead, Verbal - if what you say is true, then it won't matter. It was hisidea to hit the Taxi Service in New York, wasn't it? Tell me the truth. VERBAL (sobbing) It was all Keaton. We followed him from the beginning. Kujan smiles with triumphant satisfaction. VERBAL I didn't know. I saw him die. I believehe's dead. Christ. KUJAN Why lie about everything else, then? VERBAL You know what it's like, Agent Kujan, toknow you'll never be good? Not good like you. You got good all fucked around. I mean a stand up guy. I grew up knowing Iwas never going to be good at anything 'cause I was a cripple. Shit, I wasn't BLUE 06/01/94 VERBAL even a good thief. But I thought the onething I could be good at was a keeping my mouth shut - keeping the code.134. I didn't want to tell you for my dignity, that's all, and you robbed me, Agent Kujan. You robbed me. Kujan pulls the microphone out from under his tie and puts it on the desk. Verbal actually manages to snort a laugh, but only briefly, overcome by an apparent wave of nausea. KUJAN You're not safe on your own. VERBAL You think he's..? KUJAN Is he Keyser Soze I don't know, Verbal. It seems to me that Keyser Sate is ashield. Like you said, a spook story, but I know Keaton - and someone out there is pulling strings for you. Stay here andlet us protect you. VERBAL I'm not bait. No way. I post today. KUJAN You posted twenty minutes ago. CaptainLeo wants you out of here a.s.a.p., unless you turn state's. VERBAL I'11 take my chances, thank you. It'stougher to buy the cheapest bag-man than it is to buy a cop. KUJAN Where are you going to go, Verbal? Yougonna run? Turn states evidence. You might never see trial. If somebody wants to get you, you know They'll get you outthere.135. VERBAL Maybe so, but I'm no rat, Agent Kujan. You tricked me, that's all. I won't keep my mouth shut 'cause I'm scared. I'11keep it shut 'cause I let Keaton down by getting caught - Edie Finneran too. And if they kill me, it's YELLOW 06/11/94 VERBAL because they'll hear I dropped dime. They'll probably hear it from you. Verbal stands, mustering his shattered dignity and walks towards the door. Rabin opens it for him from outside. For once Kujan cannot bring himself to look at Verbal. Verbal turns to the door, stopping to look Rabin in the eye. VERBAL Fuckin' cops. He steps out of the room and into the hall. Rabin follows him.",TWIST +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HOSPITAL - DAY142 142 Daniel Metzheiser comes out of Arkosh Kovash's room with a single sheet of 15x20 inch paper in his hand. He inspects the sketch with great interest. He folds the edges of the paper back to make it smaller.,DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. HOSPITAL RECEPTION ROOM143 143 Metzheiser walks behind the reception desk without asking the nurse for permission and helps himself to the fax machine.,COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DEPOT - LATER144 144 Verbal is downstairs in the depot of the police station picking up his personal belongings.136. A FAT, WHITE-HAIRED COP is checking off the items as he takes them out of the tray in which they are kept. COP One watch: gold. One cigarette lighter:gold. One wallet: brown. One pack of cigarettes. Verbal collects his personal items and shuffles on his lame leg toward the exit.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. DISPATCHER'S OFFICE145 145 Jack Baer stands by a fax machine. A green light comes on next to a digital display. The display reads: RECEIVINGBLUE 06/01/94,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RABIN'S OFFICE146 146 Kujan stares solemnly at the bulletin board, drinking from Rabin's coffee cup. Rabin sits at the desk, sifting through the mound of gapers as though considering organizing themonce and for all. RABIN You still don't know shit. KUJAN I know what I wanted to know aboutKeaton. RAB IN Which is shit. KUJAN No matter. He'll have to know how closewe came. RABIN Keyser Sate or not, if Keaton's alive he'll never come up again.137. KUJAN I'11 find him. RAB IN Waste of time. KUJAN (to himself) A rumor is not a rumor that doesn't die. RAB IN What? KUJAN Nothing. Something I - forget it. Kujan shakes his head. He gestures to the desk. KUJAN Man, you're a fucking slob. Rabin regards the mess of his office. RABIN Yeah. It's got its own system though. It all makes sense when you look at itright. You just have to step back from BLUE 06/01/94 RABIN it, you know? You should see my garage, now that's a horror show... Kujan is not listening. He has been staring at the bulletin board, lost in thought, his unfocused eyes drifting across the mess of papers, not looking at anything at all.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. STREET147 147 Verbal steps out into the sunlight, putting on a pair of cheap sunglasses. He looks up and down the crowded street.People on their way to and from lunch, no doubt.138. Cars choke the street in front of the police department as they wait for pedestrians to clear the way.",DRAMA +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DISPATCHER'S OFFICE -148 148 A single sheet of paper comes out of the fax machine, face down.",NOTHING +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. RABIN'S OFFICE149 149 Kujan still stares at the bulletin board.SUDDENLY, Kujan's face changes. He leans in closer to the bulletin board and squints his eyes. His face changes again. First a look of puzzlement, then confusion - finally realization. The coffee cup tumbles from his hand. It hits the floor with the SMASH of cheap porcelain. Coffee splatters everywhere.Rabin snaps out of his droning and looks up in surprise. KUJAN'S P.O.V.Kujan is staring not at what is on the bulletin board, but at the bulletin board itself. His eyes follow the aluminum frame, mounted firmly to the wall. One might note it's sturdy construction and it'sconvenient size. Big enough to hold a lifetime of forgotten and disregarded notes and facts. Years of police trivia that has been hung and forgotten with the intention of finding ause for it all someday. One might want such a bulletin board for one's self. One would look to see who makes such a bulletin board. Kujan's eyes are locked on a metal plate bearing the manufacturer's name. YELLOW 06/11/94It reads: QUARTET - SKOKIE, ILLINOISKujan's eyes flash all over the bulletin board. He finds a picture of Rabin in the far corner.139. He stands beside a scale in fishing gear. He proudly holds a hand out to his freshly caught marlin. His eyes skim quickly over and stop on an eight and a half by eleven inch fax sheetof what must be a THREE HUNDRED POUND BLACK MAN. Kujan glazes over his name, it is irrelevant. His aliases stand out. Slavin, BRICKS, Shank, REDFOOT, Thee, Rooster...KUJAN'S EYES WIDEN with sudden realization. He runs for the door. His foot crushes the broken pieces of Rabin's coffee cup. The cup that hovered over Verbal's head for two hours. Kujan is in too much of a hurry to notice the two words printed on the jagged piece that had been the bottom of the cheap mug. KOBAYASHI PORCELAIN.",TWIST +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",EXT. HALLWAY150 150 Kujan is sprinting wildly down the hall for the stairs.,THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. STREET151 151 Verbal looks behind him and sees ANOTHER COP standing just inside the doorway, lighting a cigarette. The cop notices Verbal and watches him in the way that cops look at people they cannot place in the category of idiot citizen, or stupidcriminal. Verbal smiles politely, meekly at the cop and walks down the steps into the moving throng.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DEPOT152 152 Kujan runs up to the desk where Verbal had only moments before picked up his belongings. Rabin is right behind him, alook of absolute confusion on his face. KUJAN WHERE IS HE? DID YOU SEE HIM?140. COP The Cripple? He went that way. YELLOW 06/11/94The cog gestures towards the door.Kujan runs outside looking around frantically.SCENE DELETED153 153 YELLOW 06/11/94",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SIDEWALK154 154 Verbal limps his way carefully across the sidewalk, avoiding people as best as he can. He looks over his shoulder, getting farther away from the police station. He can see Rabin and the cop on the steps,looking around with strange, lost expressions on their faces. He does not notice the car creeping along the curb beside him.",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation",INT. CAR155 155 DRIVER'S P.O.V.The driver's hands tap the wheel patiently. His eyes follow Verbal as he fumbles through the crowd.,ROMANCE +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. SIDEWALK156 156 Kujan pushes and shoves, looking this way and that.",FIGHT +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. STREET157 157 LOW ANGLE on the feet of dozens of people. Verbal's feet emerge from the crowd on the far side. They hobble along the curb.141. SUDDENLY, the right foot seems to relax a little, the inward angle straightens itself out in a few paces and the limp ceases as though the leg has grown another inch. CRANE UP VERBAL'S BODYVerbal's hands are rummaging around in his pockets. The good left hand comes up with a pack of cigarettes, the bad righthand comes up with a lighter. The right hand flexes with all BLUE 06/01/94of the grace and coordination of a sculptor's, flicking the clasp on the antique lighter with the thumb, striking the flint with the index finger. It is a fluid motion, somewhatshowy. Verbal lights a cigarette and smiles to himself. He turns and sees the car running alongside.",COMEDY +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","INT. DISPATCHER'S OFFICE158 158 Jack Beer pulls the sheet out of the fax machine and turns it over, revealing the composite sketch of Keyser SOZE. Though crude and distorted, one cannot help but notice how much it looks like VERBAL K",THRILL +"Classify the following scene text into a genre. The possible genres are SONG, FIGHT, ROMANCE, TWIST, DRAMA, COMEDY, SENTI, FLASHBACK, THRILL, NOTHING. No need of explanation","EXT. STREET159 159 The car stops. The driver gets out. IT IS KOBAYASHI, or the man we have come to know as such. He smiles to Verbal. Verbal steps off of the curb, returning the smile as he opens thepassenger door and gets in. The man called Kobayashi gets in the driver's seat and pulls away. A moment later, Agent David Kujan of U.S. Customs wanders into the frame, looking around much in the way a child wouldwhen lost at the circus.142. He takes no notice of the car pulling out into traffic, blending in with the rest of the cars filled with people on their way back to work. BLACK143.",THRILL